Uploaded April 2020 | Updated September 2026, 3 weeks ago
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It's Reyn time!
Or it will be on May 29th when the definitive edition of the narrative masterpiece, "Xenoblade Chronicles" releases. To celebrate, here is a full score transcription of the main theme (with the piano sheet music), and a full recreation to test its accuracy.
Many thanks to KibaLight for their 4K footage of the main menu screen:
youtu.be/SKON7Rc46Zw
--------------------
➤ Analysis:
I'm certain they'll update this track for the definitive edition, but nevertheless let's press on (and on, and on!)
We open with a wide major 7th chord spread out across a piano, delicately twinkling in its exposed upper register (0:02; Eb-G-Bb-D). This chord is expanded to a major 9th as the melody falls down to an F (the 2nd (or "9th") degree of Eb major). This is quickly accompanied by a major 7th/9th string chord (0:07), again spread over a vast expanse as if looking over a g(au)reat plain from a rocky precipice.
After this opening phrase fades into silence, we get a solo piano passage playing a partial snippet of the main theme (0:19), now shifted from the opening key of Eb major and into the relative minor - G minor (G-Bb-D) - and decorated with major 7th chords (Eb-G-Bb-D). This alternation of major/minor and consonance/dissonance parallels the main narrative of Xenoblade (which I shan't spoil here!)
By 0:37, the full main theme is revealed, now with additional string accompaniment decorating the gorgeous major 7th dissonances, and also with an extended harmonic progression to the relative-dominant (0:44; Bb major; Bb-D-F), subdominant (0:46; C minor; C-Eb-G) and the first diminished 7th chord (0:50; C#-E-G-Bb) acting as a pivot to the dominant key (0:53; D major; D-F#-A) as we complete the 4-bar phrase with a perfect cadence back to the tonic key (0:54; G minor).
Here, the harmonic progression repeats, this time with the addition of a panflute (which I believe never appears in the OST again). By the next time we complete this 4-bar phrase, it is now the solo violin's turn to take the lead (1:09), now with a countermelody appearing in the piano to embellish the harmonies with further added-note chords (7ths/9ths).
At 1:27, our first common wind instrument appears; a yearning oboe passage with new material calling out with a brief opening of 16th notes that are echoed back by the piano moments later - a form of call and response. Here, the harmonic progression takes a slight detour; rather than modulating to Bb major, the harmony floats down to the relative major (Eb major; 1:33), before rising back to the flattened leading chord (F major; 1:36) and into the tonic (G minor). This alternation of ascension/descent once more parallels the narrative (which - ack! - I don't want to spoil!)
As the oboe completes its phrase at 1:46, we get our first brass and percussion instruments (excluding piano), with horns, timpani and cymbals. All this time, the forces have been slowly growing from an isolated solo piano to a near full orchestral cohort (lacking some woodwinds, which the definitive version may rectify!) as we now reach the climactic section (1:46).
The strings jump to their emotional registers, the piano echoes the oboe's call and response, and the horns fall down to a yearning major 7th clash - incredibly moving material! By 2:03, we remain in the relative major (Eb) and spiral through a Phrygian progression of Eb - F (over an Eb pedal) as the strings soar upwards. By 2:21, we return to the tonic.
The climactic section concludes with a "Tierce de Picardie" (2:38); the tonic major (G) rather than tonic minor (Gm), before quickly remembering its place and falling back Gm for a final somber statement of the opening main theme in a string quintet (the only time the piano is absent).
The track concludes with a bare 5th chord (3:28), obfuscating the final tonality - is the ending happy or sad? Well, we'll have to play the game and find out ;)
--------------------
★Game: Xenoblade Chronicles
★Developer: Monolith Soft
★Publisher: Nintendo
★Composer(s): Manami Kiyota, ACE+, Yoko Shimomura, Yasunori Mitsuda
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Pianos, Vienna Symphonic Library, Sampleism Pan Flute
★Tags: Xenoblade, Chronicles, Xenoblade Chronicles, Main Menu, Main Theme, Transcription, Sheet Music, Title Screen, Score, Cover, Remix
#XenobladeChronicles
#SheetMusic
#MainTheme
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It's Reyn time!
Or it will be on May 29th when the definitive edition of the narrative masterpiece, "Xenoblade Chronicles" releases. To celebrate, here is a full score transcription of the main theme (with the piano sheet music), and a full recreation to test its accuracy.
Many thanks to KibaLight for their 4K footage of the main menu screen:
youtu.be/SKON7Rc46Zw
--------------------
➤ Analysis:
I'm certain they'll update this track for the definitive edition, but nevertheless let's press on (and on, and on!)
We open with a wide major 7th chord spread out across a piano, delicately twinkling in its exposed upper register (0:02; Eb-G-Bb-D). This chord is expanded to a major 9th as the melody falls down to an F (the 2nd (or "9th") degree of Eb major). This is quickly accompanied by a major 7th/9th string chord (0:07), again spread over a vast expanse as if looking over a g(au)reat plain from a rocky precipice.
After this opening phrase fades into silence, we get a solo piano passage playing a partial snippet of the main theme (0:19), now shifted from the opening key of Eb major and into the relative minor - G minor (G-Bb-D) - and decorated with major 7th chords (Eb-G-Bb-D). This alternation of major/minor and consonance/dissonance parallels the main narrative of Xenoblade (which I shan't spoil here!)
By 0:37, the full main theme is revealed, now with additional string accompaniment decorating the gorgeous major 7th dissonances, and also with an extended harmonic progression to the relative-dominant (0:44; Bb major; Bb-D-F), subdominant (0:46; C minor; C-Eb-G) and the first diminished 7th chord (0:50; C#-E-G-Bb) acting as a pivot to the dominant key (0:53; D major; D-F#-A) as we complete the 4-bar phrase with a perfect cadence back to the tonic key (0:54; G minor).
Here, the harmonic progression repeats, this time with the addition of a panflute (which I believe never appears in the OST again). By the next time we complete this 4-bar phrase, it is now the solo violin's turn to take the lead (1:09), now with a countermelody appearing in the piano to embellish the harmonies with further added-note chords (7ths/9ths).
At 1:27, our first common wind instrument appears; a yearning oboe passage with new material calling out with a brief opening of 16th notes that are echoed back by the piano moments later - a form of call and response. Here, the harmonic progression takes a slight detour; rather than modulating to Bb major, the harmony floats down to the relative major (Eb major; 1:33), before rising back to the flattened leading chord (F major; 1:36) and into the tonic (G minor). This alternation of ascension/descent once more parallels the narrative (which - ack! - I don't want to spoil!)
As the oboe completes its phrase at 1:46, we get our first brass and percussion instruments (excluding piano), with horns, timpani and cymbals. All this time, the forces have been slowly growing from an isolated solo piano to a near full orchestral cohort (lacking some woodwinds, which the definitive version may rectify!) as we now reach the climactic section (1:46).
The strings jump to their emotional registers, the piano echoes the oboe's call and response, and the horns fall down to a yearning major 7th clash - incredibly moving material! By 2:03, we remain in the relative major (Eb) and spiral through a Phrygian progression of Eb - F (over an Eb pedal) as the strings soar upwards. By 2:21, we return to the tonic.
The climactic section concludes with a "Tierce de Picardie" (2:38); the tonic major (G) rather than tonic minor (Gm), before quickly remembering its place and falling back Gm for a final somber statement of the opening main theme in a string quintet (the only time the piano is absent).
The track concludes with a bare 5th chord (3:28), obfuscating the final tonality - is the ending happy or sad? Well, we'll have to play the game and find out ;)
--------------------
★Game: Xenoblade Chronicles
★Developer: Monolith Soft
★Publisher: Nintendo
★Composer(s): Manami Kiyota, ACE+, Yoko Shimomura, Yasunori Mitsuda
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Pianos, Vienna Symphonic Library, Sampleism Pan Flute
★Tags: Xenoblade, Chronicles, Xenoblade Chronicles, Main Menu, Main Theme, Transcription, Sheet Music, Title Screen, Score, Cover, Remix
#XenobladeChronicles
#SheetMusic
#MainTheme
![Izumo in Despair | Orchestral Cover
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Enjoy this ethnic-orchestral arrangement of Izumos first theme from Golden Sun!
➤ Analysis:
In Golden Sun, various real-world locations served as the inspiration for various in-game locations. For Izumo, the real-world equivalent would be Japan as it resides on the eastern edge of the world map and with similarly shaped islands.
When we initially arrive, Izumo is in despair after the nearby Serpent-Dragon (residing in Gaia Rock) awoke, likely as a result of Mt. Aleph erupting at the beginning of the series. The Serpent demands a female sacrifice each year, and this years sacrifice falls to Kushinada (the character in the thumbnail). Susa, the fiancé of Kushinada, will not stand for this, and ventures to Gaia Rock to slay the serpent himself.
The name Kushinada itself stems from the Japanese legend of the same name, where a woman is similarly rescued from the clutches of a Serpent by the God Susano-o who then marries her.
So with such an obvious connection to Japan, how does Sakuraba treat the music to accompany this story?
We open with an ambiguous chord; a minor 7th chord with a suspended 4th (E-A-B-D). This chord serves as the tonal anchor of the track, appearing for the vast majority of it. The lack of the 3rd (here, the G), suggests a pentatonic foundation (using only 5 notes; here, E-F-A-B-D) - a particularly Eastern musical trait. And indeed, those are the only 5 notes that are used in the entire track.
To complement the Eastern aesthetic, I replaced the hi-hat with Japanese taiko stick hits, as well as suzu bells (similar to sleigh bells), which are often used for good luck and to ward off spirits. The melody falls to the Shakuhachi - a Japanese flute.
The harmony remains relatively static until 0:20, where the bass shifts upwards a semitone to F, forming a quasi-Lydian / Phrygian chord of F-A-B-D (Lydian due to the sharpened 4th (B); or Phrygian due to the flattened 2nd (F)). Oscillating between these two chords (E-A-B-D & F-A-B-D) remains the sole harmonic interest for this track... but thats all it needs to convey such a despairing emotion!
By 0:38, we progress to a new section. Here, a koto zither instrument is added to enhance the Eastern focus (originally this was some sort of low vibraphone / celesta). Additionally, a shō (mouth organ) is added, oscillating between these two chords once more with a gentle fade. And finally, I also added some mystical gong and singing bowl strikes to add a touch of meditative spirituality.
The Shakuhachis return for the final section (0:53), as we oscillate once more between the two chords before looping. Relatively simple material.
To finish, I wrote a brief concluding statement to give a definite end to the track (2:10).
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, Vienna Symphonic Library, Ethno World 5
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Izumo, Izumo in Despair
#GoldenSun
#Orchestra
#Izumo Izumo in Despair | Orchestral Cover](https://i.ytimg.com/vi/8-5wl1DBLEk/mqdefault.jpg)








![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)