DanListonMusic

I don't have a plan to do it. I haven't owned a licenced copy of Sibelius (or Finale, etc) in years so it'd be faster to just to it by hand and upload a picture.
My primary job is a piano teacher though and I'd always recommend transcription as one of the most essential exercises and aural skills are the most important skills regardless of instrument and genre, plus the melody's not that complicated.
The chords throughout the theme (though different iterations occasionally have substitutions) are typically as follows:
| i7 | (i7) | III | i7 |
| VI#7 | iv7 | i IV | VI#7 V7#9 |

It's often in B minor so, for example, that'd be:
Bm7, (Bm7 again), Dmaj7, Bm7,
Gmaj7, Em7, Bm -> E, Gmaj7 -> F#7(aug9), Bm

I'm sure I've done it a couple of different ways before, ie using a bII and ii(dim) (C and C#dim) in place of VI#7 in the 8th bar but there's a few versions of it.
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The music demos are complete for the Alpha level out atm, it just needs to be coded into the game which'll hopefully be soon (-busy time for a small staff!)
If you're critical of the music, straight up shoot me a pm telling me what you're not keen on and I'll gladly take it on board!

There'll be a mix of genres and instrumentation, in the hopes of providing each level with a unique feel. The less intense moments, such as the action or the calm before the storm, won't be particularly "classical" or orchestral. The last thing I'd want is the music taking you out of the moment and completely clashing with the gameplay (-and I'm not talking about the lovely Baroque music vs modern violence juxtaposition as in the Bach piece in the original trailer), but we also want more depth than interchangeable DnB combat tracks in each level.

I see your point, there's definitely a noir-type orchestral soundtrack to parts of this game (inspired by LA Noire tracks and the music of Jerry Goldsmith, at least for some of the temp tracks I was given) but you won't be hearing much orchestral stuff with brass and woodwind while breaching doors and taking out baddies - there'll certainly be much more synth and percussion-driven tracks where they're more necessary. A few of these have been written already but haven't yet been made public.

I'm aiming to support a number of different aesthetics and have strong variety from level to level, and there'll be some fairly dark, dissonant music where it'll fit. This sort of contrast should, if executed properly, end up making the various different themes even more powerful, as going from a light, noir-style orchestral track A to a disturbing synthy track B only makes the darkness of B pop out more, and ideally sound darker than it would if another dark synth track preceded it.

Damn, thanks for the kind words guys!

Really inspires me to work hard and support the visuals and gameplay as best I can!

Nah actually it's pretty odd here, I'm doing music and am the VA administrator (plus some TOC/radio effects) so I'm their main point of contact, but we have a separate sound designer/foley artist!

Aww gee thanks guys! I feel like I've got a lot to live up to now - honestly there have only been small clips of my stuff uploaded and from those examples I just chose the right orchestration and chords to fit the mood. I didn't choose the music for those small clips (-not that I'm arguing!) nor did I put the lo-fi finish, so kudos to whoever put that together because it's a sweet idea!

I had ideas of utilising lo-fi type sounds later on but more in a dark/disturbing way. Not making any promises or disclosing any further details but let's just say there'll be some experimentation with the goals of hopefully creating something dark to contrast the glossy, brassy sheen of some of the other main tracks!

Hahahah thanks man, was a fun night putting that together!

Thanks man, here's a little teaser. I'm aiming to spearhead a new genre I like to refer to as nu-classical.

Aww <3

Jesper Kyd's work is going to be a big influence on the score for sure. I absolutely loved his work on Hitman 2-4 growing up and feel like that dark orchestral style translates to Ready or Not's overall aesthetic.

Some of the responses here in general are fantastic and get me rather nervous, but I'm a big fan of Kyd, Hotline Miami and Perturbator/Carpenter Brut, Bach, John Carpenter, Johann Johansson etc. What I will say is that I'm aiming in general for an orchestral/synth hybrid, so it definitely won't be as synth-heavy as Hotline Miami, but perhaps more synthy than the older Hitman games. Perhaps a Mass Effect type hybrid, but less cinematic to suit the tactical shooter style of the game over an RPG where the music plays a much more forward role. I absolutely love listening to soundtracks like Mass Effect and Ori and the Blind Forest, however gorgeous oboe lines and lush string arrangements aren't the first thing I imagine when breaching doors and saving hostages. They'l...

I'm definitely working at the music not being bland but it's a balancing act. Can't constantly have everything going on because that'll very easily distract the player from a game of this nature, and of course art always boils down to taste. I'd imagine half the audience would find Stravinsky's Rite of Spring to be bland or boring to them whereas others would recognize it as the landmark piece that it is and praise its influence. Either way the aim is to explore different musical textures to support the different levels rather than to have a synth pad create a haunting background then interchangeable DnB combat sections kick in every level.

One of the heads of development has been quite adamant on getting haunting screams which I think is fantastic. More easily said than done but I'd say we already have a few and will only be getting more! Through my other duties in administrating the voice acting, I've been specifically requesting it of a few of the actors. I think when yo...