Tension has always served a crucial role in music composition and performance.  My next two blog articles will focus on how music works to shape tension and intensity in a dramatic presentation such as a video game.

During these blogs, we’ll be consulting with lots of top experts on the subject, and I’ll be sharing my experiences in regards to the tension-filled music that I composed as a member of the music team of Homefront: The Revolution – an open world, triple-A first person shooter game that was just released by Deep Silver/Dambuster Studios.  Along the way we’ll check out some excerpts from music tracks I composed (in my music production studio, pictured right) for Homefront: The Revolution, and we’ll talk about multiple techniques to build tension in a piece of music, with the goal of inciting the most emotional intensity possible in our audience. With that in mind, let’s start things off with a great quote from philosopher Henry David Thoreau:

“The fibers of all things have their tension and are strained like the strings of an instrument.”

Thoreau not only saw the connection between music and tension, but also made a good point about the stresses and strains in our lives – we all possess our own inner emotional pressure. The more fervently we pursue our goals and struggles, the higher the tension grows. Taken to the extreme, it can feel as though our insides are wound up as taut as clockworks. As game composers, our job has always been to induce players to care about what’s happening in the game, and that includes inciting and escalating the nervous anxiety associated with an awesome investment of emotion and empathy.  So let’s explore the best ways we can make players feel the tension!

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