ORIGINAL SOUNDTRACKSPECIAL DIGITAL EDITION

Composed and Produced by Neil Davidge

01 AWAKENING 5:41

02 BELLY OF THE BEAST 2:39

03 REQUIEM 2:16

04 LEGACY 2:29

05 FAITHLESS 5:02

06 HAVEN 5:45

07 NEMESIS 3:31

08 ASCENDANCY 4:20

09 SOLACE 4:45

10 TO GALAXY 4:58

1 1 IMMATERIAL 7:33

12 117* 7:28

13 ARRIVAL 5:37

14 REVIVAL 7:19

15 GREEN AND BLUE 8:06

BONUS TRACKS

16 AWAKENING - GUI BORATTO REMIX 7:23

1 7 TO GALAXY - SANDER VAN DOORN & JULIAN JORDAN REMIX 6:46

18 ASCENDANCY - CASPA REMIX 3:53

19 REVIVAL - DJ SKEE & THX REMIX 3:36

19 REQUIEM - BOBBY TANK REMIX 5:45

21 THE BEAUTY OF CORTANA - APOCALYPTICA VS. NEIL DAVIDGE REMIX 5:08

Composed and Produced by Neil Davidge forNeil Davidge Productions Ltd.Arrangements and programming by NeilDavidge and Andrew Drew Morgan.Additional production and orchestration byAndrew Morgan.*117 composed by Kazuma Jinnouchi.

granular level. And Marty ODonnell and MikeSalvatores incredible collection of orchestralbombast, metal viscera, haunting electronica, androusing anthems is not only a part of the game, itsa significant part of millions of peoples formativeexperience.

So yeah, I kind of see why they were nervous. But Iwasnt. Wide-eyed optimism and a genuine love forthe way Neil puts instruments, artists, andperformers together were a perfect recipe for myreceptivity. I swear I could hear some of thesethemes in my head before Neil ever put pen topaper.

And people have been a big part of this. The project,all serious video game projects and all great musicprojects, are enhanced by collaboration and by theinput and expertise of artists and technicians. Neilsurrounded himself with people to whom weimmediately gravitated. There are literally too manyto name but there were standout heroes in thedifficult assembly of this project and Im thinkingabout the heroically hirsute Andrew Morgan,ostensibly Neils right-hand man. Im thinking aboutthe delicate political maneuvering of JamesCassidy, Neils manager, and Im thinking about theimaginative problem solving and creativity oforchestrator Matt Dunkley.

And the way those individuals formed into teams,and worked so beautifully, so perfectly, with theconstantly shifting pieces of our game was a sightto behold. And a sound to envelop yourself in.The process of achieving that sound was bynecessity gated in stages. Neil would prototypethemes and melodies and moods in Midi. Theseroughs were designed around characters, around

environments, and around specific encounters. Thisisnt unusual for us games are by necessitythematic and level-oriented but for Neil it was anew way to approach scoring. I think initially thathigh-level approach was one of the things that drewhim to the project and inspired some of the mostcompelling themes. As we got to themes we all feltworked for the motes of story and character, wedstart firming up the collection and start thinkingabout how it would apply to the finished game.

There were moments of despair, horror, rage,tension, and all of the three main fluids associatedwith proper artistic endeavor blood, sweat, andtears. But even in the toughest times, we could seeboth projects arrowing forward, and I think bothsides of the equation game and music could seethe target where those arrows would come together.The trick was making them both hit the bullseye atprecisely the same moment. And we were alsocomposing internally with in-house musician andaudio maven Kazuma Jinnouchi layering insignificant themes and score elements to fit with and layer into Neils score.

Neils process is grueling. Harrowing even. If hecant find a sound hes looking for, hell invent iteither from scratch or by creating monstroushybrids of digital and analog material. Blendinginstruments. Rending audio. Bending sounds. Andthis is long before these things get to an orchestra.But its definitely where some of the charisma ofthis project comes from. Even in the mostconventionally orchestral pieces in the soundtrack,there are elements of the unreal. Sounds and tonesand instruments youve never heard before. Theydont always stand out and theyre sometimesincredibly subtle, but the way the entirety of this

musical arsenal forms the overall sound is to me magical.

The technical and logistical feats around bringingover 100 tracks to our games score (theyre not allfeatured in the Soundtrack here) were obviouslyherculean. The multiple recording sessions atAbbey Road Studios with a 60-piece orchestra. TheBulgarian choral singers assembled to capture abrand new sound. The individual performersgathered from all over the world to lend their voicesand instruments to this intricate soundscape. Andthen taking those tracks and grafting them into ourtechnology so that they adapt to your journeythrough the game, so that those sounds map to theworlds and experiences youre exploring, well, itssomething to behold. Something to be proud of. Im not a musician. Im barely qualified to write thisforeword, but Im an avid consumer of music. Sowhen I hear tiny homages to Vangelis, or hear afleeting snatch of Prodigy in a beat, I have thecontext to embrace it, and I know Halo. This thingsounds like Halo, but its not relying on the past its building from it, launching from it, and taking itsomewhere new.

My hope is that you love this as much as I do. Myhope is that years from now, when youre humminga haunting theme, or whistling an inspirationalmarch, that youre accidentally culling it from abody of music you first learned to love onNovember 6th, 2012.

Frank OConnorFranchise Development Director 343 Industries

FOREWORD

I remember the first time Tajeen and Ken from theaudio team approached me to ask if I could comeand talk to them about a possible composer for theHalo 4 soundtrack. They seemed palpably nervousand Ill be honest, I thought they were going topropose a Bieber or some kind of Gaga from theirtremulous, timorous approach.

But they proposed Neil Davidge. Although Ive livedin the US since 1996, I grew up in the UK, worked inBath, and was immersed in the Bristol and WestCountry music scene of the early 90s and of coursewas listening to artists like Neneh Cherry,Portishead, and, of course, Massive Attack. So Iwaved them down from their mild terror and saidlets hear his pitch. And it was perfect.

Some of the nervousness from Tajeen and Ken, Isuspect, came from a fear of change. Were allterrified of change in some ways, but Halos musicallegacy is one of its pillars.

Its hard to even discuss Halo music without hearingthose monks chant their funereal, portentoustheme in your head. That kind of musical resonance,gravity, is unique, I think to games. Because you maywatch your favorite movie five, six times. But yourfavorite game? Youll play it a hundred times, athousand times, and each note becomes cementeddeeper and deeper into your subconscious and isdirectly, linearly associated with joy, or terror, orvictory and that heightens the connection, as faras Im concerned.

So you might be whistling the Koji Kondos SuperMario theme and realize that not only do you knowthe whole thing, but that you have every note,nuance, and tempo change down to the most

Orchestration and Arrangements, Matt DunkleyAdditional arranging on Librarian and Green and Blue, Jeremy Holland Smith.Engineer and technical support, Marco Migliari.Additional Programming, Gaetan Schurrer.Mixed by Andy Bradfield and Jeremy Wheatley for 365 Artists.Additional mixing, Niall Acott, Marco Migliari, Paul Walton and Neil Davidge.

Music Director 343 Industries, Sotaro Tajeen Tojima.Music supervision by Kazuma Jinnouchi for 343 Industries.Executive Audio Producer 343 Industries, Ken Kato.

Recorded in Bristol.Orchestral recordings at Abbey Road Studios, London.London Bulgarian Vocal Choir recorded at Angel Studios, London.Copyists, Dakota Music.

All Orchestral and choir recordings engineered by Geoff Foster.Assistant engineers, Lewis, Jones, Paul Pritchard, Matt Mysko, Chris Parker andRupert Coulson.

Orchestra performed by the The Chamber Orchestra of London: Conducted by Matt Dunkley. The Chamber Orchestra of London: Steve Morris, Warren Zielinsky, Harvey DeSouza, Darrell Alexander, Ania Safonova, Simon Blendis, Laura Samuel, JulianLeaper, Charles Mutter, Rita Manning, Ofer Falk, Gabriel Lester, Clare Duckworth,Robbie Gibbs, Ben Buckton, Philippe Honore, Eliza Marshall, Miranda Dale, GarethGriffiths, Corinne Chappell, Annabelle Meare, Ursula Gough, Amanda Smith, KathyGowers, Jan Regulski, Jeremy Issac, Alison Dods, Ralph De Souza, Richard George,Harriet Davies, Kerenza Peacock, Maya Bickel, Non Peters, Sonia Fairbairn, AndrijViytovych, Vicci Wardman, Julia Knight, Reiad Chibah, Martin Humbey, SamuelParrat, Rebecca Low, Rosie Bliss, Alistair Blayden, Sally Alexander, GarfieldJackson, Catherine Bradshaw, Ian Rathbone, Chris Goldscheider, Emma Sheppard,Jessica Beeston, Melanie Martin, David Cohen, David Daniels, Rebecca Gilliver,Adrian Bradbury, John Heley, Vicky Matthews, Mary Scully, Chris West, Tim Gibbs,Simon Oliver, Paul Kimber, Rupert Bing Ben Griffiths, Dom Kelly, Daniel Pailthorpe,Katie Bedford and Ileana Ruhemann.

Brass arrangements performed by Richard Watkins, Nigel Black, Martin Owen, Mark Almond, BryanFulcher, Colin Sheen, David Pyatt, Angela Barnes, CarstonWilliams, Lindsay Shilling, Andy Wood, Steve Saunders and OwenSlade.

Male Choir: RSVP Voices.Contracted by Rob Johnston.

All UK Orchestral fixing by Gareth Griffiths, Cool Music Ltd.

Female Choir Vocals performed by the London Bulgarian Choir: Dessislava Stefanova, Vivienne Boucherat, Mirella Koleva, KalinaKoleva, Tanya Jackson, Lora Kaleva, Deanna Benedict, DianaTsokova, Katarzyna Sommerfeld, Catriona Langmuir, Joanna Burke,Atsuko Cottam, Alison Conway, Polly Hunt.

London Bulgarian Choir conducted and arrangements byDessislava Stefanova.

Female vocal and vocal arrangements on Legacy, Awakening,Solace performed by Claire Tchaikowski.

117: Composed by Kazuma Jinnouchi. Orchestrated by Nobuko Toda; Music Preparation, Thanh Tran;Recordist, Tim Lauber. Stage Manager, Tom Steel; Stage Engineer,Denis St. Amand; Additional Stage Crew, Greg Dennen; OrchestraContractor, Peter Rotter; Conductor, Nick Glennie-Smith; Recorded at Newman Scoring Stage, 20th Century Fox.

Orchestra performed by the Hollywood Studio Symphony: Bruce Dukov, Julie Gigante, Tereza Stanislav, Lisa Sutton, Roger Wilkie,Jackie Brand, Katia Popov, Phil Levy, Natalie Leggett, SarahThornblade, Marc Sazer, Helen Nightengale, Charlie Bisharat, DariusCampo, Jay Rosen, Rafael Rishik, Jeanne Skrocki, Shalini Vijayan, IrinaVoloshina, Sara Parkins, Songa Lee, Lorenz Gamma, Kevin Connolly,Yelena Yegoryan, Cheryl Norman, Alwyn Wright, Neil Samples, RaduPieptea, Brian Dembow, Roland Kato, Shawn Mann, Robert Brophy,Alma, Fernandez, David Walther, Jennie Hansen, Keith Greene, LauraPearson, Carolyn Riley, Andrew Picken, Aaron Oltman, Steve Erdody,Andrew Shulman, Dennis Karmazyn, John Walz, Kim Scholes, TrevorHandy, Paula Hochhalter, Erika Duke, Tina Soule, Paul Cohen, EdMeares, Drew Dembowski, Bruce Morgenthaler, Steve Dress, SueRanney, Geoff Osika, Nico Philippon, Thomas Harte, Geri RotellaHeather Clark, Lara Wickes, Leslie Reed, Stuart Clark, Ralph Williams,Rose Corrigan, Judy Farmer, Jim Thatcher, Brian O'connor, SteveBecknell, Phil Yao, Jon Lewis, David Washburn, Rob Schaer, RickBaptist, Alex Iles, Steve Holtman, Phil Keen, Doug Tornquist, WadeCulbreath, Greg Goodall, Brian Kilgore, The American Federation ofMusicians on the United States and Canada.

Score Mixed by Alan Meyerson at Remote Control Productions,Santa Monica, CA; Assistant Engineer, Christian Wenger.Score Production Producer, Nobuko Toda (FILM SCORE LLC);Executive Score Production Manager, Daniel Monteverde; ScoreProduction Manager, Kurt Jessen, Nicolas Alvarez ; Assistant ScoreProduction Manager, Takashi Baker (Arriba Entertainment Inc.)

Mastered by Shawn Joseph at Optimum Mastering, Bristol.Artwork design by Paul Chessell.

Neil Davidge Management: JABA Music Ltd., Barry Campbell and James Cassidy.Worldwide Soundtrack Licensee: 7Hz Productions Ltd.Executive Producers 7Hz Productions, James Cassidy and Barry Campbell.Worldwide Sales, Marketing & Distribution: The End Records, RED, Essential Music and Sony Music.

Neil Davidge would like to thank:Andrew Morgan, James Cassidy, Sotaro Tojima, Kazuma Jinnouchi, Ken Kato, FrankO'Connor, Josh Holmes, Kiki Wolfkill, Kenneth Scott, Bonnie Ross Ziegler, Ed Kalletta, DanChosich, and all at 343 industries, Kyle 'Kid Hops' Hopkins, Barry Campbell, Matt Dunkley,Marco Migliari, Andy Bradfield, Jeremy Holland Smith, Claire Tchaikowski, Geoff Foster,Abbey Road Studios, Jeremy Wheatley, Darrell Alexander and Christopher Gutch of CoolMusic, The Chamber Orchestra of London, Gareth Griffiths, Gaetan Schurrer, Niall JohnAcott, Shawn Joseph, Lewis Jones, Dessislava Stefanova and The London Bulgarian Choir,John Tuff, The Bristol Ensemble, William Goodchild, Roger Huckle, Christchurch Studios,Ian Humphries, Michael Jennings, Bruno Ellingham, Euan Dickinson, William Fuller, ElizaMarshall, Irina Artamonova, Joanna Swan, Marnie and Robyn, Cosmo Jarvis, Bella Gough,Craig Williams, Jean and Pete Davidge, Claire Devas, Natalia Rivera Jimenez, Ali Chant, JoelEvenden, Dan and James at Sonic couture, Susan Langan and Andreas Allan at NativeInstruments, Jed Allen at Universal Audio, Andy Brooks at Media Pros, Simon Caton of AvidUK, Marty ODonnell and Mike Salvatore.

Microsoft Studios would like to thank: Xbox, 343 Industries, 7Hz Productions Ltd., Neil Davidge Productions Ltd., JABA Music Ltd.,Cool Music Ltd., The End Records, Sony RED, Essential Music & Marketing, Sony ANZ /Asia, Fifa Riccobono, FILM SCORE LLC, Arriba Entertainment Inc., Global Music Copying,STEVE JULIANI MUSIC, Peter Rotter Music Services, Remote Control Productions, 20thCentury Fox Studios, The American Federation of Musicians of The United States andCanada, Soundtrack Music Associates, All the remixers and their management companies,the performers, the back room staff, James Cassidy, Paul Chessell, Bonnie Ross Ziegler,Kenneth Scott, Sparth, John Liberto, Adrien Cho, Christine Finch, Michelle Ballantine,Justin Harrison, Ed Kalletta, Kevin Grace, Tyler Jeffers, Carlos Naranjo, Matt Skelton, LilyKohn, Carla Woo, and finally to Sotaro Tojima, Neil Davidge, Kazuma Jinnouchi, JoshHolmes, Kiki Wolfkill and Frank OConnor for the creative vision and special thanks to MartyODonnell and Mike Salvatore for blazing a trail and building a musical foundation for us tofollow and build upon.

c & p 2012 Microsoft Corporation. All rights reserved. Microsoft, Halo, the Halo logo, Microsoft Studios, the Microsoft Studios logo, 343 Industries and the 343 Industries logo, Xbox, Xbox 360 and the Xbox logosare trademarks of the Microsoft group of companies. Soundtrack distributed worldwide by 7Hz Productions Ltd and affiliates. Publishing administered by 7Hz Music Publishing.

Unauthorized copying, hiring, lending, public performance and broadcasting of this recording prohibited. All rights reserved.