Uploaded March 2024 | Updated September 2026, 2 weeks ago
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Very difficult to choose one track from the absolute banger of a soundtrack that is "Fire Emblem: Fates". So here is an orchestral medley of both "A Dark Fall" and the more intense "(Fire)" variant, plus fully licensed sheet music & parts ready to be performed.
--------------------
➤ Analysis:
Fire Emblem Fates released as 3 separate games: Birthright, Conquest & Revelations. Birthright follows the Japanese-influenced "Hoshido" narrative; Conquest the European "Nohr" narrative; and Revelations follows neither. "A Dark Fall" is one of the final battle themes from the "Conquest" version of the game, appearing in chapters 22 - 26.
The track commences in C♯ minor (C♯-E-G♯) with a syncopated string motif harmonised in 6ths sitting atop a tonic pedal. This motif is almost always dissonant in harmony: the first chord is C♯-G♯-F♯-D♯ (a 9th sus4 chord with a soft dissonance from the F♯ & D♯). The 2nd chord progresses into C♯-A-G♯-E (an inverted major 7th chord); the 3rd is C♯-B-A-F♯ (another C♯ 9th sus4 chord, or an A major 9th add6). Thus, each of these chords is in conflict with itself - very apt given the battles that the track is used for (notably Takumi). The tonic pedal shifts to the submediant (A; 0:13), re-colouring the string motif above.
This section is largely repeated at 0:24, now with additional orchestration and a bagpipe countermelody complementing the syncopated string motif. The choice of bagpipes links back to Nohr's European influences which notably includes Bagpipes and Uilleann Pipes.
Moving into 0:45, we get a short bridge section into the dominant (G♯), with a solo Japanese Flute on top (here placed in the Piccolo). Underneath this solo, the harp and glockenspiel ascend and descend along a G♯ Phrygian mode (G♯-A-B-C♯-D♯-E-F♯-G♯) - modes being a characteristic trait of European Gregorian Chant.
The B section begins at 0:56, returning to C♯ minor, with the horns & violas taking material from the earlier bagpipe countermelody. A new instrument is added: the cimbalom - another European instrument - playing another syncopated chordal accompaniment.
We progress once more into the submediant (A; 1:16), with an A major 7th chord (A-C♯-E-G♯). Here, the bagpipes and violins play a statement of the "If" motif (the primary leitmotif used throughout the entire Fire Emblem Fates soundtrack). A surprising tertiary shift takes us into D (1:28), where we spiral chromatically into the secondary dominant (D♯; 1:37).
From here (1:39), we have an extended dominant pedal (on G♯) above which the bagpipes and violins play a rhythmically augmented version of the earlier harp Phrygian material (0:45). Then by 2:00, we reach the climax of this track - a crushingly emotive combination of choir and strings. The material here is an adaptation of the opening string ostinato, with all sorts of added note chords (9ths, minor 7ths, suspended 4ths, etc.) - every chord is a dissonance. The section is repeated at 2:21 with the percussion returning.
The "(Fire)" variant begins at 2:43, and follows an identical structure with several additional instruments and countermelodies (horns at 2:43, trumpets at 3:04, horns at 3:27, strings at 3:57, trombones at 4:20 and bagpipes at 5:01).
To finish, I wrote a short conclusive outro utilising the earlier string motif.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase Pro 10.
★Game: Fire Emblem: Fates
★Developer: Intelligent Systems
★Publisher: Nintendo
★Composer(s): Hiroki Morishita, Rei Kondoh, Takeru Kanazaki, Yasuhisa Baba, Masato Kouda
★Software: Sibelius 7.5, Cubase Elements 7, Cubase Pro 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Musio
★Tags: Fire Emblem, Fates, Fire Emblem Fates, Fire Emblem Fates OST, Fire Emblem Fates Soundtrack, A Dark Fall, A Dark Fall (Fire), Takumi, 3DS
#FireEmblemFates
#FireEmblem
#ADarkFall
🎵 Sheet Music & Parts ➤ mymusicsheet.com/TandA/340619
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
🎹 Commissions ➤ jshaw.co.uk/commissions
🎮 More Arrangements ➤ jshaw.co.uk/TandA
👍 Facebook ➤ bit.ly/TandAFacebook
🐦 Twitter ➤ bit.ly/TandATwitter
🎵 Bandcamp ➤ bit.ly/TandABandcamp
🎵 Spotify ➤ bit.ly/TandASpotify
🎵 Deezer ➤ bit.ly/TandADeezer
🎵 YouTube Music ➤ bit.ly/TandAYouTube
🎵 Apple Music / iTunes ➤ bit.ly/TandAApple
Very difficult to choose one track from the absolute banger of a soundtrack that is "Fire Emblem: Fates". So here is an orchestral medley of both "A Dark Fall" and the more intense "(Fire)" variant, plus fully licensed sheet music & parts ready to be performed.
--------------------
➤ Analysis:
Fire Emblem Fates released as 3 separate games: Birthright, Conquest & Revelations. Birthright follows the Japanese-influenced "Hoshido" narrative; Conquest the European "Nohr" narrative; and Revelations follows neither. "A Dark Fall" is one of the final battle themes from the "Conquest" version of the game, appearing in chapters 22 - 26.
The track commences in C♯ minor (C♯-E-G♯) with a syncopated string motif harmonised in 6ths sitting atop a tonic pedal. This motif is almost always dissonant in harmony: the first chord is C♯-G♯-F♯-D♯ (a 9th sus4 chord with a soft dissonance from the F♯ & D♯). The 2nd chord progresses into C♯-A-G♯-E (an inverted major 7th chord); the 3rd is C♯-B-A-F♯ (another C♯ 9th sus4 chord, or an A major 9th add6). Thus, each of these chords is in conflict with itself - very apt given the battles that the track is used for (notably Takumi). The tonic pedal shifts to the submediant (A; 0:13), re-colouring the string motif above.
This section is largely repeated at 0:24, now with additional orchestration and a bagpipe countermelody complementing the syncopated string motif. The choice of bagpipes links back to Nohr's European influences which notably includes Bagpipes and Uilleann Pipes.
Moving into 0:45, we get a short bridge section into the dominant (G♯), with a solo Japanese Flute on top (here placed in the Piccolo). Underneath this solo, the harp and glockenspiel ascend and descend along a G♯ Phrygian mode (G♯-A-B-C♯-D♯-E-F♯-G♯) - modes being a characteristic trait of European Gregorian Chant.
The B section begins at 0:56, returning to C♯ minor, with the horns & violas taking material from the earlier bagpipe countermelody. A new instrument is added: the cimbalom - another European instrument - playing another syncopated chordal accompaniment.
We progress once more into the submediant (A; 1:16), with an A major 7th chord (A-C♯-E-G♯). Here, the bagpipes and violins play a statement of the "If" motif (the primary leitmotif used throughout the entire Fire Emblem Fates soundtrack). A surprising tertiary shift takes us into D (1:28), where we spiral chromatically into the secondary dominant (D♯; 1:37).
From here (1:39), we have an extended dominant pedal (on G♯) above which the bagpipes and violins play a rhythmically augmented version of the earlier harp Phrygian material (0:45). Then by 2:00, we reach the climax of this track - a crushingly emotive combination of choir and strings. The material here is an adaptation of the opening string ostinato, with all sorts of added note chords (9ths, minor 7ths, suspended 4ths, etc.) - every chord is a dissonance. The section is repeated at 2:21 with the percussion returning.
The "(Fire)" variant begins at 2:43, and follows an identical structure with several additional instruments and countermelodies (horns at 2:43, trumpets at 3:04, horns at 3:27, strings at 3:57, trombones at 4:20 and bagpipes at 5:01).
To finish, I wrote a short conclusive outro utilising the earlier string motif.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase Pro 10.
★Game: Fire Emblem: Fates
★Developer: Intelligent Systems
★Publisher: Nintendo
★Composer(s): Hiroki Morishita, Rei Kondoh, Takeru Kanazaki, Yasuhisa Baba, Masato Kouda
★Software: Sibelius 7.5, Cubase Elements 7, Cubase Pro 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Musio
★Tags: Fire Emblem, Fates, Fire Emblem Fates, Fire Emblem Fates OST, Fire Emblem Fates Soundtrack, A Dark Fall, A Dark Fall (Fire), Takumi, 3DS
#FireEmblemFates
#FireEmblem
#ADarkFall

![Lalivero Ruins | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ https://bit.ly/TandABundle
🎹 Commissions ➤ https://www.jshaw.co.uk/commissions
🎮 More Arrangements ➤ https://www.jshaw.co.uk/TandA
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An orchestral arrangement of the Lalivero Ruins from the classic and beloved JRPG, Golden Sun, as voted by YOU! :D
➤ Analysis:
Although titled Lalivero Ruins by the players, this track appears several times before reaching this end-game location, such as the post-Saturos encounter with Alex atop Mercury Lighthouse and Atmiller Cave.
However, I suspect the track came to be known as Lalivero Ruins since it is used as the precursor theme to the iconic Venus Lighthouse theme, thus making the track fixed in memory as the track that comes before Venus Lighthouse near Lalivero. Funnily enough, there is actually no location in Golden Sun known as the Lalivero Ruins - it should really be called the Tunnel Ruins. But alas, I did not come up with the titles! ;)
The track, although sounding rather neutral in the original, has a surprising amount of dissonance. Foremost, the track opens in a loose E-Phrygian tonality (E-F-G-A-B-C-D-E) - loose due to the chromatic appearance of Bbs and Abs in the 2nd measure (0:07).
At the same time, the metre is skewed between either a grouping of 2/4, 3/4 or 6/4. I decided on transcribing it as 6/4 due to the flutes and bass instruments moving every 3 beats, with the choir melody rising and falling across 6 beats. Ultimately, it could also be scored in 3/4.
To add to the dissonance, there is a plethora of tritone intervals (the Diabolus in Musica - the Devil in Music), notably the F-B found often in the flutes and the choir (0:03), again highlighting that Phrygian tonality.
As the opening 4-bar phrase repeats at 0:15, I expand upon the material with additional brass, new string and harp doublings, and an ancient-sounding crotale/antique cymbals on the choir melody.
By 0:28 we progress via a loose perfect cadence (V-I; E-A) into a 4/4 passage in A minor that is relatively consonant, albeit still referencing Phrygian through the progression to Bb (0:30). Here, the violins take the melodic lead surrounded by an octave shuffling bassline and pulsing choir (which I have expanded upon with some additional string ostinati).
At 0:37, we get a remarkable shift. Tonally, we are progressing from G major into C minor (another perfect cadence), but it is decorated harshly with the presence of an F# (see trombones, choir, etc.). This creates and F#/G semitonal false relation clash - quite a cruel dissonance! - yet the passage remains largely unperturbed to our ears. Sakuraba is once again flexing his harmonic palette.
Next, we return to a triple metric grouping - this time 3/4 - in our home tonality of E Phrygian (0:45). Here, a crunching 2nd violin melody reinforces the Phrygian character tones (the flattened 2nd and 7th; here, F and D), and I have built up the timbre of this melody through use of a guiro, muted trumpet and consecutive violin down-bowing for added crunch.
Harmonically, we get a demonstration of another Sakuraba trait - chromatically ascending harmony. Note here the choir (and also the horns) rising chromatically by semitone in parallel 5ths (E-F-F#-G) on top of an E-Phrygian pedal ostinato in the bass instruments (contrabassoon, piano, contrabass).
At the same time, we get a return to the opening rapid flutes (0:46), intriguingly playing passages with G# - conflicting harshly against the ascending parallel 5ths underneath (G# vs G; 0:49). Altogether these create quite a menacing and intensifying passage.
At 0:57, we return to consonance with a 4/4 passage, now unusually in F# minor (F#-A-C#; very distant to E Phrygian). And then we progress via a backwards tertiary modulation into A minor (C#-A; 1:12). This passage is akin to the previous A minor passage; the string melody returns, now with an additional countermelody in the oboes soaring high above as we conclude with an imperfect cadence in G major for a tertiary shift back to E Phrygian for the loop.
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Sampleism
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Lalivero Ruins, Lalivero, Ruins
#GoldenSun
#Orchestra
#LaliveroRuins Lalivero Ruins | Orchestral Cover](https://i.ytimg.com/vi/zEYMPMyweWc/mqdefault.jpg)
![Shaman Village (Extended) | Golden Sun Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ https://bit.ly/TandABundle
🎹 Commissions ➤ https://www.jshaw.co.uk/commissions
🎮 More Arrangements ➤ https://www.jshaw.co.uk/TandA
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New year, new goals: time to start creating Extended versions for the older TandA arrangements, starting with Golden Suns Shaman Village. You asked, I (eventually) listened :P
Also now with slightly enhanced mastering o/
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Golden Sun: The Lost Age
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Shaman Village
#GoldenSun
#Orchestra
#ShamanVillage Shaman Village (Extended) | Golden Sun Orchestral Cover](https://i.ytimg.com/vi/zMYbrnSrNDo/mqdefault.jpg)

![Kalay | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ https://bit.ly/TandABundle
🎹 Commissions ➤ https://www.jshaw.co.uk/commissions
🎮 More Arrangements ➤ https://www.jshaw.co.uk/TandA
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Arriving in Kalay, you are first greeted by this mighty theme, now orchestrated from Golden Sun!
➤ Analysis:
The work itself is rather triumphant for a little market town theme, but that is perhaps what makes it such a classic, characterized particularly by the double echoing harps (which I have extended here to run nearly throughout the entire work, as opposed to finishing at 0:35 in the original ).
To create its rather triumphant feeling, there are many tertiary progressions (particularly, downward a major 3rd), such as B-flat major to G major at 0:27, and later on, C major to A-flat major (0:47).
These particular shifts are very grand movements due to their voice leading (for example, the major 3rd shifts down a semitone to become the 5th; e.g. in C major, the E shifts down to an E-flat now in A-flat major - beautifully smooth voice leading).
Otherwise, the work is quite a simple one, floating mainly around the I, IV and V chords. I have fleshed out some of the harmonies at 1:00 to add a little more colour to these relatively simple chords.
Here, Ive also combined my usual sample libraries (EastWest) with some brand new Vienna Symphonic libraries, which should hopefully create some better legatos in the melodies.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and 8Dio.
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, 8Dio
★Tags: Golden Sun, Golden, Sun, The Lost Age, Golden Sun The Lost Age, TLA, GS, Golden Sun Orchestra, Golden Sun Cover, Golden Sun Remix, Golden Sun Arrangement, Kalay, Kalay Village, City, Town
#GoldenSun
#Orchestra
#TheLostAge Kalay | Orchestral Cover](https://i.ytimg.com/vi/zwClU8QycJA/mqdefault.jpg)