想学习游戏音乐作曲，在谷歌上搜到了一篇文章。
这篇文章讲了游戏音乐创作的方法、技巧，让初学者对游戏音乐创作有清晰的认识。
对我来说，为作曲学习指出目标、学习路线。让自己知道学习作曲理论时，有目的地去学习、实践。
作者是Matt，于2021年10月写的。
原文链接： composercode.com/how-to-make…
用DeepL翻译了原文，手动修改了部分翻译内容。（AI的英文翻译真是准确又通顺，除了部分音乐术语）
Composing Video Game Music: 14 Tips for Beginners
电子游戏音乐创作：初学者的14个技巧
It’s never been easier for us to create incredible video game music for free. In this post, I’m going to teach you tangible strategies for making video game music at a low (or no) cost, even if you’re a complete beginner.
免费创作令人难以置信的视频游戏音乐对我们来说从未如此简单。在这篇文章中，我将教您以低成本（或免费）制作视频游戏音乐的切实策略，即使您是一个完全的初学者。
We’ll review the essentials of:
Melody
Harmony
Arrangement
Music Theory
Music Technology
我们将回顾以下要点：
旋律
和声
编曲
音乐理论
音乐技术
Everything I’m going to teach you has either been essential in my own career, or I’ve picked up from the two dozen composers I’ve interviewed on my podcast.
我要教给你的所有东西，要么在我的职业生涯中至关重要，要么是从我在播客中采访过的二十多位作曲家那里获得的。
Getting set up
The first thing you need to make video game music is a digital audio workstation (DAW). I won’t spend a lot of time unpacking each DAW on the market — you’re probably already somewhat familiar with them.
There’s no one “best” DAW. At the end of the day, it all comes down to preference and your desired workflow.
If you’re between DAWs or this is new to you, find two or three that look interesting to you and download their free trials.
The key is not to dwell too long on choosing a DAW. In my experience, this is just a fancy form of procrastination. Just pick one and move on. For what it’s worth, I use Reaper.
I also really like Cubase, Logic Pro X, and Ableton Live. Reaper is free for 60 days, so if you want to stay completely at no cost, that’s what I’d recommend.
准备就绪
制作视频游戏音乐首先需要的是数字音频工作站（DAW）。我不会花很多时间来解释市场上的每一种 DAW，因为你可能已经对它们有了一定的了解。
没有 "最好 "的 DAW。归根结底，这取决于您的偏好和所需的工作流程。
如果你正在使用不同的 DAW，或者对它们还很陌生，那就找两三个你感兴趣的，下载它们的免费试用版。
关键是不要在选择 DAW 上纠结太久。根据我的经验，这只是一种花式拖延。只需选择一个，然后继续前进。我用的是 Reaper。
我也非常喜欢 Cubase、Logic Pro X 和 Ableton Live。Reaper 60 天免费，如果你想完全免费使用，我推荐你使用 Reaper。
Optional gear
This violates the “free” rule, but I recommend investing in the following gear when you can afford it. That said, it’s not essential for making video game music:
MIDI keyboard Audio interface Decent pair of headphones or studio monitors
可选装备
虽然这违反了 "免费 "原则，但我还是建议你在有能力的情况下投资购买以下装备。虽然如此，但这并不是制作电子游戏音乐的必需品：
MIDI 键盘
音频接口
一副合适的耳机或录音室监听器
Tips for Making Video Game Music
Tip 1: Study the kind of music you want to write
You probably have a general idea of the kind of video game music you want to write. We all have games that have shaped our tastes, typically in the formative years of our childhood.
You may have a penchant for peaceful RPG music. Or perhaps you’re partial to chiptune music from the early 90s. Maybe it’s Skyrim’s sweeping orchestral score that tickles your fancy.
制作视频游戏音乐的技巧
技巧 1：研究你想创作的音乐类型
您可能对自己想创作的电子游戏音乐类型有一个大致的概念。我们都有自己的游戏，这些游戏塑造了我们的品味，通常是在我们童年的成长阶段。
您可能喜欢平和的 RPG 音乐。或者你偏爱 90 年代早期的 chiptune 音乐。也许是《天际》的管弦乐让你心驰神往。
Just like an author studies her favorite novels or a painter studies his favorite artists, you must study your influences.
It’s not enough to just listen passively and then try to regurgitate what you hear.
I highly recommend importing reference tracks from some of your favorite game soundtracks into your DAW and studying things like:
Tempo Arrangement Instrumentation Melodic contour Commonalities between all your favorite tracks Of course, if you’ve been following my content for any length of time, you know that I’m a huge fan of transcription. It is hands-down the best way to improve as a video game music composer.
Your skills will improve exponentially if you make a regular habit of transcribing. If you’re new to transcription, check out my blog post on the topic here.
就像作家研究她最喜欢的小说或画家研究他最喜欢的艺术家一样，你必须研究你受到的影响。
仅仅被动地聆听，然后试图把听到的东西重复出来是不够的。
我强烈建议您从自己喜欢的游戏原声带中导入参考音轨到您的 DAW 中，并对以下方面进行研究：
节奏
编曲
配器
旋律轮廓
你最喜欢的曲目之间的共性
当然，如果你长期关注我的内容，你就会知道我是转录的超级粉丝。这是提高视频游戏音乐作曲家水平的最佳途径。
如果你养成定期转录的习惯，你的技能将得到成倍的提高。如果你是转录新手，请点击这里查看我的博文。
Tip 2: Make a creative brief (with or without a client)
If you’re interested in eventually working with clients, you’ll want to get used to writing a creative brief.
A creative brief is like a blueprint. It’s a 2-3 page document that guides you throughout your composition process.
Even if you don’t have a client, it’s a best practice to have a guiding document when undergoing a creative project of any kind.
This doesn’t need to be complicated or fancy. Just open up a Google Doc or a Word Document and list out:
Your goals for the composition (if any) How you want the listener to feel How your piece contributes to the scene or mood of the game (if scoring for a game) What reference tracks you’ll be drawing from (and what you like about them) The ideal length of the piece The desired ensemble (instrumentation) The form (AABA, ABABC, etc.)
技巧 2：撰写创意简介（有无客户均可）
如果你有兴趣最终与客户合作，你就需要习惯于撰写创意简介。
创意简介就像一张蓝图。它是一份 2-3 页的文件，指导你整个创作过程。
即使你没有客户，在进行任何类型的创意项目时，最好也要有一份指导文件。
这并不需要多么复杂或花哨。只需打开 Google 文档或 Word 文档，列出
你的创作目标（如果有的话）
你希望听众有怎样的感受
您的作品对游戏场景或氛围的贡献（如果是为游戏配乐的话）
您将借鉴哪些参考曲目（以及您喜欢它们的哪些方面）
乐曲的理想长度
理想的合奏（乐器）
形式（AABA、ABABC 等）
It’s helpful to be as specific as possible in these planning stages. That way, when you open your DAW, you’re free to be in full-on creative execution mode.
I walked through this exercise live in the video version of this post. See how I analyzed the music of Ice Cap Zone from Sonic 3 in the above-linked video.
It may seem silly or unnecessary to create a creative brief for pet projects or even for smaller clients.
But I can tell you from experience, that every time I’ve “gone in blind” without any sort of plan, I end up feeling very disorganized and unfocused.
在这些规划阶段，尽可能具体化是很有帮助的。这样，当你打开 DAW 时，你就可以自由地完全进入创意执行模式。
我在本文章的视频版本中现场演示了这一练习。在上面链接的视频中，请看我是如何分析《索尼克 3》中冰帽区的音乐的。
为宠物项目甚至小客户制定创意简介似乎很傻，也没有必要。
但我可以告诉你，根据我的经验，每次我在没有任何计划的情况下 "盲目行动"，最终都会感到非常混乱和没有重点。
Tip 3: Set up your sound palette first
One of the best ways to kill your creative flow is to switch contexts.
For example, going back and forth between actually composing and digging through your sample library for the perfect instrument. This is an inefficient use of your willpower and will result in creative fatigue.
A professional chef once told me that one of the keys to cooking is preparing your ingredients in advance. The same applies to your sound palette.
技巧 3：先调好声音调色板
转换情境是扼杀创作灵感的最佳方法之一。 例如，在实际作曲和翻阅样本库寻找完美乐器之间来回切换。这是对意志力的低效利用，会导致创作疲劳。
一位专业厨师曾告诉我，烹饪的关键之一是提前准备好食材。这同样适用于你的声音调色板。
I know it’s tempting to start composing as soon as you open your software, but take 20 to 30 minutes and pick out your instrumentation first. It’s like measuring out all of your ingredients in the exact proportions ahead of baking a cake.
This doesn’t mean you can’t add to your instruments later! When inspiration strikes, by all means, find the sounds you’re looking for.
My point is that switching back and forth between creation and curation will exhaust your brain faster and interrupt your flow state.
我知道一打开软件就开始作曲很诱人，但还是先花 20 至 30 分钟挑选乐器吧。这就好比在烤蛋糕之前，按照准确的比例量出所有配料。
但这并不意味着以后不能添加乐器！当灵感来临时，尽一切可能找到你想要的声音。
我想说的是，在创作和策划之间来回切换，会让你的大脑更快地疲惫不堪，打断你的流畅状态。
Tip 4: Experiment with layering
There are two types of musical arrangement.
Horizontal arrangement deals with how the piece evolves and changes over time. Vertical arrangement deals with how you layer sounds, harmonies, and individual voices at any given point in the piece.
One of the easiest ways to make your piece sound more rich, full, and unique is to layer sounds together.
I went through an EDM phase where I got big into producing electronic music. What shocked me when I studied the genre and watched producers work was how much they layered their sounds.
It wasn’t uncommon for producers to have six bass tracks layered on top of one another. One would cover the sub-frequencies, another the high-end. The others would give the sound “bite” and percussive quality.
However, in the context of the song, they all sounded like one unified instrument. This was totally eye-opening, and I took this principle into my VGM composition. I commend it to you as well.
技巧 4：尝试层次感
音乐编曲有两种类型。
横向编曲涉及乐曲如何随着时间的推移而发展变化。纵向编曲则涉及如何在乐曲中的任何给定点对声音、和声和单个声部进行分层。
让乐曲听起来更丰富、更饱满、更独特的最简单方法之一就是将声音层叠在一起。
我曾经历过一个制作电子音乐的阶段。当我研究这种音乐风格并观看制作人的工作时，令我震惊的是他们对声音的层叠处理。
制作人将六条低音音轨叠加在一起的情况并不少见。一条覆盖次高频，另一条覆盖高频。其他低音音轨则提供声音的 "咬合力 "和打击感。
然而，在歌曲的上下文中，它们听起来就像一件统一的乐器。
这让我大开眼界，并将这一原则运用到我的 VGM 作曲中。我也向你们推荐这个方法。
Tip 5: Start with a small idea
One of the scariest things in any creative field is a blank canvas. How do you know where to begin?
The key is to reframe your mind. Don’t open your DAW or sit down at your instrument and say, “Okay. I need to compose a piece.”
Start small. Say, “I’m just gonna find a cool interval,” or “I’m just gonna play around in the pentatonic scale.”
If you’re stumped, consider these starting points:
Start with a scale — limit yourself to finding a melody in a minor, major, pentatonic, or some other exotic scale. Some DAWs even have a “quantize to scale” option.
Start with a rhythm — if no melodies or harmonies are coming to mind, lay down some drums (or beatbox into your phone mic, if you want). A rhythmic foundation can be incredibly inspiring. Plus, composing to a beat is a lot more fun than composing to a click track.
Start with a chord progression — starting with an existing chord progression and then writing your own melody over it is called a contrafact. It’s a great way to grease the wheels of inspiration. If you’re short on cool progressions, you can check out my post on the 13 best progressions in VGM right here!
技巧 5：从一个小创意开始
在任何创意领域，最可怕的事情之一就是一片空白。你怎么知道从哪里开始呢？
关键在于重新构思。不要打开你的 DAW 或坐在你的乐器前说："好吧，我需要创作一首曲子"。
从小处着手。说："我只是要找一个很酷的音程，"或 "我只是要在五声音阶上玩一玩"。
如果你一筹莫展，可以考虑这些起点：
从音阶开始--限制自己在小调、大调、五声音阶或其他特殊音阶中寻找旋律。有些 DAW 甚至有 "音阶量化 "选项。
从节奏入手--如果脑海中没有旋律或和声，可以敲打一些鼓点（如果你愿意，也可以对着手机麦克风打节拍）。有节奏感的基础可以极大地激发灵感。另外，按节拍作曲比按点击音轨作曲有趣得多。
从和弦进行入手--从现有的和弦进行入手，然后在此基础上写出自己的旋律，这就是所谓的 "反例"。这是激发灵感的好方法。如果你不知道该如何创作，可以点击这里查看我的文章，了解 VGM 中最棒的 13 种进行曲！
Tip 6: Keep an idea file
My best compositions have not come to me while sitting at my desk in front of my DAW, or even in front of my instrument.
Nine times out of ten, the initial ideas hit me while I’m doing menial tasks like shopping, taking a shower, or doing dishes.
Whenever inspiration hits, you must have a way to not only capture but store these ideas. The capturing factor is not really an issue anymore (I think we all know about The Voice Memos app).
技巧 6：保存创意文件
我最棒的创作并不是坐在书桌前、DAW 前，甚至乐器前产生的。
十有八九，最初的灵感都是我在购物、洗澡或洗碗等琐事中产生的。
每当灵感来临时，你必须有办法不仅捕捉而且储存这些想法。捕捉的因素其实已经不是问题了（我想大家都知道语音备忘录应用程序）。
However, if you’re anything like me, you totally forget about all the ideas that you’ve captured.
This means when you sit down to make game music, you start from scratch. What was the point of capturing all those ideas then?
That’s why you need a place to store them. After I record an idea, I immediately share it to a designated Google Drive folder.
I can access that folder from my composition computer so that when I open up my DAW I’m never at a loss for an idea.
And maybe that idea will come to nothing, maybe I’ll completely scrap it. But the point is, any time you can not start from scratch, you’re going to be that much more productive and efficient in your composition workflow.
不过，如果你像我一样，就会完全忘记自己捕捉到的所有想法。
这意味着当你坐下来制作游戏音乐时，一切都要从头开始。那么捕捉这些想法的意义何在呢？
这就是为什么你需要一个地方来储存它们。在我记录下一个想法后，我会立即将其分享到指定的 Google Drive 文件夹中。
我可以从我的作曲电脑访问该文件夹，这样当我打开 DAW 时，就不会再为一个想法而不知所措了。
也许这个想法会化为乌有，也许我会彻底放弃它。但问题是，只要你能不从零开始，你就能在作曲工作流程中提高生产力和效率。
Tip 7: Build out the structure early
In an earlier tip, I recommended studying musical form.
Composers use forms to keep listeners engaged. It keeps things familiar, yet interesting.
Consider the tried and true pop song form:
Intro – 4 bars
Verse – 8 bars
Chorus – 8 bars
Verse – 8 bars
Chorus – 8 bars
Bridge – 8 bars
Chorus – 8 bars
Outro – 4 bars
Use markers and regions to set up this structure in your DAW before diving into a composition. Or, you can simply write this out in your creative brief or on a piece of scrap paper.
Things get much more complex in dynamic music systems, but at least planning out some semblance of form before you start composing can really help you have a clear endpoint to your piece (and each of your sections).
技巧 7：尽早构建结构
在前面的提示中，我建议学习音乐形式。
作曲家使用形式来吸引听众。它能让事物保持熟悉，但又不失趣味。
考虑一下屡试不爽的流行歌曲形式：
前奏 - 4 小节
副歌 - 8 小节
副歌 - 8 小节
副歌 - 8 小节
副歌 - 8 小节
桥段 - 8 小节
副歌 - 8 小节
片尾曲 - 4 小节
在开始创作之前，在 DAW 中使用标记和区域来设置这种结构。或者，您也可以直接在创作要点中或废纸上写出来。
在动态音乐系统中，事情会变得复杂得多，但至少在开始作曲前规划出一些形式，能真正帮助你的作品（以及每个部分）有一个明确的终点。
Tip 8: Keep melodies singable (or don’t!)
When the average person hums a song in the shower, they’re probably not humming the bassline or the beat.
Nine times out of ten they’re humming the melody. And when someone can’t sing the melody, it’s less likely to get lodged in their brain and leave a lasting impression.
However, this tip should be applied on a case-by-case basis.
The original Mario Bros Overworld theme is the most iconic video game composition of all time. It’s full of massive leaps, syncopated rhythms, and over an octave range.
I’m a trained singer and it’s tough for me to sing that tune. That’s why these are tips and not prescriptive rules.
They don’t work in every situation — they’re tools you can have in your toolbox.
技巧 8：保持旋律的可唱性（或者不唱！）
一般人在洗澡时哼唱一首歌，他们哼的可能不是底线或节拍。
十有八九他们哼的是旋律。如果一个人不会唱旋律，那么这首歌就不太可能在他的大脑中留下深刻的印象。
不过，这个小窍门应视具体情况而定。
最初的《马里奥兄弟》"Overworld "主题曲是有史以来最具代表性的视频游戏作品。它充满了巨大的跳跃、切分节奏和超过八度的音域。
我是一名训练有素的歌手，要唱好这首曲子对我来说非常困难。这就是为什么这些都是提示，而不是规定性的规则。
它们并非在任何情况下都有效，但它们是你工具箱里的工具。
Tip 9: Utilize repetition
Repetition is one of the most powerful tools in the composer’s arsenal.
Not only does it unburden composers from constantly writing new material, but the perfect amount of repetition keeps things both familiar and interesting.
This is much more of an art than a science, and I give a couple of examples in the video version of this post.
My best recommendation would be to bring reference tracks into your DAW and study how often the form repeats. Study how often it introduces new material and try to replicate those techniques in your own compositions.
技巧 9：利用重复
重复是作曲家武器库中最强大的工具之一。
它不仅减轻了作曲家不断创作新素材的负担，而且恰到好处的重复还能让作品既熟悉又有趣。
这与其说是一门科学，不如说是一门艺术，我在本篇文章的视频版本中举了几个例子。
我的最佳建议是将参考音轨带入你的 DAW，研究其重复频率。研究它引入新材料的频率，并尝试在自己的作品中复制这些技巧。
Tip 10: Keep the melody on top
This next tip deals with vertical arrangement.
Listeners can most easily identify the highest and the lowest pitches in music. The “inner voices” are harder to distinguish (which makes them a lot tougher to transcribe!)
For that reason, it’s generally a good idea to make your melody the highest thing (in terms of pitch/frequency) in your composition.
This isn’t a hard-and-fast rule — great songs violate it from time to time — you may just find that it’s tougher to hear your melody when it’s buried among other instruments.
技巧 10：保持旋律在顶部
下一个技巧是关于垂直排列。
听众最容易辨别音乐中的最高音和最低音。而 "内心的声音 "则很难分辨（这使得它们在转录时更加困难！）。
因此，一般来说，让旋律成为作品中最高音（就音高/频率而言）是个好主意。
这并不是一条硬性规定--优秀的歌曲时常会违反这一规定--你可能只是发现，当你的旋律被埋没在其他乐器中时，你会更难听到它。
Tip 11: Quantize intelligently
Quantization — snapping notes to a grid — is a double-edged sword for composers.
On one hand, it helps composers save time by not having to repeat sections until they get a perfect take. On the other hand, a perfectly quantized piece can feel inhuman, stale, and cold.
This feeling is especially true when composing with expressive instruments like violins, pianos, guitars, woodwinds, and the human voice.
I recommend intelligent quantization. Purposeful quantization.
Most DAWs quantize on a strength spectrum. Meaning, you don’t have to lock things to a grid but you can guide them toward the grid.
技巧 11： 智能量化
量化--将音符固定在网格上--对作曲家来说是一把双刃剑。
一方面，它可以帮助作曲家节省时间，因为他们不必重复演奏直到获得完美的效果。但另一方面，完美量化的乐曲也会给人一种不近人情、呆板冰冷的感觉。
这种感觉在使用小提琴、钢琴、吉他、木管乐器和人声等富有表现力的乐器作曲时尤为明显。
我建议采用智能量化。有目的的量化。
大多数 DAW 都是按强度谱量化的。也就是说，你不必将声音锁定在一个网格上，但你可以引导它们朝网格的方向发展。
Most DAWs also have a “humanize” feature which adds subtle variances in timing, velocity, and note length — much like how a human would play an instrument.
大多数 DAW 还具有 "人性化 "功能，可以在时间、速度和音符长度上添加微妙的变化，就像人类演奏乐器一样。
Tip 12: End loops on a dominant chord
If you’re making looping video game music, one of the toughest challenges is how to make the loop seamless. Meaning when the loop ends and goes back to the beginning, it’s not jarring or distracting to the listener.
One of the best ways to do this is to end your loops on a dominant (V) chord. This is because dominant chords want to resolve back to the main tonic chord (I).
And most of the time (but not always) the I chord is the first chord of the piece.
技巧 12：在主和弦上结束循环
如果您要制作循环播放的视频游戏音乐，最困难的挑战之一就是如何让循环无缝衔接。也就是说，当循环结束并回到开头时，听者不会感到刺耳或分心。
要做到这一点，最好的方法之一就是在主和弦（V）上结束循环。这是因为属和弦希望回到主调和弦（I）。
而大多数情况下（但并非总是如此），I和弦是乐曲的第一个和弦。
Tip 13: Try an arrangement checklist
You will inevitably find certain things in your composition workflow that you do over and over again. Try systemizing those things into a checklist.
That way, whenever you’re stuck, lost, or overwhelmed, you can refer back to your checklist and know exactly what you need to work on next.
This could apply to composition, arrangement, mixing, mastering, or any other repeatable discipline in your workflow.
技巧 13：尝试编曲清单
在构图工作流程中，你不可避免地会发现某些事情会重复做。试着将这些事情系统化，制成一份清单。
这样，每当你陷入困境、迷失方向或不知所措时，你就可以回头看看你的清单，并清楚地知道下一步需要做什么。
这可以适用于作曲、编曲、混音、母带制作或工作流程中任何其他可重复的工作。
Tip 14: Learn how to create interactive video game music
One of the unique things about video game music is that it’s interactive and dynamic. So how do you shift your mindset from traditional music to creating interactive video game music?
First, you need to understand the game. Play through the game and take note of the different gameplay mechanics. How does the player progress through the game? What are the different challenges they face?
This is the approach that Gareth Coker took with Ori and the Blind Forest. He spent a ton of time playing through the demo so that he could understand the flow of the game. This helped him create music that matched the gameplay.
Next, you need to understand the game engine. Most games use a game engine like Unity or Unreal. These engines allow you to create interactive music using scripting or Middleware (more on that below).
Then, you need to create a cue list. A cue list is a document that lists all of the music cues in the game. It includes information like the length of the cue, the mood, and the gameplay action it’s used for.
Creating a cue list will help you keep track of all the music in the game and make sure each cue is used in the right place.
Finally, you need to understand the audio middleware. Audio middleware is software that acts as a bridge between the raw audio files of your cue list and the game’s engine. It allows for more dynamic implementation than simply hard-coding assets directly into the game engine.
Some popular audio middleware programs include FMOD, WWise, and XACT.
秘诀 14：学习如何创作交互式视频游戏音乐
电子游戏音乐的独特之处在于它的互动性和动态性。那么，如何将思维从传统音乐转变为创作互动视频游戏音乐呢？
首先，你需要了解游戏。玩一遍游戏，注意不同的游戏机制。玩家如何在游戏中取得进展？他们面临哪些不同的挑战？
这就是加雷斯-库克在制作《奥拉与盲林》时采用的方法。他花了大量时间试玩演示版，以便了解游戏的流程。这有助于他创作出与游戏玩法相匹配的音乐。
其次，你需要了解游戏引擎。大多数游戏都使用 Unity 或 Unreal 等游戏引擎。这些引擎允许您使用脚本或中间件来创建交互式音乐（下文将详细介绍）。
然后，您需要创建提示列表。提示列表是一份列出游戏中所有音乐提示的文档。其中包括提示音的长度、情绪和游戏动作等信息。
创建提示音列表可以帮助您跟踪游戏中的所有音乐，并确保每个提示音都用在正确的位置。
最后，您需要了解音频中间件。音频中间件是连接插入点列表的原始音频文件和游戏引擎的软件。与直接将资产硬编码到游戏引擎中相比，音频中间件允许更动态的实施。
一些流行的音频中间件程序包括 FMOD、WWise 和 XACT。
BONUS TIP: Learn music theory as you go
Learning music theory is important. However, you don’t need to know all music theory before composing.
In fact, that mindset is lethal to your creativity.
Far more important than learning music theory is actually just doing The Composition Thing.
Music theory will come with experience — you learn a lot as you go. You run into something in a piece that you don’t quite understand, you start Googling, and suddenly you now know what a metric modulation is.
额外提示：边学边学乐理
学习乐理非常重要。但是，在作曲之前，您并不需要了解所有的乐理知识。
事实上，这种心态对你的创造力是致命的。
实际上，比学习乐理更重要的是做好作曲这件事。 音乐理论会随着经验的积累而产生--你会在创作过程中学到很多东西。当你在一首作品中遇到不甚理解的地方时，你会开始上网搜索，然后突然间你就知道了什么是公制调式。
Conclusion
I hope these tips help you make video game music. I hope you also know composing for video games doesn’t require you to spend a fortune. 🙂
If you want some specific recommendations on tools, software, VSTs, and plugins, you can check out my recommendations here.
And if you want to take your skills to the next level, I made a comprehensive course on how to compose video game music for beginners (you can take quite a few lessons for free).
Thanks for reading!
结论
希望这些技巧能帮助你制作视频游戏音乐。我还希望你知道，为电子游戏作曲并不需要花大钱。
如果你想了解有关工具、软件、VST 和插件的具体建议，可以点击此处查看我的推荐。
如果你想让自己的技能更上一层楼，我还为初学者准备了如何创作视频游戏音乐的综合课程（你可以免费学习不少课程）。
感谢您的阅读！
