The Blanketfort (crying and throwing up) - The Official Solas Thread [Spoilers]

corseque:

music theory people please explain why Solas’ music sounds heroic. It sounds exactly like some grand hero’s song that’s turned sad, it doesn’t sound like it’s naturally sad. I feel like there’s a version of it with different chords that would sound as adventurous as the Inquisitor’s theme. I know in my bones his theme is related to the Inquisitor’s theme musically, but I want to know more

another-rogue-trevelyan:

Alright buckle up everybody because I spent $30,000 on this music degree and it’s my time to shine

Let’s start with the Inquisitor’s theme. First and foremost, it is in a major key. Major keys have a bright, happy sound to them. It begins slowly, with a feeling that it is out of time (no pulse, or beat). This is a sensation used by composers to build suspense, but also to ease you into something more dramatic.The chords and pitches grow dissonant and higher as we lead into the A theme (first “section,” if you will). The piece comes off a highly dissonant chord into loud, intense percussion, using large, deeply pitched drums. These drum beats get rhythmically faster. I would argue that this is still the exposition, and we have still not reached the A theme. However, we have now set the tempo and meter. While it is rhythmically fast, the tempo is actually moderate. The meter is what’s important - this piece is a march (2 beats per measure). Marches automatically give a militaristic feel, and are associated with parades, heroes, battles, etc. When we finally reach the A theme, the music soars with large leaps between pitches, and the chosen instrumentation (full symphonic orchestra, by the sound of it) really fills out the chords. The driving drums and strings are ever-present, and the choir provides a feeling of mysticism and drama, a staple in fantasy compositions due to being reminiscent of it’s chant-like origins. In summary, Inquisitor’s theme is suspenseful, grandiose, driving, and features an interesting juxtaposition of an expansive, beautiful melody and a militaristic undertone. Overall, very adventurous!

Solas, on the other hand, has a clearly different sound. This also begins slowly, but this time in a minor key, which is often associated with a darker, more somber sound. However, this is immediately paired with a bright, percussive instrument (I’m not sure exactly what it is, but it’s clearly barred, similar to a metallophone, or likely the bells, its orchestral cousin). The upper strings are holding long, high pitched (suspenseful!) notes, while the lower strings contrast with a moving line. The most interesting thing I hear in this part is the percussion - please listen to this carefully, it’s actually really awesome! The percussion in the beginning has this repeated motif of pitches that are, in general, descending. The repetition of this motif is intended to create a dreamlike effect, like falling asleep or a hypnotic trance. This is perfect for Solas and his connection to dreams and the fade! Well done, Bioware music team!

Solas’s theme builds, but the dynamics (changes in volume) never get very loud. There are changes, but they remain in the very soft to moderately soft range for most of the beginning of the piece. Mostly, pitch is used to heighten the sense of drama, reaching dramatic highs. This gives an “under the surface” effect to the music, in my opinion. Basically, if inner turmoil had a sound, this is it. I hypothesize that the Inquisitor’s theme sounds how the world perceives them, and Solas’s theme sounds like his swirling inner thoughts and internal conflict. The meter of this theme is 4/4, common time, which is the most used meter in western music and does not have the same drive as the march.

In what feels like a sudden change, there is a sudden intrusion of loud low brass, the volume increases drastically, and that dreamlike percussion theme is now louder, more frantic. Uh oh, something’s wrong! Solas has a huge inner conflict here! The Inquisitor is dying, time is running out, he misses his friend/lover so much but he has to go. In addition, this can reflect the climax from the Inquisitor’s perspective, who has found him. The Inquisitor is coming for Solas and demanding answers, is fighting through the pain, is determined to stop Solas. This part of the music is literally screaming CONFLICT, and also TIME IS RUNNING OUT!

Interestingly, there is also a return of the lower strings after this big loud section, mostly on their own, and much quieter. This, to me, is reminiscent of a love theme, though it sounds sad. This also builds with the strings, but still screams love theme to me. Strings are very romantic instruments, and big sweeping lines scream love - see James Horner’s “Titanic Suite” for a great example. This is a punch directly to the gut for maximum feels.

In summary, Solas’s theme, much like his romance, is designed to be emotional and rip your heart out and stomp on it. It’s all about inner conflicts, duty, love, compassion, fear, danger, sadness. It has hints of all of the conflicts of the hero - duty, love, fear, danger. Does the Inquisitor not experience all of the same things? This piece is centered on Solas, he is the hero of this piece of music, but a hero that’s at their breaking point. This theme isn’t designed to introduce you to Solas, it’s designed to make you understand him. I feel the Inquisitor’s theme is an introduction, or a recount of their amazing deeds, much like a plaque at the Winter Palace - beautiful, interesting, but not very deep. To make Solas’s sound more heroic (which the Inquisitor’s theme does, due to the reasons listed above), one would have to change the key to major, remove some dissonance, use longer phrases, and build sooner. Also, I find this percussion motif to be very anxious sounding, but a change to major could fix that. An adjustment to a march, while unnecessary, would likely also give more of a “hero” feel. As a final thought, this theme does not scream “villain” to me - rather very desperate and emotional. As it is, the piece is designed to bring about an emotional response, and I’d say it succeeds.

Thank you for indulging my love of both dragon age and music theory!