File "greatness awaits you.it"

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Copyright (C) 1996-2016 Claudio Matsuoka and Hipolito Carraro Jr
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Loading modland.com/pub/modules/Impulsetracker/Homesickalien/greatness awaits you.it (1 of 1)
Module name : Greatness Awaits You
Module type : ModPlug Tracker 1.16 IT 2.14
Module length: 68 patterns
Patterns : 67
Instruments : 48
Samples : 84
Channels : 64 [ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ]
Duration : 58min08s
Instruments:
Instrument name Vl Fade Env Ns Sub Gv Vl Fine Xpo Pan Sm
01 Piano 40 0400 --P 06 [01] 40 40 +100 +28 Pff 00
[02] 40 40 +100 +28 Pff 01
[03] 40 40 +100 +28 Pff 02
[04] 40 40 +100 +28 Pff 03
[05] 40 40 +100 +28 Pff 04
[06] 40 40 +100 +28 Pff 05
02 Harp 40 0000 A-P 0b [01] 40 40 +093 +14 Pff 06
[02] 40 40 +095 +12 Pff 07
[03] 40 40 +075 +11 Pff 08
[04] 40 40 +075 +09 Pff 09
[05] 40 40 +092 +07 Pff 0a
[06] 40 40 +090 +05 Pff 0b
[07] 40 40 +092 +04 Pff 0c
[08] 40 40 +098 +02 Pff 0d
[09] 40 40 +075 +00 Pff 0e
[0a] 40 40 -033 +00 Pff 0f
[0b] 40 40 -038 -02 Pff 10
03 Strings -Fluid.SF2 40 0800 A-P 14 [01] 40 40 +099 +57 Pff 11
[04] 3c 40 +100 +48 Pff 43
[05] 40 40 +100 +45 Pff 44
[06] 40 40 +100 +41 Pff 45
[07] 40 40 +099 +39 Pff 46
[08] 40 40 +099 +36 Pff 47
[09] 40 40 +099 +33 Pff 48
[0a] 40 40 +099 +30 Pff 49
[0b] 39 40 +100 +27 Pff 4a
[0c] 36 40 +100 +24 Pff 4b
[0d] 34 40 +099 +22 Pff 4c
[0e] 35 40 +099 +18 Pff 4d
[0f] 40 40 +100 +14 Pff 4e
[10] 33 40 +099 +12 Pff 4f
[11] 37 40 +099 +09 Pff 50
[12] 40 40 +100 +05 Pff 51
[13] 39 40 +099 +00 Pff 52
[14] 39 40 -028 -04 Pff 53
04 Bass Guitar 40 2080 A-P 04 [01] 40 40 +093 +12 Pff 13
[02] 40 40 +092 +07 Pff 14
[03] 40 40 +092 +02 Pff 15
[04] 40 40 -052 -02 Pff 16
05 Whip 40 0000 --P 01 [01] 40 40 +013 +00 Pff 17
06 Flyby 40 0000 --P 01 [01] 40 2a +000 -01 Pff 18
07 Long hihat 40 0000 AFP 01 [01] 40 40 +000 +00 Pff 19
08 Roll in 40 0000 A-P 01 [01] 40 22 +000 +00 Pff 1a
09 Bass Drum 40 0000 --- 01 [01] 40 31 +100 +28 Pff 1c
0a Rack Tom 40 0000 --- 01 [01] 40 40 +100 +28 Pff 1d
0b Floor Tom 40 0000 --- 01 [01] 40 40 +000 -04 Pff 1e
0c Closed Hat 40 0000 A-- 01 [01] 40 34 +100 +28 Pff 1f
0d Snare 40 0000 --- 01 [01] 40 28 +100 +28 Pff 20
0f Rain 40 0000 --P 01 [01] 40 0f +000 +00 Pff 22
10 Violin 40 0380 A-P 09 [01] 40 40 +105 +16 Pff 23
[02] 40 40 +093 +14 Pff 24
[03] 40 40 +105 +11 Pff 25
[04] 40 40 +092 +09 Pff 26
[05] 40 40 +092 +07 Pff 27
[06] 40 40 +092 +04 Pff 28
[07] 40 40 +105 +02 Pff 29
[08] 40 40 -052 +00 Pff 2a
[09] 40 40 -052 -02 Pff 2b
11 Crash 40 0000 --- 01 [01] 40 40 +100 +28 Pff 2c
12 Short string 40 0000 AFP 01 [01] 40 40 +047 +08 Pff 2d
13 Flute 40 0000 A-P 08 [01] 40 40 +101 +14 Pff 32
[02] 40 40 +117 +12 Pff 34
[03] 40 40 +099 +11 Pff 35
[04] 40 40 +097 +07 Pff 37
[05] 40 40 +103 +02 Pff 38
[06] 40 40 +113 +04 Pff 39
[07] 40 40 -023 +00 Pff 3a
[08] 40 40 -012 -02 Pff 3b
14 Oboe 40 0400 A-P 01 [01] 40 40 +115 +04 Pff 33
15 Dulcimer 40 0000 A-P 01 [01] 40 40 +100 +28 Pff 3c
16 Halo Pad 40 0500 A-P 01 [01] 40 10 +019 +29 Pff 3d
17 Pizzicato strings 40 0000 AFP 01 [01] 40 28 +005 +09 Pff 3e
18 Slam 40 0000 A-- 01 [01] 40 2c +000 +00 Pff 3f
19 Choir 40 0000 A-P 01 [01] 40 40 +073 +08 Pff 40
1a Kettle drum 40 0000 A-- 01 [01] 40 40 +087 +11 Pff 41
1c Twinkle 40 0000 A-P 01 [01] 40 40 +095 +16 Pff 1b
2f Cello Stab 40 0000 A-P 04 [01] 40 2e +100 +28 Pff 2e
[02] 40 32 +100 +28 Pff 2f
[03] 40 38 +100 +28 Pff 30
[04] 40 40 +100 +28 Pff 31
30 Cello Sustain 40 0000 A-P 04 [01] 40 2e +100 +28 Pff 2e
[02] 40 32 +100 +28 Pff 2f
[03] 40 38 +100 +28 Pff 30
[04] 40 40 +100 +28 Pff 31

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>
>
> ----------------------------------------------------------------------
> ----------------------------------------------------------------------
> ----ooo---------------------------------------------------------------
> ---ooooo--------------------------------------------------------------
> --oo---oo--------------------oo---------------------------------------
> --oo---oo--------------------oo---------------------------------------
> --oo------oo-oo--ooo---ooo---oo---oo-ooo---ooo---oo---oo--------------
> --oo ooo-ooo---oo-oo-oo-oo-oooo--ooo--oo-oo-oo-o--o-o--o-------------
> --oo--ooo-oo----ooooo----oo--oo---oo---oo-ooooo--o----o---------------
> --oo---oo-oo----oo-----oooo--oo---oo---oo-oo------o----o--------------
> ---ooooo--oo----oo-oo-oo-oo--oo-o-oo---oo-oo-oo-o--o-o--o-------------
> ----ooo---oo-----ooo---ooooo--oo--oo---oo--ooo---oo---oo--------------
> ----------------------------------------------------------------------
> ----+++----------------------------------xx---xx----------------------
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> --+++++++-++---++-++-++-----++++--+--+-----xxx---xx-xx-xx-xx----------
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> --++---++--++-++---+++++-++---++---++----xx-------xxx---xxx-----------
> ----------------------------------------------------------------------
> ----------------------------------------------------------------------
>
>
>
>
>
>
>
> A quick dissection of the music:
> ================================
>
>
>
> Prologue/Section 1 Venturing out/Overture:
> -------------------------------------------
> 000-009
> 0:00-2:20
>
> Section 2 The Darkened Lake/Dance of the Fireflies:
> ----------------------------------------------------
> 009-020
> 2:20-5:00
>
> Interlude 1 The Night Falls and Sleep Comes:
> ---------------------------------------------
> 020-023
> 5:10-5:50
>
> Section 3 Dreaming of the Things to Come/Underture:
> ----------------------------------------------------
> 023-033
> 5:50-7:45
>
> Section 4 Daylight and the Dove That Flew Overhead:
> ----------------------------------------------------
> 033-040
> 7:50-9:55
>
> Section 5 Approach of Battle:
> ------------------------------
> 041-054
> 9:55-12:55
>
> Section 6 A Bittersweet Victory:
> ---------------------------------
> 055-066
> 13:00-16:50
>
>
>
> Special greetings go out to:
> ============================
>
> Pruno: for listening to this thing from it's infant stage onward.
>
> Mike(Evolution): for putting up with my stupid ICQ antics and for
> insisting that I switch over the drums.
>
> Fairlight: for asking me to do a co-op and then dropping out. I
> wouldn't have felt so pressured to make the first section
> cool if I weren't trying to live up to your standards.
>
>
> Quasi-Special greetings go out to:
> ==================================
>
> Alchemist, The; A Life in Hell; AutoGhash; Azo; Alk; BlueBoomer;
> Bodien; Chimera; Dead Style; Delara; Diakoku; DJRonto; dknation;
> dokter-187; Dragonfire; Fatboy; Glacier; GunDee; Hanhisuanto;
> Infey; Karmann; Krikkit; LCM!; LittleElk; Mario de la Grande;
> MELIN; melvyl; Moon Pie; Mysterium; OnneW; Pete Cacmac;
> Phlegmatic; Pikari; Ralesk; reduz; roncli; Saboteur; Saij-Lyn;
> SalsaBoy; Scienide; Self Bias Resistor; SlamminVinyl; Sliding
> Trancer; Solo; Space Walk; Synthegrate; T-Bird; TantoHashi;
> TheTourist; Thorn; Thygrr; Tracker Nation; TrenteTrois; UFOPOLI;
> Voltan; Wide Damned Mind; Wight; ZanaZac; Zaril; Zepsi; Zionic.
>
> If I forgot anyone I am infinitely sorry.
>
>
>
>
>
>
> Now for the story behind the music:
> ===================================
>
>
> Greatness Awaits You:
> ---------------------
>
>
> Personal note:
> --------------
>
> This idea was conceived when the title was conceived before
> I even began to write the music. The story in my head told
> of great adventures for a young man who was due to set out
> into the world. Somehow I knew that the hero was destined to
> fail and not heed the warnings of his family. I wrote the
> music as a story to be told, but even as I wrote it, I knew I
> wanted to convey something about life and that I wouldn't
> know what until the person the song is about was through with
> their story.
>
> But now the story has ended along with the music...
>
> ...and yes, the hero did fail.
>
>
>
>
>
> Greatness Awaits You:
> =====================
>
> This is a really lame story, because it's not really a story, the
> story is the music, but this way you can see what I was trying to
> convey within the notes a little bit more clearly (I hope).
>
>
> Prologue:
> ---------
>
>
> A young man sits at home dreaming of a new life.
>
> He could be anyone stuck in a situation that they have never been able
> to understand. He ponders a way out, a new beginning and thinks of
> the glories of battle. The soldiers who so bravely fight the battles
> of his land are held in such high esteem as those who defend and save.
>
> At this point his mind becomes enthralled with this concept.
>
> As his 18th birthday approaches and he reaches the true fighting age a
> war is brimming on the frontier.
>
>
>
> Chapter 1: Section 1
> --------------------
>
>
> Fearing for his son's life, the father makes a desperate plea that he
> not join the fighting force and instead stay home to help with the
> crops. (okay, making him a farmer is a cheesey plot line but...)
>
> This section attempts to present the confusion and majesty of the
> young man's thoughts at this time. Knowing in his heart that he truly
> wants to be a warrior, yet hearing the truth from his father - that
> it will be a hard a tormented life. That living with blood on his
> hands will be the price he must pay to become part of the elite
> fighting force.
>
> The dispute continues and soon the father grows so angry he ends the
> quarrel and leaves.
>
> The son is left alone and still confident that his decision was the
> right one.
>
>
>
> Chapter 2: Section 2 and Interlude
> ----------------------------------
>
>
>
> The young man leaves with the army the next day and is given some rough
> training. However, the approaching army leaves very little time for
> such a thing.
>
> The young man is given a uniform and marches in line to the campground
> for the night. The group sets up a campsite and the young man falls
> asleep while watching the fireflies and thinking about what his father
> has said to him.
>
>
>
> Chapter 3: Section 3
> --------------------
>
>
>
> The young man begins to dream as he sleeps. A state of unease falls
> over his thoughts and he feels as though he is running scared. He
> soon finds himself running directly into the middle of a battle. A
> conflagration of war surrounds his mind as he remembers briefly his
> father's warnings and is suddenly awakened.
>
>
>
> Chapter 4: Section 4
> --------------------
>
>
>
> Awakened by the dream before the rest of the nameless soldiers within
> his camp the young man sees a dove flying above the campsite and
> entertains the thought of deserting camp while everyone is still
> asleep. Knowing that this will be a source of shame upon himself
> and his family he falls back asleep feeling ill at ease about the
> upcoming battle and what it may bring.
>
>
>
> Chapter 5: Section 5
> --------------------
>
>
> As the sounds of the oncoming army approach the young man finds
> himself in the grips of fear and anxiety. At every turn it seems as
> though an attack will come.
>
> When the battle does come, it isn't what he expected, the chaos and
> humanity are overwhelming and caught in the grips of the instinct to
> survive, the young man takes the life of an enemy soldier only to be
> knocked unconcious.
>
>
>
> Chapter 6: Section 6
> --------------------
>
>
>
> The young man awakes to find that his army has won the battle at the
> cost of his innocence. The soldiers, saddened by the loss of their
> comrades, begin their voyage back home. The young man comes home to
> find that his family hasn't changed and that they still accept him,
> despite the blood on his hands. Feeling comforted by their love and
> compassion the young man vows never to fight again and lives the rest
> of his life in peace.
>
> Well..... that would be the ending, if it were a fantasy world.
>
> In the real world... the end would probably go something along the
> lines of.... the battle was lost and the young man was taken prisoner
> for many years. While there he was tortured and lost all shreds of
> dignity as a human being.
>
> But people don't want to hear that... Happy endings are a neccessity
> as we ignore the issues in our world. It's much safer to pay
> attention only to our little insignificant lives than to worry about
> greater issues.
>
> Every day in every way I am getting better and better... or so you'd
> like to think. At this point I would like to write absurd poetry.
>
>
>
>
> The Songwriter and His Lover:
>
> Once again,
> In the grips of something,
> Great and wonderful,
> I find myself asleep,
> As inspiration takes over.
>
> Don't worry about it though,
> It won't ruin the designer clothes I wear,
> That you like so much.
>
> I'll still look artistic.
>
>
>
> Tidbit:
>
> Would you rather be a consumer,
> Or a begger without responsibilty,
> To the things he wishes he owned?
>
>
>
> The End:
>
> That's all the poetry I have in me,
> Right now,
> Because I'm tired,
> From counting the friends I thought I had.
>
>
>
> Technical stuff:
> ----------------
>
> I'm a geek so I'm going to tell you how I came up with this giant mess.
> If nothing else, it'll give you something to pay attention to while you
> listen to my song.
>
> Well, at some point towards the end of March, '00 I came in contact
> with an artist by the name of Fairlight. We chatted over ICQ for quite
> some time and at some point he asked me whether I would like to do a
> co-op song with him. I of course told him that I would love to do
> something like that and started work on a song that night.
>
> The song I wrote focused on a really strange chord progression that I
> had devised on the piano earlier that week. (Bmin, C#bassB, DbassA,
> G, Bmin, Faug, Dmaj7, G) Well, basically, the song sounded kind of
> neat as a piano song, but trying to add harmony and countermelody was
> turning into too much work, so I sent this half baked idea to
> Fairlight. Well, I could tell he didn't really think much of it
> (I didn't really think so either) so I returned to the piano. I was
> fooling around with the same chords but decided to try a Gmin instead
> of a G. Well, that sounded pretty neat to me so I bumped it up to
> the relative major and had myself a D to Bb chord progression. This
> served to present the first theme for the song. I transposed it down
> from D to A and set to work. I also knew that Dmin to Bb would work
> like a charm so I started coming up with ways to use that progression
> too.
>
> Instead of my normal build up to drums and full arrangement I opted
> for a straight shot to the song. Partly this was just to shake things
> up and partly I just wanted to use an orchestra roll in sample that I
> had discovered in another song to bring in a full arrangement quickly.
>
> The intro with the rain is totally a reference to Final Fantasy's main
> theme from Final Fantasy 4J. It's always been a favorite of mine,
> there's a little extra going on as far as chord changes but it still
> owes a great debt to the original song.
>
> Well, since I was at my dynamic plateau already I decided to jazz
> up the chord progression a little bit and started shifting things
> around. The first thing I did was to take the song into a Dmin to G
> chording (Pattern 5). Later on, I would discover that this was going
> to provide much of the thematic development to the song.
>
> So, I continued and in pattern 7 tried a C, Emin, C, Fmin chord
> progression which built into pattern 8 and resolved to an A in pattern
> 9.
>
> I sent this to Fairlight and asked if he would like to help out with
> this song.
>
> He replied that he would love to, but in the coming weeks would drop
> off the project as work began to take over his existance.
>
> During those weeks I couldn't keep my hands off of the song and decided
> to continue. I once again made reference to the Final Fantasy theme
> as a transition between the first and second sections.
>
> The second section was kind of a pain for me and I struggled with
> getting it off the ground. But in total, the basics for it were mapped
> out in about 2 hours once I got it started. Patterns 10 and 11 serve
> to bridge into the main theme of the second section as heard in
> patterns 12 and 13. I use a lot of Spanish flavored chordings to
> really allow some of the more foreign sounding melodies to come out.
>
> Pattern 10's chord progression: (E, F, Amin, Dmin to C) repeat
> Pattern 11's chord progression: (Amin, F, C, C, Dmin, F, Amin, Dmin
> to C)
>
> Patterns 12 and 13 provide the main theme, which is based around the
> following chord progression, (A, C, E, E) repeat (F, Dmin, C, C, Dmin,
> E, A, A)
>
> Throughout there are some small variations because I kept wanted to
> bring out small distinctions in the melodies and in the background
> sections. As I said, the section was set up in a short time through
> cut and paste so I really had to go back and alter little things to
> make the whole thing sound less copied.
>
> Pattern 19 is the only variation upon chording that I use. Instead
> of ending the pattern with A twice I take it from A to E and resolve
> the progression to Amin. This was kind of a weird thing for me to try
> and it was actually about the fifth thing I used to resolve it.
> Patterns 19 and 20 were retracked more than any other section of the
> song.
>
> At about this point Fairlight informed me that he wouldn't be able to
> work on the song due to his job and then proceeded to fall off the
> face of the ICQ earth for about 4 to 5 weeks.
>
> The interlude section is one of the things I'm more proud of in the
> song. The chord progression is non repeating and basically moves it's
> way from a Cmin to a F#min resolution that I really felt kept the
> tensity of the song alive.
>
> The following chord progression was used.
>
> Pattern 21 (Cmin, Gmin, A, Gmin)
> Pattern 22 (Cmin, Bb, Bbmin, Gb *very quick changes* Ebmin, B, Db)
> Pattern 23 (Gb, Db, Dbmin, A to Db)
> Resolution to Gbmin (F#min)
>
> The major to minor changes set up the 4th section's theme.
>
> Section 3 came as a surprise to me. The way it is heard now is not at
> all the way it was written. This whole section was meant to act as an
> exciting dream about what the battle would be like because at this point
> I had the storyline firmly planted in my head.
>
> It didn't originally have the main melody theme within all the pizzicato
> strings upon re-examination did I realize that I really wanted to try
> a more Romantic approach and introduce the theme early.
>
> There is no real chord progression to the initial parts of this section,
> instead constant bassline and pizzicato is maintained, hopefully with
> the effect of additional tension as the violins flail away.
>
> Pattern 27 introduces a brief chord progression that is later used to
> modulate towards the main theme. (A, D, Dmin, F#min)
>
> Pattern 29 uses a similar pattern with a larger amount of instruments
> but makes adjustments to pull the song into the Dmin to G chord
> progression. (A, D, Dmin, D, D, G, Dmin)
>
> The large section following the buildup brings back the Dmin to G chord
> progress well as the A to F chord progression.
>
> The morning segment starts off in the key of D with some pretty basic
> chord changes (D, A, Bmin, G, D, Bmin, G, G) but quickly moves to add
> in a B chord to modulate the key of E. Once in E the previous I, V,
> VImin, IV, I, VImin, IV, IV) chord progression is altered to add in an
> Amin, which is partially resolved to G#.
>
> The next section of the morning segment presents my personal favorite
> as far as chord progressions in the song go. (G#, E, Emin, B, Bmin,
> Bmin, E, E) It's slightly odd but still very pretty and I think it
> provides just the right amount of anxiety because of the strange changes.
>
> Section 5 tries to bring back everything that was heard before in a
> new way. At one point I was so obsessive that I was writing in
> individual volumes for every note with individual pannings. Later on
> I couldn't figure out why my computer was fritzing out over only 80
> channels. Once I did figure it out I took out a lot of the excess
> commands.
>
> There are a lot of subtle chord changes in this piece to bring back
> everything that has been played before (as much as possible). The Dmin,
> Dmin, G, Gmin progression soon turned into Dmin, Bb (which is what I was
> playing when I came up with this whole mess of a song).
>
> This soon segues it's way into an Amin, C, E chord progression quite
> like the one in section 2. From there it moves into a Dmin, Bb, E
> chord progression. Soon it becomes Emin, C, F# as a key change occurs.
> The section ends pretty abruptly with syncopation that ended up
> there as an accident. I was pasting some of the strings from the end
> in place and was trying a couple different patterns at the end of the
> section. Alas, I forgot and ended up pasting them right into place
> without even noticing it until I listened again. It was truly
> a blessing. It added a whole new element to this section.
>
> The final section revolves around an Amin9, F9 chord progression which
> if it were up to Dmin would be Dmin9, Bb9. Quickly it moves to utilize
> a C and a G to provide the major key and happiness of the section. I
> reintroduce the theme towards the end, bringing the Amin to D element of
> the song back into play.
>
> The final climax is an F to C resolution, which is commonly known as the
> "Amen" resolution because it sounds much like a church.
>
> That's all I really have to say about the technical aspects of the music.
>
> I'm actually quite anxious to put the song online now so I'll cut any
> further anamysis short. It's probably a good thing too, because people
> who analyze their own music are usually very cocky. I hope I didn't come
> off that way. Maybe a little weird with the poetry, but nonetheless a
> nice guy.
>
> Keep the Peace, no one wants blood on their hands.
>
> HomesickAlien
> Justin Neme
> justin@traxinspace.com
> neme.1@osu.edu
> ICQ# 71497280
>
> All feedback welcome and appreciated.... thanks to all those who
> listened.
>
> Special thanks to all those who put up with my comments sheet being so
> long..

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