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It's an harmonic technique usually associated to movies soundtrack, so games and tv series used it too. You just have to harmonize the melody using the mediant relationships (commonly diatonic or chromatic). Just count the 3 steps of the scale: Em (mediant = G) -> Gm (dominant = D) -> Dm (mediant = F) -> Fm -> (subdominant B) -> Bm (mediant = D) -> Dm As you can notice, there isn't exactly a strict rule. It's a soundtrack cliché, you use major chords to "add bright" and minor ones to "add darkness". Sometimes, you can jump to dominant and subdominant (this happens in this music), completely at your will. Hans Zimmer uses this a lot. I made these days a little piece to exemplify this to some colleagues: http://www.4shared.c...a_mediante.html The harmonic sequence from my piece: Dm –> Fm –> Ab –> C –> Em –> Gm –> Bb –> D

One day when you grow out of your "everything dark and brooding is totally awesome" phase, you will realize how great Mozart's major-key works are as well. Just because they have a sunnier disposition does not mean they are lesser works (although, admittedly, his minor-key works/movements are very, very, very good). Choosing between the later concertos (which, along with opera, was the category I would say he most consistently wrote masterpieces) is difficult, but 20, 21, 24, and 25 seem to me to be a bit above the rest. Only #26 is somewhat of a let-down.

how about this you will find it especially useful in e.g. the left hand of bars 17 to 23

ya kv 491 and 595 are best, 450 is gud, 453 has a really nice slow movement. 503 would better be called a symphony for piano and orchestra imo they're not as good as the requiem though