. . . As an aspiring composer with a love for musical storytelling and innovation, I have always been drawn to the creative adventures found in the forging of a harmonious invention. I find it fascinating – how just a sound, however big or small – can be plucked out of the realm of inspiration, and bring to life the construction of a brand new world; full of meaning, colour, soul, emotion – all the things we as human beings look for in our daily lives.
To enhance your journey through the macabre, I present a collection of songs, and ambiences, composed for the tabletop role-playing game (TTRPG) world of Candela Obscura by Darrington Press. This curated collection of songs has been published to accompany your Circle’s missions, battles, and moments of mysterious macabre.
In a world where the flicker of a candle is a beacon of hope, and the where the shadows hold untold stories; it is my wish that this omnibus of encroaching darkness and lurking horrors encourages a rich roleplaying experience.
Imbás.
INSPIRATION.
From soothing strums in a room of dreams to the primal beat of the bodhrán, the dance of the fiddle, to the porch sitting twang of the rocking banjo overlooking a land of promise. The piano has been a place of great interest to me with its wide range and harmonic complexity. It is the ultimate orchestral instrument perfectly placed under the storyteller’s fingertips. It was through this device that I harboured a love for orchestral arrangements and now implore a journey of learning and discovery. The piano never fails to amaze me with the various ways one can tell a story with music. I continue to play many instruments and no doubt will venture to many different shores in search of what every artist pursues …
Imbás. Inspiration.
I often look to history, mythology, the ancient past and the far future of what could be for inspiration depending on my theme in mind. When I am writing for fantasy, I like to lean on my Celtic roots for inspiration. Forests, waterfalls, animals, the cycle of nature and life – the things my ancestors would have questioned and dealt with every day. What adventures are to be? What dangers and challenges can one expect upon leaving the hearthstone of home? What will they miss and long for most? I like to generate these ideas to form a cohesive narrative and direction when it comes to the storytelling in the music – for you really do not know where your feet will be swept off to.
For both romantic, and darker, more dramatic themes, I often think of the beauty that lays between the light and darkness of mode and chromaticism; to create a beautiful yet melancholic animation – moody and full of suspense. I enjoy listening to the romantic period of music and often look back on the works of composers like Edward Elgar, Claude Debussy, Franz Lizt, and Frédéric Chopin. I like to listen, and truly imagine what stories they are still telling from beyond the grave. Their use of texture, the haunting yet graceful melodies they explore, the fine illustrious brushstrokes of imagery for us to piece together into a story.
Music compliments a good story when the timing, rhythm, pitch and emotion, the very machinations behind theme – stir the nostalgia of embarking through the forest for the first time, when we watch the characters we develop connections to traverse gargantuan challenges, or even when its complete absence amalgamates and morphs into suspense and anticipation. Music is such a powerful creative tool to the storyteller, and inspires me to challenge myself and the creative energies behind the story.
The Donegal fiddle style is one of the most distinctive and exhilarating regional traditions in Irish music. Hailing from County Donegal in the northwest of Ireland, this style is marked by its Scottish influences, powerful bowing, and lively ornamentation. Its raw energy and rhythmic precision have made it a favourite among fiddlers who value boldness and drive in their playing.
‘Twas a misty morn by candlelight,
Where porridge was warm on fire bright,
The table was set for the morning sun,
From which labour and farm work would be done.
The door creaked open to the misty morn,
Dewdrops on briars and shrubs adorned,
Then came dawn’s first breath over the valley’s spine,
But not one could see the sun’s full shine.
The Cape Breton fiddle style is one of the most distinctive and vibrant traditions of Celtic music in North America. Originating on Cape Breton Island in Nova Scotia, Canada, this style is deeply rooted in the Scottish fiddle tradition, brought over by Scottish immigrants in the 18th and 19th centuries. Over time, it evolved into a unique and enduring musical form, blending old-world techniques with new-world influences.
O – to be there now,
Hand in hand with my fellow first-mates,
Bound for treasure; with shovels a’plough,
Through golden fields and salty lakes,
We would finger white crusty gems and dusty gold,
Before returning home, with tales to be told.
I live on an island.
She wonders where I’m standing;
She follows where I’m going,
She dwells where I’ve been.
She calls to my tomorrow;
She sings to my today,
She whispers to my yesterday.
The Sligo fiddle tradition is one of the most celebrated regional styles in Irish traditional music. Known for its rhythmic energy, intricate ornamentation, and dazzling bow work, this style has captivated listeners and influenced fiddlers worldwide for over a century.
Sligo’s unique approach to fiddle playing is characterised by a fast-paced, flowing style that emphasises reels and jigs, the backbone of Irish dance music. Players often employ rich triplets and rolls, adding flair and excitement to their tunes. The bowing in the Sligo tradition is dynamic and precise, driving the music forward with a powerful sense of rhythm. This infectious energy makes Sligo fiddling ideal for dancers, and its influence can be heard far beyond the borders of County Sligo.
Ross O’Ciarmhaic
Music composition.
For film, video games, and media.
Irish traditional fiddle, mandolin, banjo, bodhran, piano and guitar.
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