Uploaded March 2019 | Updated September 2026, 3 weeks ago
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By request, here's the full transcription of "A Settlement in the Red Bluffs" from Octopath Traveler - a very fitting jig!
--------------------
➤ Analysis:
The theme accompanying Therion's starting town, Bolderfall, is this lively little Irish Jig, complete with accordion, tin whistle and solo violin on the main melody.
The rhythms here are particularly tricky; they can both be written in a 4/4 time signature (as I chose here), or alternatively a 12/16 signature (which to me was far more difficult to read). So I decided on using a 4/4 signature with frequent triplet rhythms.
The work is incredibly modal, using in particular the "Dorian" mode in A (A, B, C, D, E, F#, G, A) with its characteristic F# (0:12), before modulating up to the subdominant - D Dorian (D, E, F, G, A, B, C, D) with its characteristic B-natural (0:39). The work then concludes back into A Dorian to allow a seamless repeat (0:58).
Even though the work is mostly Dorian, there are some quick excursions to the flattened-6th degree (which in A Dorian, would be F-natural, rather than F-sharp), as can be found at 0:17. This excursion occurs similarly when the work modulates into D Dorian, pivoting quickly on a B-flat (the flattened-6th) rather than a B-natural at (0:44).
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Octopath Traveler
★Developer: Square Enix
★Publisher: Nintendo
★Composer(s): Yasunori Nishiki
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: Octopath Traveler, A Settlement in the Red Bluffs, Octopath Traveler OST, Octopath OST, Octopath Soundtrack, Octopath Settlement in the Red Bluffs, Red Bluffs
#OctopathTraveler
#ASettlementInTheRedBluffs
#SheetMusic
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By request, here's the full transcription of "A Settlement in the Red Bluffs" from Octopath Traveler - a very fitting jig!
--------------------
➤ Analysis:
The theme accompanying Therion's starting town, Bolderfall, is this lively little Irish Jig, complete with accordion, tin whistle and solo violin on the main melody.
The rhythms here are particularly tricky; they can both be written in a 4/4 time signature (as I chose here), or alternatively a 12/16 signature (which to me was far more difficult to read). So I decided on using a 4/4 signature with frequent triplet rhythms.
The work is incredibly modal, using in particular the "Dorian" mode in A (A, B, C, D, E, F#, G, A) with its characteristic F# (0:12), before modulating up to the subdominant - D Dorian (D, E, F, G, A, B, C, D) with its characteristic B-natural (0:39). The work then concludes back into A Dorian to allow a seamless repeat (0:58).
Even though the work is mostly Dorian, there are some quick excursions to the flattened-6th degree (which in A Dorian, would be F-natural, rather than F-sharp), as can be found at 0:17. This excursion occurs similarly when the work modulates into D Dorian, pivoting quickly on a B-flat (the flattened-6th) rather than a B-natural at (0:44).
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Octopath Traveler
★Developer: Square Enix
★Publisher: Nintendo
★Composer(s): Yasunori Nishiki
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: Octopath Traveler, A Settlement in the Red Bluffs, Octopath Traveler OST, Octopath OST, Octopath Soundtrack, Octopath Settlement in the Red Bluffs, Red Bluffs
#OctopathTraveler
#ASettlementInTheRedBluffs
#SheetMusic




![Overlooking Hyrule | Orchestral Cover
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A full sheet music transcription of the overworld map screen music from Hyrule Warriors Age of Calamity, alongside an audio recreation to test its accuracy.
➤ Analysis:
There are a couple versions of this theme floating around: some start immediately at m.2 (0:05); some have this little single measure anacrusis (lead in / upbeat) which I have retained here; and some have even included a long solo ad lib. piano joined by a soft synthesizer as a prelude (see: https://youtu.be/JkNR30RrQiA?t=678 ).
Now, at the time of writing, the game had not released, so we did not know for certain whether this piano prelude was a confirmed part of the map theme or an entirely separate track. I leant towards the latter, since the prelude initially appeared in a cutscene moments before the map selection screen appeared, and later overworld screens jumped straight into the larger theme (transcribed above).
So, what do we have here?
After our opening anacrusis, we jump into a familiar melody - the Age of Calamity motif (first heard in the Main Theme - https://youtu.be/QkpVJ3QIkoo ). This motif (or melodic theme) appears often throughout the OST. In this map theme, it remains close to its original appearance in the Main Theme; playing around G Aeolian (G-A-Bb-C-D-Eb-F).
However, this time we begin immediately in the sub-mediant (chord VI; here, Eb). This quickly invokes a Lydian flavour (from the sharpened 4th interval clashing when the melody plays an A against the pedal Eb). This steps up to an F sus 4-3/9-8 chord (F-Bb-C-G resolving to F-A-C-F). Here, we also get a quote from Breath of the Wilds OST with the twinkling piano derived from Field (Day) - BotWs own map theme ( https://youtu.be/xGi23M_5lXg?t=6 ).
Next, we get our first appearance of the tonic (0:17; G Aeolian) with another statement of the AoC motif. To tail off the phrase, we stay on a tonic pedal (G) but colour it above with a D minor triad (D-F-A) and some light dissonance via an Eb resolving to D.
Then, this opening phrase nearly repeats (0:29), now with the piano flickering moved ahead two beats (0:38), added brass (0:45), and an extended ending (0:47). In this new ending, the melody soars up an octave as we fall back down to F (rather than staying on G), allowing for some gorgeous semitonal dissonances with sus 4-3 chords (Bb-A clash over an F). To finish the phrase, we get an ambiguous chord of C-F-G-Bb-D; some sort of sus4-3 add9 chord (0:50).
This resolves somewhat to a C dominant 7th (C-E-G-Bb) but with the G substituted for an A. This shifts to Bb major in 1st inversion (D-Bb-F) preparing us for an interrupted cadence back in to the sub-mediant (Eb; 0:54) as we get a new section.
The melodic material we get here is an exact quote from the Main Theme (see 1:37: https://youtu.be/QkpVJ3QIkoo?t=97 ). Of course, here we are at a much slower tempo, without metric dissonance (via time signature changes), and with an entirely different harmonic colour. But the melody stays the same.
As we continue through the next phrase, we slip spookily into E minor (E-G-B) via a tertiary modulation (1:04; from G to E). This progression is also commonly used in the Main Theme, and could itself be considered another AoC motif (this time, a harmonic motif). Alongside this, the piano plays its familiar arpeggios as we float between E minor and Eb major 7th (Eb-G-Bb-D).
We then drop down a semitone onto D - the dominant pedal for G (once more, similarly to the conclusion of the Main Theme). The dominant chord is not complete until we get our mediant - the 3rd - which here would be F# (the 3rd above the root; D), and we eventually get this in the trombone at 1:27, marking our imminent return to the beginning.
This OST seems like it will be a masterclass in motivic writing - well worth looking into it for anyone interested in using motifs in their music.
★Game: Hyrule Warriors: Age of Calamity
★Developer: Omega Force
★Publisher: Koei Tecmo, Nintendo
★Composer(s): Kumi Tanioka, Reo Uratani, Ryotaro Yagi, Haruki Yamada
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Hyrule Warriors Age of Calamity, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Map Screen, Overworld Theme, Kingdom of Hyrule, Hyrule Kingdom
#HyruleWarriors
#AgeOfCalamity
#Zelda Overlooking Hyrule | Orchestral Cover](https://i.ytimg.com/vi/BsBDmiXaYZo/mqdefault.jpg)
![Sea of Time | Orchestral Cover
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~ If you want to go to the stars, if you want to go to the stars ~
Join us spinning around in circles as we navigate the Sea of Time from Golden Sun, now for orchestra.
➤ Analysis:
The original track accompanies a short sailing dungeon of the same name. While there are no enemies or random encounters in this dungeon, an unsettling air of hostility and emptiness is present nonetheless.
We commence with various low instruments trodding slowly along the sea floor, chromatically ascending and descending seemingly at random. Honestly, I cant deduce a true tonal centre here, except for the progression to F♯ at 0:13, which signals the 2nd half of the 8-bar phrase.
While Sakurabas original was scored for electric bass and timpani / bass drum, here I scored it additionally for low piano, contrabass and tam-tam to further convey the unsettling atmosphere. The uncommon use of timpani pedal glissandi also contributes to this.
In the 2nd section (0:23), the opening material is nearly repeated in full, barring a few rhythmic changes and additional support from low winds. In addition to this a violin countermelody is added, now expanded with additional colouring through clarinets, piano and col legno viola (a wooden percussive technique). This is enhanced by subtle fluttertonguing in the flutes at 0:33.
Harmonically, we are still ambiguous; the violins enter with a D-E♭ semitonal dissonance, yet the bass underneath initiates on E♭/D♯, moving swiftly to E which together become a rare tri-semitonal dissonance (D-D♯-E). Though since E♭/D♯ appears in both the bass and violins at the opening, this would suggest E♭/D♯ holds some tonal significance (as does G♭/F♯ in the 2nd half of the phrase; 0:33).
In the final section (0:44), we get our greatest dissonance yet: the bass commences a chromatic stepwise ascent from D, while the violins develop into a swift chromatic phrase emphasizing the tritone interval - the most dissonance interval in Western harmony (here, E-B♭).
To complement this, I added tritone semitonal trillings subtly in the flutes and violas, alongside natural harmonic glissandi in the cellos to be played ad lib. (freely). Together, this creates a rather chaotic and unsettling passage of music, but still not too busy to continue the air of emptiness.
By the 2nd half of the phrase, a 2nd violin is added, repeating the previous violins material a minor 3rd above, creating an indirect diminished 7th due to the stacking of tritones a minor 3rd apart (E-B♭ and G-C♯). The diminished 7th, of course, is an unstable chord comprised of two tritones.
Afterwards, instruments abruptly drop off as we return to the foreboding opening.
To finish, I wrote a brief concluding statement built out of the opening material, and signalling a final conclusion for the piece.
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, Sea of Time, Poseidon
#GoldenSun
#Orchestra
#SeaOfTime Sea of Time | Orchestral Cover](https://i.ytimg.com/vi/ByRzEdx99Iw/mqdefault.jpg)


![Lemurian Ship | Orchestral Cover
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An orchestral arrangement of the overworld sailing music aboard the Lemurian Ship from Golden Sun: The Lost Age.
➤ Analysis:
What makes a good sailing theme? Perhaps some shimmering imagery of water, the flowing and swaying of waves, some seagulls ... alright, perhaps not the last point. But nevertheless, Sakuraba does a fine job at conveying a sailing atmosphere in this track.
Foremost, we open with a quick, flickering string ostinato ( enhanced here with flutes). This bright quivering occurs throughout a good portion of Sakurabas original (and continues for the entire track in this arrangement), and is essentially a musical embodiment of ocean waves rising and falling, even perhaps shimmering in the glint of the warm sun due to their high register.
Beneath this, we have a steady march-like bass ostinato (similar to the previous Traversing Weyard) - as expected for an overworld theme to drive the player forward - complemented by a persistent snare drum rhythm.
In between this ostinati sits a melody - a simple, delicate little line spelling out a C major triad (C-E-G). Sakuraba originally placed this in the strings (most likely violas), and I have enhanced the texture by pairing this melody with some horns for some added depth and firm drive.
Harmonically, it is very simple. We start in C major and conclude the first 4-bar phrase with an imperfect cadence in G major (G-B-D; 0:09). But in the next phrase, Sakuraba interestingly pushes the tonality up a tone to D minor (D-F-A; 0:13), and from there, up further to Eb major (Eb-G-Bb; 0:15) - a staggeringly distant key from our recent home of C major.
This form of tertiary modulation (they are everywhere, I swear!) progressing from C - Eb invokes the emotion of triumph due to its common use in film music as a signifier of heroic-ness (e.g. the fellowship in Fellowship of the Ring). As such, its use here similarly creates this sense of heroism - a sense of triumphing over darkness.
In addition, this sudden and abrupt departure from the home tonic of C major into the distant Eb major may well symbolize travelling to distant lands, which is exactly what the player is doing as this theme plays.
The opening 8-bar phrase is then repeated near verbatim (0:18), but here I took the liberty of shifting the flutes up an octave for some extra shimmering, and added a trumpet doubling on the main melody for added grandeur. The timpani also comes out in full force to enhance the rhythmic undertow, and towards the end of the 8-bar phrase (0:31), a trilling piccolo is added above to complete the glistening aesthetic.
At 0:34, we progress into the 2nd section with a marvelous string melody playing in the Db Lydian mode (Db-Eb-F-G-Ab-Bb-C-Db) - Lydian being an oft used scale in film music due to that special sharpened 4th degree (here, the G). Of course, Db as a scale itself is once again incredibly distant from the home key of C major (harmonically, of course - intervallically it is but a mere semitone away!) - see how far we are travelling!
To further enhance the sailing aesthetic, I decided on adding a flickering soprano recorder to double the melody (0:39). This was to invoke a sense of a sea shanty through the use of a small, common wind instrument that may well have been readily available for sailors.
At 0:50, a wonderful interrupted cadence takes us from G major downward into F major - or F Lydian, to be more precise (F-G-A-B-C-D-E-F) - as we get an awesome clash of that sharpened 4th (here, a B) both in the string/flute ostinato and brass melodies. To enhance the shimmer further, I added syncopated glockenspiel, crotales, triangle, harp and tubular bells.
Finally, we progress to the dominant (G major; G-B-D; 0:58) as we prepare to return to the tonic of C via a perfect cadence. Here, I brought out a quiet melody in Sakurabas original (the violins).
★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
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Lemurian Ship, Sailing, Set Sail
#GoldenSun
#Orchestra
#LemurianShip Lemurian Ship | Orchestral Cover](https://i.ytimg.com/vi/C9uLemXEwOY/mqdefault.jpg)
![Saturos Battle Theme | Orchestral Cover
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Its been a while! Heres an orchestral arrangement Ive created of Sakurabas brilliant Saturos Battle Theme from Golden Sun.
➤ Analysis:
Although Sakuraba did himself create an updated version for Dark Dawn, I wanted to have my own attempt at updating his classic theme as it is one of my favourites (and was good fun to create!)
A highlight of the original is the use of pitch-bending on the synthesizers, which I placed in the trombones here (0:25) as they are able to easily recreate a true, smooth glissando.
In the original, the gorgeous passage of 0:35 has a delay effect on the harp, causing each note to be echoed quickly after playing. So here, I orchestrated a literal echo effect using two harps, a glockenspiel, celesta and piano, all playing closely together with some a quaver (8th note) late. This passage also uses the Dorian mode, heard by the characteristic raised 6th at 0:40 (here, B major in the key of F# minor).
As is quite common in Sakurabas battle themes, he switches to a 5/8 meter at 0:46 (which can alternatively be scored in 5/4) with more pitch-bending. He follows this with a cheeky 12/16 + 4/16 passage at 1:05 (reminiscent of the introductory upbeat/anacrusis) in order to get back into the original 12/8 meter.
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★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
★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, Saturos, Menardi, Saturos Battle Theme, Saturos Battle Theme
#GoldenSun
#Orchestra
#TheLostAge Saturos Battle Theme | Orchestral Cover](https://i.ytimg.com/vi/C_SKeCanwfo/mqdefault.jpg)
![Traversing Weyard | Orchestral Cover
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You guys voted, so here it is! - An orchestral arrangement of the first overworld theme from Golden Sun: The Lost Age, colloquially known as Traversing Weyard.
➤ Analysis:
Similarly to The Angarian Journey - the overworld to the first game, Golden Sun - Sakuraba employs certain techniques to evoke a triumphant, determined, march-like overworld theme.
To start, there is a heavy tread of I-V-I-V (heard here in the tubas and cellos at 0:02), creating the characteristic om-pa om-pa march rhythm. This is combined with a snare drum (which I have restored here as they were unintentionally lost in Sakurabas original - see: https://youtu.be/5XryhVMWCdI ), and brass fanfares. All of these create a familiar sounding march aesthetic.
Outside of instrumentation, Sakuraba also employs tertiary modulations (e.g. C - Ab (0:05), and Ab - F (0:39)) which are a common film music progression used for evoking triumph. The use of suspended 4ths resolving traditionally down to the 3rd also enforces this, such as Gsus4 (G-C-D to G-B-D; 0:09) and Csus4 (C-F-G to C-E-G; 0:17).
To enhance this aesthetic further, I have added in some periodic woodwind scalic runs, brass rips and glissandi for added excitement, as well as additional bass drum, timpani and cymbals to contribute to the march-like feel.
When the first section repeats (0:19), instead of a direct repeat, I added an additional string layer (violin I), increased the wind material and added a bright glockenspiel to top off the melody.
By 0:34 we move to a new section via a tertiary modulation (C - Ab) that opens with a gorgeous major 7th chord (Ab - C - Eb - G). To mark this shift, I decided to retain the bass guitar from Sakurabas original (for added nostalgia!) but also added in some Sakuraba-esque arpeggios in the harp and celesta. Here, we also get two tertiary modulations back-to-back, with Ab - F - Ab (0:39) - exciting stuff!
As we start to climb at 0:43, Sakuraba breaks the 4-bar regular phrasing and ends this phrase after only 2 bars. Combined with the ascending tertiary harmony (Ab - Bb - C), this interruption of the phrasing only serves to enhance the tracks excitement as we return to the tonic key of C major with a mighty brass fanfare (0:46).
Although not as audible in Sakurabas original, here (0:47) he employs a C-pedal over which is placed a dominant chord (so G-B-D over a pedal of C). This creates a semitonal clash (B-C) that resolves outwards in contrary motion alongside another tertiary modulation (G-B-D move upwards to Ab-C-Eb, while the C shifts down to Ab). This combo earns Sakuraba at least 100 Brownie points and further exemplifies the triumphant aesthetic. To enhance this progression, I added in several glissandi instruments to highlight this contrary motion.
This phrase repeats once more (0:55), now with an additional melody soaring high above in the violins and winds as we get one final tertiary modulation (Ab - C) combined with Sakurabas classic arpeggios (1:00).
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and AmpleSound Bass.
★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, AmpleSound Bass
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Traversing Weyard, Overworld Theme
#GoldenSun
#Orchestra
#TraversingWeyard Traversing Weyard | Orchestral Cover](https://i.ytimg.com/vi/D2OQ1BlPBEY/mqdefault.jpg)