Music Theory Examples in Video Game Music
Analytical Contributors: Brent Ferguson, T.J. Laws-Nicola, and Alan Elkins
This document is inspired by the work of 8-bit Music Theory, VGLeadSheets.com, Disney Music
Theory, Alan Elkins’s North American Conference for Video Game Music presentation and
Justin Binek’s theory resources for popular music and jazz.
Analyses are mostly based on transcriptions and arrangements in VGLeadSheets.com - Lead
Sheets for Video Game Music. Other sources include the Asako Niwa piano arrangement books
of the Chrono Trigger (1995) and Final Fantasy Tactics (1997) soundtracks by DOREMI Music
Publishing.
A Note from the Curator: This is a living document that will expand and change over time. These
examples are meant to be a supplement in the music theory classroom. The first update will
include links to arrangements or midi files, as well as more form analyses. Future updates will
include more concepts, varying arrangements, and a Google Drive with representative .musx
files for educational purposes. I will also provide a spreadsheet at some point with this
information.
Any help is appreciated. If you would like, I will post the results of your analyses to this
document and credit you as an analytical contributor. Also, please feel free to share this with
your colleagues and students. Please, know that video game music, like popular music and
jazz, does not have to follow ‘traditional’ theoretical functions. This is especially true when it
comes to form.
Each composer is linked to a wiki the first time they are mentioned. Transcribers (trans.) and
arrangers (arr.) are credited for each example. The song title link leads to a YouTube video of
the cue. The transcriber link leads to the respective lead sheet at VGLeadSheets.com. Please,
let me know if any links are broken. If you are a composer, transcriber, arranger, or performer of
any cues on this list, please send me links to your home page, arrangements, or performances
and I will add them to this list.
Concepts Covered
- Opening Interval, unless otherwise noted. Some interval happen in the presentation of
the melody.
- Secondary Function (V/ or viio/)
- Mode Mixture (Major: iio, bIII, iv, v, bVI, bVII; Minor: ii, #III, IV, #vi)
- Neapolitan (Note: These rarely function as they do in classical literature.)
- Augmented Sixth Chords (Note: These are almost always in the form of a bVI dominant
seventh chord (i.e. C7 in Em), and they rarely utilize the voice leading for an augmented
sixth chord.)
- Tritone Substitutions
- Common Tone Diminished Chords
- Altered Dominants (7b5, 7#5)
- Modulation (Parallel, Relative, Closely Related, Common-Tone Related, Distantly
Related)