Uploaded November 2019 | Updated September 2026, 2 weeks ago
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
🎹 Commissions ➤ jshaw.co.uk/commissions
🎮 More Arrangements ➤ jshaw.co.uk/TandA
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🐦 Twitter ➤ bit.ly/TandATwitter
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🎵 YouTube Music ➤ bit.ly/TandAYouTube
🎵 Apple Music / iTunes ➤ bit.ly/TandAApple
An epic orchestral cover of Toby Fox's glorious battle music found during battles in the Battle Tower of the recently released "Pokemon Sword and Shield".
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➤ Analysis:
In true Fox fashion, we begin with an excitedly energetic syncopated rhythm (0:03) which forms the underlying ostinato pattern to be found throughout most of the track. This pattern is placed in the E Aeolian mode (E-F#-G-A-B-C-D-E) through the presence of a C-natural. This opening ostinato is expanded upon (0:10), now melodically doubled a perfect 4th lower.
By 0:17, we get a new melody outlined here in the trumpet and horn. Rather than being in E Aeolian, the tonality has now shifted to E Dorian (E-F#-G-A-B-C#-D-E) with the presence of a C-sharp, allowing the common Dorian progression of i - IV (E minor - A major), which occurs here at 0:19.
However, this Dorian progression is quickly broken by the imminent C-natural that follows in the next bar (0:21), marking a return to Aeolian. We would expect the end of this 4-bar phrase to conclude in the dominant key (B major; B-D#-F#), but instead, we are given a modal cadence in B minor, which then returns to the tonic of E. This tonic however contains a surprising G#, making the tonality major rather than minor. However, we are then immediately thrust back into E minor with the return of the G-natural (0:24).
When this phrase repeats in the following 4 bars, the conclusion twists this harmony further by use of false relations (D# against D-natural; 0:30). Normally, this dissonance would be extremely harsh, but due to the swift-paced energy of the track, this fleeting dissonance is softened and only further serves to enhance the intensity of the track.
By 0:32, the strings take over the melody, re-purposing the opening rhythmic ostinato into a new melodic passage now in the submediant key of C major. Interestingly, instead of returning as expected to E minor, we return instead to E major (0:34), but quickly fall back to C major - a tertiary modulation known for creating a triumphant aesthetic.
At the end of this phrase, the strings introduce a new melody (0:43). This is picked up by the brass in the following phrase (0:47) for their moment of glory. Here I added a steady string pattern to grind against the syncopated brass rhythms to add further intensity and excitement.
The conclusion of this phrase is interrupted, breaking the expected 4-bar phrase down to a 3-bar phrase, and at 0:59 we abruptly modulate into E Phrygian (E-F-G-A-B-C-D-E) as we juxtapose between E and F with material played in predominantly perfect 4ths. This juxtaposition is enhanced with additional syncopation at 1:07.
At 1:14, we get a repeat of the opening sections. Rather than repeat these exactly, I added an additional violin melody (1:14), followed by celesta and glockenspiel material (1:30).
By 1:44, we get new quieter material. Originally performed with a synthesizer, I have placed the material in the upper woodwinds accompanied by fluttering violin tremolos, allowing a momentary respite from the otherwise heated track. The remaining strings join in at 1:52 for a lovely passage juxtaposing C major, D major and E major.
This quieter material is slowly expanded upon 1:59, now with many instruments returning. The 1st violins play a passage reminiscent of their opening top pedal (0:03), while the bassoon and cello fly off on a fleeting passage of semiquavers. We reach the climax at 2:14 as the remaining brass enter with syncopated trumpets and xylophone, trilling woodwinds, and relentless tubular bells. Altogether the vast combination of material should pack quite the punch!
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Pokemon: Sword and Shield
★Developer: Game Freak
★Publisher: The Pokemon Company, Nintendo
★Composer(s): Toby Fox
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Pokemon Sword and Shield, Battle Tower, Battle Tower Theme Music, Battle Tower Battle Music, Battle Tower Battle Theme, Sword & Shield, Pokemon, Toby Fox, Toby Fox Battle Theme
#swordandshield
#tobyfox
#pokemonbattletheme
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 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
An epic orchestral cover of Toby Fox's glorious battle music found during battles in the Battle Tower of the recently released "Pokemon Sword and Shield".
--------------------
➤ Analysis:
In true Fox fashion, we begin with an excitedly energetic syncopated rhythm (0:03) which forms the underlying ostinato pattern to be found throughout most of the track. This pattern is placed in the E Aeolian mode (E-F#-G-A-B-C-D-E) through the presence of a C-natural. This opening ostinato is expanded upon (0:10), now melodically doubled a perfect 4th lower.
By 0:17, we get a new melody outlined here in the trumpet and horn. Rather than being in E Aeolian, the tonality has now shifted to E Dorian (E-F#-G-A-B-C#-D-E) with the presence of a C-sharp, allowing the common Dorian progression of i - IV (E minor - A major), which occurs here at 0:19.
However, this Dorian progression is quickly broken by the imminent C-natural that follows in the next bar (0:21), marking a return to Aeolian. We would expect the end of this 4-bar phrase to conclude in the dominant key (B major; B-D#-F#), but instead, we are given a modal cadence in B minor, which then returns to the tonic of E. This tonic however contains a surprising G#, making the tonality major rather than minor. However, we are then immediately thrust back into E minor with the return of the G-natural (0:24).
When this phrase repeats in the following 4 bars, the conclusion twists this harmony further by use of false relations (D# against D-natural; 0:30). Normally, this dissonance would be extremely harsh, but due to the swift-paced energy of the track, this fleeting dissonance is softened and only further serves to enhance the intensity of the track.
By 0:32, the strings take over the melody, re-purposing the opening rhythmic ostinato into a new melodic passage now in the submediant key of C major. Interestingly, instead of returning as expected to E minor, we return instead to E major (0:34), but quickly fall back to C major - a tertiary modulation known for creating a triumphant aesthetic.
At the end of this phrase, the strings introduce a new melody (0:43). This is picked up by the brass in the following phrase (0:47) for their moment of glory. Here I added a steady string pattern to grind against the syncopated brass rhythms to add further intensity and excitement.
The conclusion of this phrase is interrupted, breaking the expected 4-bar phrase down to a 3-bar phrase, and at 0:59 we abruptly modulate into E Phrygian (E-F-G-A-B-C-D-E) as we juxtapose between E and F with material played in predominantly perfect 4ths. This juxtaposition is enhanced with additional syncopation at 1:07.
At 1:14, we get a repeat of the opening sections. Rather than repeat these exactly, I added an additional violin melody (1:14), followed by celesta and glockenspiel material (1:30).
By 1:44, we get new quieter material. Originally performed with a synthesizer, I have placed the material in the upper woodwinds accompanied by fluttering violin tremolos, allowing a momentary respite from the otherwise heated track. The remaining strings join in at 1:52 for a lovely passage juxtaposing C major, D major and E major.
This quieter material is slowly expanded upon 1:59, now with many instruments returning. The 1st violins play a passage reminiscent of their opening top pedal (0:03), while the bassoon and cello fly off on a fleeting passage of semiquavers. We reach the climax at 2:14 as the remaining brass enter with syncopated trumpets and xylophone, trilling woodwinds, and relentless tubular bells. Altogether the vast combination of material should pack quite the punch!
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Pokemon: Sword and Shield
★Developer: Game Freak
★Publisher: The Pokemon Company, Nintendo
★Composer(s): Toby Fox
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Pokemon Sword and Shield, Battle Tower, Battle Tower Theme Music, Battle Tower Battle Music, Battle Tower Battle Theme, Sword & Shield, Pokemon, Toby Fox, Toby Fox Battle Theme
#swordandshield
#tobyfox
#pokemonbattletheme
