Final form is a rare music compositional model which can be found predominantly, but not exclusively, in the music of video games from the years 1983 and 1995. Not all video game music from this era used this concept, in fact the vast majority did not. Few examples exist outside of the video game medium. Final Form has not been well documented, and this article will further explain this system of composition. The characteristics of Final form works are listed below.
1) Melodies are instrumental, not vocal. Melodies and harmonies are adventurous rhythmically and intervallically. Hyper-melodic.
2) There are 3 distinct melodic sections, not including an introduction.
3) The entire piece, melody, supporting and harmonic instruments, includes some syncopation.
4) Variation in harmonic progressions. No 1 or 2 chords alternating for the duration of the piece.
5) Driving. The piece is never languid.
6) No rambling/building/jam sections or long vamps.
7) If there is an introduction, it is brief. The idea or theme follows immediately. If there is a relatively stagnant section, it is followed by a more interesting section or "payoff".
8) The piece is never used as background or furniture music. The piece is the focus. It exists for its own sake. Many of these works were meant to be used as background music for video games but they can be enjoyed apart from that medium.
9) Most pieces connect to a repeating loop or another section fluidly.
10) Other genres and styles are used but only as pastiche, or emulations. Final Form borrows from other styles but never excessively.
11) Final Form is not limited to Video Game or Digital sounds. This model is used with practical instruments as well as synthetic instruments.
Here are some compositional tips and techniques when using the Final Form model.
1) Leave some space. Ear fatigue can become a problem if the listener does not have time to process a section.
2) Do not ramble on the melodies. Let there be good conclusions.
3) The melody can be repeated before an instrumental feature, or solo. Typically the solo is notated not improvised.
4) Use unison lines but only sparingly, such as a section where three instruments play lick or a motif.
5) Slow or moderate tempos can be used between fast pieces to add variety.
6) Use hemiolas, 3 over 2, upbeats and other unusual rhythms.
7) Vary the instrumentation. One voice should not play the melody for the entire piece.
8) Do not use too much chromaticism, whether in the melody, harmony or chord progression.
9) Listen to the piece with a first time listener in mind. The work should be interesting from the first listening.
10) The feel should be a mix of rock, with a sprinkling of latin, shuffle and other genres. Do not overdo any one feel or style. Use cuban-triplets occasionally.
11) Use various tempos.
12) Each piece should have one gimmick. Here are a list of possible gimmicks.
a) Latin section
b) Hard Rock section
c) Unison passages/runs or harmonized passages/runs
d) Unison/harmonized riffs
e) Saxophone solo
f) Keyboard solo
g) Guitar solo
h) Bass solo
i) Drum solo
j) Funk part
k) Half time
l) Double time
m) Meter change
n) Vocal part or instrumental part in a vocalized style
o) Abrupt slow down or ritardando
p) Accelerando
q) Seemingly random, or unpredictable combination of hits and silence
r) Round of soli licks between or among all instruments
s) Call and response or echo
t) Swing or shuffle
u) Reggae
v) 12 tone or serial chord progression segment
w) Split parts between or among the instruments
x) Konnakol section
y) Quiet section
z) Duos between different instruments
Note: A solo is never completely improvised; it is pre-composed in an improvisatory style.
c) Unison passages/runs or harmonized passages/runs
d) Unison/harmonized riffs
e) Saxophone solo
f) Keyboard solo
g) Guitar solo
h) Bass solo
i) Drum solo
j) Funk part
k) Half time
l) Double time
m) Meter change
n) Vocal part or instrumental part in a vocalized style
o) Abrupt slow down or ritardando
p) Accelerando
q) Seemingly random, or unpredictable combination of hits and silence
r) Round of soli licks between or among all instruments
s) Call and response or echo
t) Swing or shuffle
u) Reggae
v) 12 tone or serial chord progression segment
w) Split parts between or among the instruments
x) Konnakol section
y) Quiet section
z) Duos between different instruments
Note: A solo is never completely improvised; it is pre-composed in an improvisatory style.