Uploaded April 2017 | Updated September 2026, 2 weeks ago
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A transcription I've made of one of the later themes from "To The Moon" and a recording I created to test its accuracy!
--------------------
➤ Analysis:
The original piece by Kan Gao was entirely improvised (see the 'Original audio' link below), making it a great challenge to transcribe due to sudden tempo shifts and keyboard voicings as opposed to string voicings. Nevertheless, Gao's end result is absolutely gorgeous (I hope you'll agree!) and it is one of my favourites from the game.
As such, the tempo here is not strict at all, but rather very loose and improvisatory, and the dividing of the parts is equally as loose.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: To The Moon
★Developer: Freebird Games
★Publisher: Freebird Games
★Composer(s): Kan Gao
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: To The Moon, To The Moon OST, To The Moon Soundtrack, Tomorrow, Kan Gao, To The Moon Tomorrow
#ToTheMoon
#Tomorrow
#SheetMusic
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A transcription I've made of one of the later themes from "To The Moon" and a recording I created to test its accuracy!
--------------------
➤ Analysis:
The original piece by Kan Gao was entirely improvised (see the 'Original audio' link below), making it a great challenge to transcribe due to sudden tempo shifts and keyboard voicings as opposed to string voicings. Nevertheless, Gao's end result is absolutely gorgeous (I hope you'll agree!) and it is one of my favourites from the game.
As such, the tempo here is not strict at all, but rather very loose and improvisatory, and the dividing of the parts is equally as loose.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: To The Moon
★Developer: Freebird Games
★Publisher: Freebird Games
★Composer(s): Kan Gao
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: To The Moon, To The Moon OST, To The Moon Soundtrack, Tomorrow, Kan Gao, To The Moon Tomorrow
#ToTheMoon
#Tomorrow
#SheetMusic
![Colosso Starts! | Orchestral Cover
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With the excitement around Super Smash Bros., I figured it was time to have a go at orchestrating Sakurabas Colosso themes from Golden Sun, starting with this one!
➤ Analysis:
The piece is highly energetic, with a powerfully driving rhythm (see cellos at the start) and several hemiolas (0:46) which further create the exciting rhythmic pulse.
The original also contained elements of fanfare, with its notable use of trumpets (again with Sakurabas excellent echoing effect, which Ive applied here at 0:46 in the trumpets) and triumphant major key. The additions Ive added (e.g. the woodwind and harp responses of 0:07 and 0:14) further enhance this victorious aesthetic.
Heres to Isaac one day making it into Smash as a playable character!
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, Colosso, Golden Sun Colosso, Colosso Starts
#GoldenSun
#Orchestra
#TheLostAge Colosso Starts! | Orchestral Cover](https://i.ytimg.com/vi/d7XZlKepvHY/mqdefault.jpg)


![An Enemy Appears | Orchestral Cover
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A villainous theme from the second Golden Sun, now orchestrated in all its sinister fanfare.
➤ Analysis:
One of the many menacing themes of Golden Sun, appearing during our first encounter with Karst, and before our final battle with the Wise One.
The original opened with a dissonant male choir trudging atop several bass instruments pivoting between a tritone (the Diabolus in Musica / Devil in Music). To expand upon this devilish sound, Ive encompassed a full SATB choir - now with relevant Latin text - as well as a church organ at full throttle to complement the menacing aesthetic.
The track is largely littered with these tritone intervals, which are one of the quickest compositional methods to create evil music (e.g follow the bass instruments throughout).
As this opening choir & organ section concludes, we shift into a more orchestral segment (0:25). Here, the brass are all equipped with mutes (con sord. / with mute), while the strings all play with the technique sul ponticello / on the bridge for a scratchier timbre. Together, these techniques create an unsettlingly harsher sound than if they were played normally - fitting for a villainous theme!
Note how the melody here descends chromatically (0:25). Chromaticism is another excellent technique for achieving dissonance and gives you the possibility to modulate anywhere with complete freedom (more or less). As this phrase ends (0:35), we get another tritone clash in the choir and organ, suggesting elements of the Lydian mode (F-G-A-B-C-D-E).
Moving into the next section (0:37), the choir goes off on a seemingly random chromatic phrase (now doubled in a muted trombone), while the bass instruments repeat the tritone pivot found in the opening. To complement this dread, I inserted a reference to a dissonant melody from another sinister Golden Sun track (bonus brownie points to anyone that can figure it out), as well as quivering muted horns growing and fading.
As this section continues its 2nd half (0:50), we jump up a minor 3rd to G. The melody becomes doubled in violin harmonics for an additional eerie aesthetic, while the sul ponticello strings make an early return. It is also worth mentioning the extreme dissonances Sakuraba employs here (note the minor 9th - C# & D - in the bass and choir; 0:57), and numerous false relation clashes (see 0:52; the G-natural in the bass clashing against the G# in the choir).
As this section closes (1:00), we get a nearly identical repeat of early material (0:25), now with additional choir and organ dissonance spelling out an insane chord that I cant even name in this harmonic context (C#-D-G over a C#, so some sort of sus-4 minor 9th). Really heavy stuff! :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
★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, An Enemy Appears, Agatio and Karst
#GoldenSun
#Orchestra
#AnEnemyAppears An Enemy Appears | Orchestral Cover](https://i.ytimg.com/vi/ecfg2vJvx28/mqdefault.jpg)
![Tolbi | Orchestral Cover
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Heres a cheerful little arrangement of Tolbi from Golden Sun - dont forget to bring your lucky medals! I hope it brightens up your 2020 just a little bit! :)
➤ Analysis:
A rather simple, little tune, but nevertheless just as memorable as any other. This track starts in E major (E-G#-B; 0:03), shifting in the 2nd measure to the subdominant over a 2nd inversion tonic pedal (A major; A-C#-E over an E), then to the dominant by the 3rd measure (B major; B-D#-F#) and finally resolving via a perfect cadence back to the tonic of E major (0:05).
In this remarkably short little phrase, we effectively have a I-IV-V-I progression - one of the most common Western progressions ever used - and the entire track swims solely between these 3 chords.
The next 4-bar phrase is similar (0:06-0:09) - I-IV-V-V - concluding with an imperfect cadence in the dominant (V; B major; 0:09), which is resolved as expected to the tonic (I). Together, this 8-bar phrase is repeated (0:09 - 0:15).
Then we modulate to the subdominant (IV; A major; 0:15), with the oboe taking the lead as we alternate between IV and V (A major and B major) - already preparing us for the eventual return to the tonic via a perfect cadence (0:29).
Here, the opening 8 measures are repeated (0:29 - 0:42). So that it is not an exact repeat, I have added a decorated piccolo doubling the panpipe melody an octave above, as well as additional attack from the marimbas doubling the celesta.
We reach the final section at 0:42. Here, the celesta takes the melody in Sakurabas original, which I have doubled with the piccolo (and later, glockenspiel) here. Harmonically, there is a functional dissonance created as a result of pitting a tonic pedal (E; see upright bass) against a dominant chord (B-D#-F#; 0:44). This creates a semitonal clash of D#-E, but it is a soft dissonance since the D# is resolved up to the E as our ears would expect it to.
Due to the simplicity of the overall harmony, and the soft instruments of Sakurabas original, I deduced this little track to be a festive one that represented a bustling market town of festivities (e.g. Colosso and all the good old gambling minigames). As such, my orchestration ties into this rustic, unperturbed aesthetic, using almost entirely woodwinds and percussion as if the villagers themselves were colloquially performing the track.
I did experiment with retaining the beefy bass guitar from Sakurabas original, but it didnt quite complement this aesthetic and was too out of place - at least for this arrangement!
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Sampleism (Panpipes).
★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, Tolbi, Town, Village,
#GoldenSun
#Orchestra
#Tolbi Tolbi | Orchestral Cover](https://i.ytimg.com/vi/ehlGyBiU1pI/mqdefault.jpg)
![Trouble is Brewing | Orchestral Cover
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Enjoy this (totally appropriate) theme to start off the new year lmao
➤ Analysis:
As one of the few tracks used to signify danger, how does Sakuraba achieve this emotion through music?
From the first bar, we are thrust into dissonance. The starting note in the violin scrapes fiendishly against the other instruments (E against E♭ - a semitonal dissonance). The violins continue swirling through various chromatic progressions (E-F-E, followed by A-G♯, and then E-F again), which is exacerbated by the entry of a countermelody in the 2nd violin (0:08) that is given similarly chromatic material.
All the while, the bass instruments bellowing underneath follow their own chromatic descent (E♭-D-C♯). And to cement everything together, a drum kit plays a surprisingly simple beat, whilst low drums maintain momentary booms of doom deep below.
Trying to pinpoint a tonal center here would be a moot point, although there does seem to be some focus on E (particularly E Hijaz; E-F-G♯-A-B-C-D-E) if we looked solely at the violins. But the bass material combined with the abundance of chromatic notes would instead suggest atonality (music without any particular tonal stresses).
This chromaticisms continues for some time and reaches a climax at 0:17. Here, Sakuraba employs a devilishly chromatic chord: G♯-A-B♭-E♭-F. And even after taking out the worst chromatic offender (A), the remaining chord still lacks any proper tonal attachment (A♭-B♭-E♭-F), further creating the sound of instability.
From 0:24, we repeat the opening material with a new countermelody in the brass. This commences on E (again suggesting some focus on E) and is similarly chromatic (E-D♯-G-E-F-F♯-G-F♯ etc.). This is joined by another drum kit, this time consisting of various improvisatory drum fills as if the meter has started to collapse. I also added some semitonal woodwind trills to complement this.
By 0:39, the collapse is pushed further with additional chromatic falling, and at 0:45 I decided to extend the track by an additional 8 bars, taking the material up a 5th (to B). This enhances the sense of oncoming terror by making the music sound as if it is getting closer, and the sense of collapse is further complemented by the free falling of brass at the end of their phrase (1:00). All the while, a new chromatic ostinato in the flutes and violins scratches the ceiling of this palette.
To finish, I wrote a short ending (1:59) that slowly creeps into view, eventually forming an unstable diminished 7th chord (D♯-F♯-A-C) that rises chromatically before finishing with one final bare 5th chord in the low instruments.
In general, it is through the extensive use of chromaticisms, lack of tonal center and increasingly semitonal harmonies that contribute to the tracks success in conveying danger.
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
★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
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Trouble is Brewing
#GoldenSun
#Orchestra
#2023 Trouble is Brewing | Orchestral Cover](https://i.ytimg.com/vi/fQPXO0CoDQM/mqdefault.jpg)



![Prologue (Book Two) | Orchestral Cover
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Another orchestration of Sakurabas music from Golden Sun: The Lost Age. This time, the music that first greets you as you begin the 2nd game.
➤ Analysis:
This was a rather tricky one, both to transcribe and orchestrate. The transcription was challenging due to the very inaudible flute passage from (0:28) in the original, and the orchestration proved tricky to balance with all the (excessive!) fanfares.
The music begins in the Dorian mode (with a sharpened 6th, which here is the C#), until the whopping climactic C major 7th chord at 0:16, in typical (and glorious) Sakuraba fashion.
The quieter sections melody (0:28) is reminiscent of the original Golden Sun theme from the 1st game (with the initial ascending crotchets, followed by a dotted crotchet and two semiquavers). I referenced this in the orchestration at 0:48 by adding the triplet rhythm in the horn and trombone - a continuation of the Golden Sun theme following the opening notes of the theme that have already been played.
The link between repeats is quite a stretch, modulating from C major into E major - a triadic shift - which is a commonly used progression for modulating to a tonic via a perfect cadence (V - I, which here would have been E major to A major). However, that modulation is absent, making the progression all the more powerful.
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun: The Lost Age
★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, Prologue, Book Two, Prologue (Book Two), Golden Sun Prologue
#GoldenSun
#Orchestra
#TheLostAge Prologue (Book Two) | Orchestral Cover](https://i.ytimg.com/vi/guhmlJKmMsc/mqdefault.jpg)
![Valak Mountain (Night) | Orchestral Cover
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To complement Satorl Marsh (Night), here is the peaceful yet vast Valak Mountain (Night), fully transcribed with sheet music and an audio recreation.
Many thanks to KibaLight for their 4K Xenoblade footage:
https://youtu.be/SKON7Rc46Zw
➤ Analysis:
The vast Valak Mountain, located on the Bionis right arm, is one of the largest, most spacious areas of Xenoblade Chronicles. A cold, snowy tundra littered with thin, icy ridges and scattered hot springs - what music should accompany this?
Here, the track begins in solitude: a chilly solo piano - at least for a few moments - before a drum kit cymbals emerges out of the blizzard with a stable, quasi-improvised rhythm, as if imitating small steamy hisses from the hot springs and geysers. These two instruments complement each other - alone, for quite some time.
Harmonically, the track has an ambiguous opening (0:03) - a sort of G minor / Eb major spelled out by the pianos G-Eb-D-Bb melodies - but by 0:19, we get a more familiar chordal progression: Ab - Fm - Cm. Now the tonal center is clear - C minor (C-Eb-G; 0:28).
At 0:35, distant percussion is added, echoing in the extremes of the right and left audio channels and providing rhythmically syncopated dissonance against the hitherto static cymbal 16th-note material. Is there a meaning behind such a sudden dissonance? Only epic tales will tell! But personally, I imagine these new percussion instruments as if clumps of snow were falling afresh from overhanging cliffs surrounding the party.
By 0:52, we progress to the main section of the track with new instruments, although still remarkably sparse. The introduction that came prior (0:03 - 0:51) is never heard again. This new section is most characterized by its chords: Cm - D diminished - G minor 7th - F minor 7th (0:52 - 1:00). This progression is yearning deeply for something, and perhaps it receives it at 1:09 with a plagal cadence into the distant key of Bb minor (Bb-Db-F), acting as a plagal pivot to the subdominant - F minor (F-Ab-C; 1:13).
Here (1:13), we get another addition - a reversed piano, almost as if the music is reflecting off of the rocky cliffs and echoing back a response. By 1:16, some extreme progressions occur: we get an abrupt tertiary shift from Eb into Gb (Gb-Bb-Db; 1:21) - arguably the most distant chord from our tonic of C minor (a tritone away). In so short a space of time, we have traveled incredibly far, harmonically, which could be representative of the maps vast expanse and ability to swiftly traverse via icy slides.
After 4 measures (1:09 - 1:25), we expect a repeat of the material - which we get nearly half of (Bb minor to F minor; 1:25). But then we disrupt this regular phrasing with a cadence in Eb major (1:33) - the relative of C minor. But we dont stay for long, as we travel once more to Gb major via a distant tertiary shift (1:38), then back to Eb (1:42) and again up to Gb (1:46).
From here (1:50), we step chromatically upwards into G minor (G-Bb-D) - a progression that works seamlessly due to the shared note, Bb. Following this is an alternation of G minor and Ab major 9th (Ab-C-Eb-G-Bb) with a new addition of a twinkling triangle.
But at 2:06, a huge shift occurs; for the first time, the drum cymbals cease, and the piano is left nearly in isolation, saved only by bare 5ths in a harp. We have returned to our tonic, but quickly fall into a surprising A-diminished 7th (A-C-Eb-F#; 2:19) with an additional beat, slipping downward via good voice leading into Ab.
Here (2:24), we get a reference to the introductions Ab - Fm - Cm progression, now extended as the piano suddenly finds itself alone (2:32). And as we reach the end, the piano starts to drift out of sync with the drum cymbals (2:48) as if losing its way, before referencing more introduction material (2:53) to prepare for the repeat.
Throughout ACE+ have successfully managed to capture the vastness of the Valak Mountains and what it is like to traverse them.
★Game: Xenoblade Chronicles
★Developer: Monolith Soft
★Publisher: Nintendo
★Composer(s): ACE+
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, HALion
★Tags: Xenoblade Chronicles Definitive Edition, Valak Mountain Night, Valak Mountain (Night), Xenoblade Chronicles, Sheet Music, Score, Valak Mountain Sheet Music
#XenobladeChronicles
#SheetMusic
#ValakMountain Valak Mountain (Night) | Orchestral Cover](https://i.ytimg.com/vi/h1Eo_YX8zFI/mqdefault.jpg)