[HotS] Music of the Storm: The Battle Begins Text by TL.net ESPORTS

Music of the Storm

The Battle Begins

Written by: Rozai

Table of Contents

Musical Structure



Breakdown



Historical Relevance



Conclusion

Welcome to Music of the Storm, a segment where we take a moment to break down and appreciate the music and sound effects in Heroes of the Storm. Blizzard has a reputable track record of incorporating highly cultivated and stylistically appropriate orchestral scores into all of their games, employing live musicians to create a genuine sound. Whilst each game universe has its own unique feel, there is often a unifying quality that ties all of Blizzard’s scores together with a special flavor. As a musician, this is a big part of what draws me in towards Blizzard games and what hits me in the feels when I’m watching those teaser trailers.



Musical Structure

Today we will be diving into the opening track of the Heroes of the Storm soundtrack entitled: The Battle Begins. To start, the chord structure of this tune is quite clever, skirting back and forth between two tonal centers of E♭ minor and E♭ major (read: E flat). For those unfamiliar with music terminology, minor keys and chords are often darker and used for more somber or evil sounding music whereas major is typically brighter and more cheerful in nature.



E♭ major is built on the following notes: E♭ F G A♭ B♭ C D E♭



Its root chord is spelled as: E♭ G B♭







E♭ minor is built on the following notes: E♭ F G♭ A♭ B♭ C D♭ E♭



Its root chord is spelled as: E♭ G♭ B♭ "



Its root chord is spelled as: E♭ G♭ B♭







As you can see, one note change makes the difference between light and dark (G and G♭). Composer Glenn Stafford brilliantly uses the close relationship of these two tonal centers as a symbolic representation of what the Nexus embodies: the tense struggle of good and evil. The tune goes back and forth between E♭ major and minor and their related chords from measure to measure as the battle rages on.



The Breakdown

0:00-0:18

Seemingly low-key, there is actually a lot going on here. Immediately we are introduced to a grim processional from the snare drum and timpani. Rudimental and persistent, this percussion entrance is marching us towards something, and as the mourning tones of the octave voices would indicate, that “something” is nothing good. A harp (and possibly a steel string guitar) is plucking a somber away in the faint distance. Violins enter with a sustained pitch on the highest string, increasing the tension and counterbalanced by the bassoon entrance walking us back down to lucid reality.



0:19-0:56

The oboe joins the bassoon with a unison melody, echoed and answered by the French horns and male voices. Unlike the percussion dirge underneath, this melody is flowing above the turmoil, giving a sense of soaring and wonderment. The heroes are coming. Stafford adds hairpin crescendos and decrescendos (louder and softer) that matches the direction of the melody. As the melody goes higher in pitch, so does its volume and vice versa. A pattern emerges of rising tension, lowering tension, rising tension, and sustained tension.



The melody is joined by a broader cast of characters: female voices, trumpets, and violins. The remaining strings transform into a repeated rhythm underneath, giving us rising motion and momentum. As more voices enter the fray, the intensity rises until it reaches its breaking point at 0:56. Finally, the battle has begun.





0:57-1:24

The low brass and woodwinds, along with the timpani, blast resounding war cries (think the horn of Helm Hammerhand from Lord of the Rings). This harkens back to our earliest relationships with instruments in human history where horns made from antlers, bones, or shells were used to signal battle cries, communicate across the battlefield, or signal the hunt. The notes played here are just the roots of the chords used in the previous melody, with the melody removed, leaving us to comprehend the sheer gravity of what is about to come.



The rhythmic pattern in the strings continues, pushing us closer and closer to the front lines of the battle until…





1:25-1:53

The strings are joined by the electric guitar! THAT’s what makes Blizzard, well…Blizzard! The drum set also joins the fray, bringing that modern edge. The voices bring back the soaring melody and now we’re cooking with gas!





1:54-end

The last minute of this tune is just the icing on the cake at this point. The main (A) theme has been reorganized in several different forms up to this moment, but now we are introduced to our first “B theme” which is like the continuation of the musical sentence. If the melody up to this point was, “We are heroes of the Nexus,” then the B theme is “…now watch this.”

As the music comes to its dramatic conclusion with the cymbals still ringing and the strings returning to that shrill sustain, the baritone and bass male voices ring a resounding low drone, letting us know that evil will always remain, calling us to battle.







Historical Relevance



Speaking of that evil sounding ending, the four-note unison across the orchestra that occurs at 2:47 is a ubiquitous four-note pattern that pervades just about every single piece of music related to evil. Known as the "Dies Irae," a latin phrase meaning "Day of Wrath," this four-note pattern originated in old Gregorian chants of the 14th and 15 centuries. It has since been used across many symphonies, movie scores, and video games alike. If you hear this tune in a movie, you can bet that somebody is about to die. Check out this video below for some examples of the Dies Irae in popular films.









Conclusion



Glenn Stafford took us on a real, immersive journey. As with all good art, we were immersed in imagery and symbolism buried in our subconscious. He expertly combined real world musical references with quintessential Blizzard flavor to provide a unique listening experience. It’s important to note that the breakdown I provided is only my interpretation of the musical story: these things are always up for interpretation and discussion, but that's what makes for good art. That’s the abstract beauty which music and art bring to the human experience, and Blizzard understands its importance intimately.



I hope this listening guide has been helpful to you. Next time you’re in the Nexus, click “Ctrl+M” and make sure the music is on!



If you enjoyed this content and want more, be sure to come back TeamLiquid.net for future installations.







Rozai is a music educator and HoTS enthusiast. He follows the HGC intimately and strives to cover aspects of the game that are generally overlooked. His “Music of the Storm” investigates the science behind the Heroes of the Storm soundtrack. Be sure to follow him on Twitter @Rozai_HoTS for interviews, hero spotlights, and more.



Welcome to Music of the Storm, a segment where we take a moment to break down and appreciate the music and sound effects in. Blizzard has a reputable track record of incorporating highly cultivated and stylistically appropriate orchestral scores into all of their games, employing live musicians to create a genuine sound. Whilst each game universe has its own unique feel, there is often a unifying quality that ties all of Blizzard’s scores together with a special flavor. As a musician, this is a big part of what draws me in towards Blizzard games and what hits me in the feels when I’m watching those teaser trailers.Today we will be diving into the opening track of the Heroes of the Storm soundtrack entitled: The Battle Begins. To start, the chord structure of this tune is quite clever, skirting back and forth between two tonal centers of E♭ minor and E♭ major (read: E flat). For those unfamiliar with music terminology, minor keys and chords are often darker and used for more somber or evil sounding music whereas major is typically brighter and more cheerful in nature.E♭ major is built on the following notes: E♭ F G A♭ B♭ C D E♭Its root chord is spelled as: E♭ G B♭E♭ minor is built on the following notes: E♭ F G♭ A♭ B♭ C D♭ E♭Its root chord is spelled as: E♭ G♭ B♭ "Its root chord is spelled as: E♭ G♭ B♭As you can see, one note change makes the difference between light and dark (G and G♭). Composer Glenn Stafford brilliantly uses the close relationship of these two tonal centers as a symbolic representation of what the Nexus embodies: the tense struggle of good and evil. The tune goes back and forth between E♭ major and minor and their related chords from measure to measure as the battle rages on.Speaking of that evil sounding ending, the four-note unison across the orchestra that occurs at 2:47 is a ubiquitous four-note pattern that pervades just about every single piece of music related to evil. Known as the "Dies Irae," a latin phrase meaning "Day of Wrath," this four-note pattern originated in old Gregorian chants of the 14th and 15 centuries. It has since been used across many symphonies, movie scores, and video games alike. If you hear this tune in a movie, you can bet that somebody is about to die. Check out this video below for some examples of the Dies Irae in popular films.Glenn Stafford took us on a real, immersive journey. As with all good art, we were immersed in imagery and symbolism buried in our subconscious. He expertly combined real world musical references with quintessential Blizzard flavor to provide a unique listening experience. It’s important to note that the breakdown I provided is only my interpretation of the musical story: these things are always up for interpretation and discussion, but that's what makes for good art. That’s the abstract beauty which music and art bring to the human experience, and Blizzard understands its importance intimately.I hope this listening guide has been helpful to you. Next time you’re in the Nexus, click “Ctrl+M” and make sure the music is on!If you enjoyed this content and want more, be sure to come back TeamLiquid.net for future installations.