Overview
Key: F# minor
Time: 4/4, 108bpm
Length: 142 measures (5 minutes 13 seconds)
General Description:
The powerful Ozar Midrashim accompanies the unforgettable intro cutscene from Legacy of Kain: Soul Reaver. The piece was composed by Mr. Kurt Harland, and initially released in Information Society’s album: “Don’t Be Afraid.” Mr. Harland was subsequently brought aboard to compose for the game when Mr. Mark Miller presented the track to the Soul Reaver team. In the subsequent games (Soul Reaver 2, Defiance), the piece would go on to represent Raziel.
Ozar Midrashim combines a wide range of industrial synth timbres (cold leads, choir, pulses) with aggressive percussion, patiently layered into immense walls of sound to embody the unforgiving, smoke-veiled dystopia that is Nosgoth.
Analysis:
Right off the bat, the track presents its’ main riffs on a low-attack lead synth: a 4-measure refrain (m. 1) circling in minor thirds around G#, followed by another 4-measure refrain (m. 5) ascending from F# - also in minor thirds. Cold pads play a soft deluge of shifting (detuned) pitches in the back, obscuring the tonality. This is quickly offset by barrage of low, pulsing 16th notes on F# (m. 13) to lock in the tonic.
Over m. 17 through m. 32, the lead is absent as the track builds tension by progressively introducing various percussive layers. In addition to emphasizing the downbeat, Mr. Harland wrote in syncopated 16th note snare fills that lends a constant forward motion. This is all played on top of power chords on the F# and D#. Initially (m. 17), said chords were held through 4 measures, but increase in frequency by m. 21, sounding on the downbeat on every other measure, insisting the piece’s descend into a cacophonous (but cleanly mixed) madness by m. 32, as if to remind the audience of Nosgoth’s crumbling aesthetics.
The main riffs are re-introduced in m. 33, but now with the F# line presented first. In context of the power chord shells, the lines seem to imply F# Aeolian and a D# phrygian dominant sounds. I classified the two-chord vamp strictly based on chord-scale/ non-functional harmony as I could not fit the F# mi and G#mi(Ma7)/D# in the classical, diatonic paradigm – please let me know if you have any insight on this otherwise. The lead briefly recedes for 4 measures for another percussive build, before returning in full to repeat twice over the course of m. 41 through 60. Though I recognize the track was not written specifically for Soul Reaver, I couldn’t help but draw a subjective parallel between the upturned melody and the game’s narrative (mirrored spectral realm, upset in the Wheel of Fate, etc.); anyway, I digress. After m. 41, choir synths also kick in at the end of each refrain, playing the tonic and 5th to lend the piece a sense of immense divinity.
After another percussive build (m. 61), Ozar Midrashim shifts to a diatonic i-VI-i-VII, i-VI-VII progression in F# minor. The melody adapts an 8-bar call-and-response form, dipping briefly into the Lydian mode. This is combined with contrapuntal (descending F# Aeolian) lines in the latter half of the refrains, giving the section a feeling of grandeur. This builds into the climax at m. 85, which unleashes the choir synth in full, playing a i-iidim-i-V-I cadence to return the piece to the beginning of the form. The track repeats Sections D through G (section D is abbreviated), ending on a resounding F# minor.
Highlights
- The harmony in Sections C and D is heavily reliant by the melody, as the backing pads and choir synths stick strictly the the root and fifth
o The implication of G# harmonic minor does not neatly fit into classical diatonic classification. The minor/Major 7 chord is commonly used to substitute the minor i chord in Jazz, but I haven’t seen it as a substitute for the ii(dim). I did find mention of its use as a substitute of the ii minor chord in the parallel major tonality. I will follow up with additional findings as available.
o This may temporarily be considered relative to its progression from a minor tonic chord, evoking a perceivable tension and mystery.
- The choral voicings were presented with an emphasis on the Alto
o The alto and tenor were well separated from the bass and soprano
o The alto and tenor’s proximity was offset by presenting the tenor at a lower volume
o Mr. Hardland’s choice of timbre added to the cold, deific feel
- The percussion is constantly in motion
o Made full use of the sound stage (high hats on left, tambourine way up high, kicks and bass drums in center)
§ The snares are quickly panned from left to right on beat 3, and reversed on beat 4
§ Toms are hard panned on the left and right. It is presented on the left on beat 1 and on the right on the & of beat 3.
o With the exception of the snare and kicks, the other percussive layers are only temporarily presented – generally in 8 bar intervals.
o Paired with the sporadic nature, the percussion gave a sense of aggression, pushing the audience to stay on their toes
- Melody at Section F is in 8 bar refrains. The first four measures feature jumps between the root and 5ths of current chord, whereas the last four measure present tensions such as #11 (over D, to express a Lydian sound), and major 9 over E
o Counterpoint is also used to emphasize the latter refrains. F# aeolian descending run for the fist time, second time starts off on the mi3, and ends with a jump up from the b7 to 11 (of F# mi)
Thank you for checking out my analysis on Ozar Midrashim from Legacy of Kain: Soul Rever. I hope it was informative and enjoyable!
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