Garoh (Extended) | Golden Sun Orchestral Cover TandA 2022-11-13 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/BXrhX💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended version of the TandA x VVGO collaboration for "Garoh".--------------------➤ CREDITS:"Garoh" from Golden Sun Composed by ➤ Motoi SakurabaArranged by ➤ Jonathan ShawProject Hosts➤ Jonathan Shaw➤ NeshirysAudio Editor ➤ Jonathan ShawVideo Editor ➤ Jordy de LatIllustrator ➤ NeshirysGraphic Designer ➤ Nella SiedlińskaVVGO Executive Directors➤ Finny Jacob Zeleny➤ Grace Fiacco➤ Jackson Argo➤ Jose Daniel Ruiz➤ Justin LevineAlto & Tenor Recorder ➤ Eddie ChungIrish Whistle➤ Ian MartynFlute➤ SableProvidenceEb Clarinet➤ Eddie ChungBb Clarinet➤ Valse39Horn in F➤ Jacob White➤ Kevin Randles➤ Stephen KaltreiderTrombone➤ Calem Destiny➤ Jesse Adams➤ Veronica Tyler ChristieTuba➤ Calem DestinyTimpani➤ Scott LuxenbergBass Drum➤ DpMusicmanSuspended Cymbal➤ DpMusicmanMark Tree➤ Thomas HåkansonGlockenspiel➤ Thomas HåkansonCelesta➤ DpMusicmanHarp➤ Leslie PocklingtonSoprano➤ Calem Destiny➤ Daphne F➤ Del Estes➤ Lilac Flute➤ Nemo➤ NeshirysAlto➤ Daphne F➤ Lilac Flute➤ Leslie Pocklington➤ Nemo➤ NeshirysBass Guitar➤ Carrie WoodViolin➤ Caroline Augelli➤ Corva Jade➤ Jonathan Shaw➤ Joshua Garver (Solo)➤ Marcos Garcia➤ Samuel Pangestu➤ Sean Harding (Solo)Viola➤ Corva Jade➤ Daphne F➤ Nemo➤ Samuel PangestuCello➤ Chromatic Apparatus➤ Grace FiaccoContrabass➤ John March--------------------Also a huge thank you to my patrons for supporting this channel and this project:➤ 泽正 孙➤ 新宇 劉➤ Alaska➤ Alex B➤ Anders Viktor Kvile➤ Andrew Wilson➤ Aurore Louviaux➤ The Carlos V➤ Carrie Wood➤ Christopher Peterson➤ Dan➤ Debuffv➤ Diannetea➤ DoorkeeperForLethal➤ Elie Hess➤ Elliot McAuley➤ Ernest➤ Ero-Mate➤ Faustenberger➤ Hydros➤ Ivan Salcedo➤ Jahudiel Helí➤ James Alegria➤ Jared Le Doux➤ Jeremy Goh➤ Joker➤ Kurihara Hiroki➤ Matthew Buscemi➤ Mesmerist➤ Michael Holmes➤ Miguel Lino Mata➤ Music Scores➤ Platix Zhan➤ POPTART➤ Qing Luo➤ Raúl Sangonzalo➤ Relaxmoods.com➤ Rémy Goux➤ Saderb➤ SageNine Music➤ Schreiber➤ Sclax➤ SDanckaert➤ Sean Endress➤ Sharmander➤ Shindonghyuk➤ SkyguyLP➤ Solomon Krygier-Paine➤ Stanley Muzylowski➤ Timon Kalis➤ ViolinGamer➤ Zach Ernst--------------------★Game: Golden Sun: The Lost Age★Developer: Camelot Software Planning★Publisher: Nintendo★Composer(s): Motoi Sakuraba★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Garoh, A Full Moon in Garoh#GoldenSun#Orchestra#Garoh
Garoh (Golden Sun) | TandA x VVGO TandA 2022-11-06 | Featuring 30 musicians and in collaboration with the Virtual Video Game Orchestra (VVGO) for their 2022 Summer Mixtape, please enjoy our virtual performance of Golden Sun's "Garoh".🎵 Sheet Music & Parts ➤ musicnotes.com/l/BXrhXCheck out our previous live project "Wintery Imil", featuring 40 performers!➤ youtu.be/EFO9rAg5KvIWant to hear the full mixtape or participate in future projects? Come and join the VVGO Discord - all skill levels welcome! :D➤ discord.gg/mt8EZdsrc6➤ vvgo.orgCheck out the VVGO YouTube page for the full Summer Mixtape, plus our other Golden Sun project, featuring over 450 submissions!➤ youtube.com/c/VirtualVideoGameOrchestra--------------------★ A massive thanks to ★My co-host, Neshirys, for assisting in organizing the whole thing, in addition to creating the gorgeous artwork and graphics used in the video. Do please check out their other work and support them on Ko-fi!➤ https://linktr.ee/Neshirys➤ ko-fi.com/neshirysThe video wizard, Jordy de Lat, for never being satisfied with 100% and always going for 200%, creating phenomenal videos and graphic design. Do please check out their incredible work!➤ youtube.com/c/Sector8➤ artstation.com/cloudjorVVGO and their executive directors for creating such a wonderfully collaborative environment of fellow musicians that share a love of video game music!➤ vvgo.org--------------------Also a huge thank you to my patrons for supporting this channel and this project:➤ 泽正 孙➤ 新宇 劉➤ Alaska➤ Alex B➤ Anders Viktor Kvile➤ Andrew Wilson➤ Aurore Louviaux➤ The Carlos V➤ Carrie Wood➤ Christopher Peterson➤ Dan➤ Debuffv➤ Diannetea➤ DoorkeeperForLethal➤ Elie Hess➤ Elliot McAuley➤ Ernest➤ Ero-Mate➤ Faustenberger➤ Hydros➤ Ivan Salcedo➤ Jahudiel Helí➤ James Alegria➤ Jared Le Doux➤ Jeremy Goh➤ Joker➤ Kurihara Hiroki➤ Matthew Buscemi➤ Mesmerist➤ Michael Holmes➤ Miguel Lino Mata➤ Music Scores➤ Platix Zhan➤ POPTART➤ Qing Luo➤ Raúl Sangonzalo➤ Relaxmoods.com➤ Rémy Goux➤ Saderb➤ SageNine Music➤ Schreiber➤ Sclax➤ SDanckaert➤ Sean Endress➤ Sharmander➤ Shindonghyuk➤ SkyguyLP➤ Solomon Krygier-Paine➤ Stanley Muzylowski➤ Timon Kalis➤ ViolinGamer➤ Zach Ernst--------------------"Garoh" from Golden Sun Composed by ➤ Motoi SakurabaArranged by ➤ Jonathan ShawProject Hosts➤ Jonathan Shaw➤ NeshirysAudio Editor ➤ Jonathan ShawVideo Editor ➤ Jordy de LatIllustrator ➤ NeshirysGraphic Designer ➤ Nella SiedlińskaVVGO Executive Directors➤ Finny Jacob Zeleny➤ Grace Fiacco➤ Jackson Argo➤ Jose Daniel Ruiz➤ Justin Levine★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Garoh, A Full Moon in Garoh#GoldenSun#VVGO#Garoh
Feeling Lucky (Extended) | Golden Sun Orchestral Cover TandA 2022-10-16 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/HghhQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended version of Golden Sun's "Feeling Lucky / Lucky Dice", now with a full jazz ensemble, ohhhh yeah!--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic & Addictive Drummer.★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, Addictive Drummer, My Hands :O★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Feeling Lucky, Lucky Dice#GoldenSun#Orchestra#FeelingLucky
Feeling Lucky | Orchestral Cover TandA 2022-10-09 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/HghhQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleTime to sit back, relax, and roll some dice with this jazz arrangement of the Lucky Dice / Lucky Medal mini-game music, also doubling as the lobby music for the battle mode.--------------------➤ Analysis:The go-to jazz track in Golden Sun, this accompanies the various mini-games throughout the game, such as Lucky Dice / Lucky Medal Fountains as well as the background music for the link battle lobby. So what does Sakuraba use to create a jazzy atmosphere?Instrumentation-wise, the original gives us a drum kit & walking bass maintaining the rhythmic and harmonic anchors respectively. A brassy stab punctuates the chord in a syncopated (off-beat) way on occasion. And all are underpinning an improvisatory soloist on top (panpipes).As such, when orchestrating I decided to use a small jazz ensemble to complement this: a saxophone soloist (replacing the panpipes for more accessibility), a muted brass group, drums and other small percussion, a new piano soloist, and an upright bass (replacing the bass guitar for a more club-like feel). This new instrumentation therefore shifts closer to classic jazz orchestration as if you were having drinks at a bar with a live band on stage.Harmonically, we remain very simple: oscillating between E major and D major. This allows for the soloist to easily improvise their own material by following these familiar chords. To decorate this, Sakuraba uses added-note chords (chords with notes that go beyond the triad), such as 9ths (D-F♯-A-E; found in the panpipes/saxophone at 0:17) and 6ths (E-G♯-B-C♯; found also in the panpipes/saxophone at 0:06). These added-note chords are particularly characteristic of jazz through the blurring of the tonality.Further evidence of jazz can be found directly with the cymbals of the drum kit, which are playing the familiar jazz swing rhythm / ride cymbal pattern (dotted: DUN, dun-dun DUN, dun-dun DUN) which is predominant in jazz repertoire, as (of course) are all of the solos: saxophone at 0:04 - 0:28, trumpet at 0:28 - 0:41, and piano at 0:41 - 0:53.My main addition to this track is the piano, which adds a quasi-improvised accompaniment throughout in addition to its own solo at 0:41, and also a little ending to conclude the track properly (1:43), where I also construct various added-note chords and some false relations (playing the same note with 2 or more accidentals at the same time; here, C and C♯) before concluding on a massive E9 add6 chord (E-G♯-B-C♯-F♯).(P.S. I don't wanna transcribe jazz solos anymore lmao)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic & Addictive Drummer.★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, Addictive Drummer, My Hands :O★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Feeling Lucky, Lucky Dice#GoldenSun#Orchestra#FeelingLucky
2022 Trailer Theme (Extended) | The Legend of Zelda: Tears of the Kingdom TandA 2022-09-25 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/cG5MW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn 30-minute extended version of TandA's full transcription and arrangement of the 2022 trailer music for The Legend of Zelda: Tears of the Kingdom.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Massive.★Game: The Legend of Zelda: Tears of the Kingdom★Developer: Nintendo★Publisher: Nintendo★Composer(s): Yasuaki Iwata, Manaka Kataoka, Hajime Wakai★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Massive★Tags: The Legend of Zelda, Tears of the Kingdom, Nintendo Direct Trailer Theme 2022, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#TearsOfTheKingdom#zelda #breathofthewild
Trailer Theme (2022) | The Legend of Zelda: Tears of the Kingdom TandA 2022-09-13 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/cG5MW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleRight, now I can sleep. Here is a full sheet music transcription and recreation of today's huge announcement from the Nintendo Direct - The Legend of Zelda: Tears of the Kingdom, plus a short analysis.--------------------➤ Analysis:We commence with a rather ambiguous atonal section (atonal, as in not tethered to any particular key signature). To demonstrate this, the first chord in the piano is C-A-D-B♭, which when arranged chronologically form a rather clustered scale (A-B♭-C-D). If we added the synth notes to this (E♭ & B♭), we get the even larger scale of A-B♭-C-D-E♭, which spells out the historically forbidden "Locrian Mode" (playing the white notes on the piano from B to B). This is the most dissonant and unstable of all Western modes due to the presence of the augmented 5th interval (the "Diabolus in Musica / Devil in Music"), seen here as the interval between the A to E♭.This is one of many techniques the composers employ to evoke a sinister and unnerving atmosphere. Another factor that complements this is the use of the "prepared piano" instrument - a 20th century creation whereby objects are placed onto the piano strings to create new and unusual timbres.We finally get some semblance of familiarity by 0:40, as the full orchestra appears. Here, the lower instruments accentuate the note "F", suggesting a new tonal centre. However, this is quickly blurred by the upper strings emphasizing various added notes, including E♭'s and G's. What is ultimately spelled out is thus an F major 9th suspended 4th chord (F-B♭-C-E♭-G), which is another unstable chord due to the 4th and 7th wanting to resolve (to the 3rd & 6th/8ve respectively). Yet it is more tonal-sounding than our previous Locrian setting due to the lack of the (over-hated D: ) augmented 5th interval.By 0:54, the bass instruments descend to E♭, acting as a pivot to our new tonic of D♭ (0:56) - a rather common tertiary modulation from F to D♭. Here, a Major 7th is spelled (D♭-F-A♭-C) - an exciting chord used often in film & video game music. At this moment, the piano plays a familiar motif referencing the opening to the original Breath of the Wild (youtu.be/cPWBG6_jn4Y); the now iconic oscillation of two piano notes.As the orchestra climaxes (1:06), we get an abrupt silence ("niente"), followed by more tonally loose piano notes returning to our previous F major 9th suspended 4th chord (F-B♭-C-E♭-G), tailing the track off with a subtle cyclical structure. And finally, some sort of cowbell-like instrument marks the end of the track. This particular instrument will likely hold importance in Tears of the Kingdom, notably as this exact instrument also appears in the previous E3 2021 Trailer Theme (youtu.be/6_nXJy2aNHU?t=27). Thus I suspect this instrument / SFX has some strong relevance to the game. But only time will tell!Enjoy! - And now I can finally sleep after getting this out in just 6 hours :P--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Massive.★Game: The Legend of Zelda: Tears of the Kingdom★Developer: Nintendo★Publisher: Nintendo★Composer(s): Yasuaki Iwata, Manaka Kataoka, Hajime Wakai★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Massive★Tags: The Legend of Zelda, Tears of the Kingdom, Nintendo Direct Trailer Theme 2022, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#TearsOfTheKingdom#zelda #breathofthewild
Sea of Time (Extended) | Golden Sun Orchestral Cover TandA 2022-07-31 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/CGfMq💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended version of Golden Sun's "Sea of Time", now for orchestra.--------------------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 TandA 2022-07-24 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/CGfMq💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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~ 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 can't 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 Sakuraba's 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 violin's 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
A Life Sent On (Extended) | Xenoblade Chronicles 3 Orchestral Cover TandA 2022-07-10 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/RfxMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn orchestral cover of A Life Sent On (a variation of the main theme) from Xenoblade Chronicles 3, officially titled "A Life Sent On", now extended to 30 minutes.Dizi performed by SableProvidence.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Xenoblade Chronicles 3★Developer: Monolith Soft★Publisher: Nintendo★Composer(s): Yasunori Mitsuda, ACE, Kenji Hiramatsu, Manami Kiyota, Mariam Abounnasr★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Xenoblade Chronicles 3, Xenoblade, Xenoblade 3, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Main Theme, A Life Sent On, Extended#xenoblade #xenobladechronicles #xenobladechronicles3
A Life Sent On (Xenoblade Chronicles 3) | Orchestral Cover TandA 2022-07-03 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/RfxMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleComing at the end of the month is the greatly anticipated Xenoblade Chronicles 3. And even if we can't get our special editions, we can always find some solace in its soundtrack - here is "A Life Sent On", a variation of the main theme, fully transcribed and recreated.With many thanks to SableProvidence for performing the Flute/Dizi parts.--------------------➤ Analysis:(Contains mild spoilers from the pre-release info)Two of our protagonists, Noah and Mio, are tasked with the duties of an "off-seer"; a role dedicated to sending on the voices of the departed. They achieve this through playing the flute, and this melody in particular is thus aptly known as the "melody of the off-seers". With a theme of the game being defeating others to claim their life as your own, I suspect the role of the off-seers seeing off the departed will be incredibly profound (and their music even more so). I can certainly hear this music being played after various character deaths! :DWe open in Aeolian mode (A-B-C-D-E-F-G) - A minor without the leading note of G♯. Here, a singular flute (played by Mio) swirls around an ornamented phrase decorated with various appoggiaturas, trillings and bends. These decorative inflections are very idiomatic.By 0:20, a second flute enters (played by Noah) with an alternate melody. For this brief moment the two flutes join together, combining their phrases into a beautiful display of harmony, until Mio's flute fades off to allow Noah a moment on his own (0:27).Thus, what we have are two entirely separate flute phrases that are staggered one after the other, with a brief overlap in between. I suspect these two individual phrases will hold more importance for the two characters - perhaps appearing as various little motifs in each of their own areas (as Noah & Mio are from opposing territories).The next section commences at 0:39 with similar ornamented material to the opening, now accompanied by a harp. There are several added note chords (e.g. major 7ths, 9ths and suspended 4-3 chords). We travel briefly into the subdominant (0:55; D minor - D-F-A) before returning to A (1:00), and as we rest on an imperfect cadence preparing the next phrase (1:08), the strings begin to enter.We then have our final phrase (1:12), with a piano replacing the harp's accompaniment function. The flutes return to their opening material which is now harmonized underneath by the other instruments, colouring their two melodies in a wonderfully emotive display. At 1:21, we get a surprising little adventure into D major (in 1st inversion) followed by B♭ - a tertiary modulation (D - B♭) - which for the bass is an uncommon interval of a diminished 4th (F♯ - B♭; essentially a major 3rd spelled differently). This drops to E♭ (1:25), a distant tritone away from our opening tonic of A.So how can we get back to A from here? Mitsuda cleverly sneaks in another hidden tertiary modulation, pivoting from E♭ to C (in 1st inversion; 1:27), allowing us to modulate to D minor - a close relative of A. And as we close the phrase (1:36), the flutes venture further and extend their initial phrases to tail off the melody beautifully with an ambiguous suspended 4th chord (A-D-E), leaving the final tonality up for interpretation.Although the track ends here, I suspect that this track is currently incomplete and we will get the full version when the game releases. My theory for this is that the piano gives us a rather abrupt modulation in its final notes - G minor in 1st inversion (B♭-G-D) - which is very unusual following our journey back to A. It's also the shortest main theme. So I suspect there will be more to follow after this, or I could just be a bunch of jokers ¯\_(ツ)_/¯(Plot twist: I was indeed a joker)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Xenoblade Chronicles 3★Developer: Monolith Soft★Publisher: Nintendo★Composer(s): Yasunori Mitsuda, ACE, Kenji Hiramatsu, Manami Kiyota, Mariam Abounnasr★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Xenoblade, Xenoblade Chronicles 3, Monolith Soft, Main Theme, A Life Sent On, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sheet Music#xenoblade #xenobladechronicles #xenobladechronicles3
Non-Adept Battle Theme (Extended) | Golden Sun Orchestral Cover TandA 2022-06-19 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/ztcMW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleEnjoy this extended version of the Non-Adept Battle Theme Orchestral Cover by TandA.(Bonus points to those that can spot the loop point in the video footage)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, 8Dio 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, 8Dio, Vienna Symphonic Library★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#GoldenSun#Orchestra#Briggs
Non-Adept Battle Theme | Orchestral Cover TandA 2022-06-12 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/ztcMW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleFinally back with another Golden Sun arrangement, chosen by YOU! The battle theme against non-adept enemies, notably Briggs and Moapa.--------------------➤ Analysis:Acting as the combat music heard when battling either Briggs or Moapa, how does Sakuraba create tension?Like many of his battle themes, we begin with a dissonance anacrusis (an upbeat) that thrusts us in to the action. Here, he achieves this by pitting a two chromatic scales a tritone apart (E - B♭) that are also travelling in contrary motion (the bass moves upward, while the melody moves downward). The tritone interval itself is particularly special due to being the most unstable interval in our Western 12-tone equal temperament (the "Diabolus in Musica" or "Devil in Music"). Altogether, this creates a mighty dissonance.After this, C minor (C-E♭-G; 0:03) is established as the tonic. But this only remains for 2 bars, shifting abruptly into D minor (D-F-A; 0:07), quickly followed by a tertiary modulation to F♯ minor (F♯-A-C♯; 0:09). Within 10s, we have travelled a tritone away from our tonic (C - F♯). This then fluctuates between E minor (E-G-B) and F♯ minor (0:11) for a moment, with some additional chromatic glissandi in the trombones and strings, before culminating in a tritone jump from F♯ to C minor (0:17).Here, Sakuraba repeats the opening material, so for development, I added an extended clarinet and violin countermelody (0:23) as well as adjusting the forces of the E to F♯ oscillation (0:26), including a new violin countermelody (0:30).Next, we enter our B section, modulating up a semitone into G minor (G-B♭-D; 0:34). Here, the harmony remains relatively stable, offering a common descending pattern of G - F - E♭ - D. Contrarily, the rhythm provides most of the energy here, switching to a loose 3-3-3-3-2-2 / 3-3-6-2-2 emphasis (see the clarinets and middle strings). As the section repeats (0:41), I added a new countermelody in the horns to add some development to this repeat.For the final section (0:50), we receive an interrupted cadence (chord V to chord I; here D major to E minor), signalling the end of the G minor section as the music transitions essentially into double time (twice as fast, with the harmony now shifting every 2 beats rather than 4 beats). Whereas the previous section was focused on harmonic descent, this section is focused on harmonic ascent, moving up from Em - F♯/D - G - G♯/E - Am. Sakuraba uses 1st inversion chords to achieve this upward ascent in the bass (1st inversion = the 3rd of the chord / mediant is in the bass).We get a juicy tertiary modulation from Am to F♯ (0:54), acting as a secondary dominant of Em (chord V of chord V; here F♯ to B), allowing us to return to Em for a final repeat of this section (0:58).And to close us off, I wrote a concluding phrase (2:07) utilizing snippets of the opening trumpet melody (0:03), and resting finally in E minor, funnily enough (very distant from our opening tonic of Cm!)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, 8Dio 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, 8Dio, Vienna Symphonic Library★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Non-Adept Battle, Briggs, Moapa#GoldenSun#Orchestra#Briggs
Main Theme (Extended) | Elden Ring Orchestral Cover TandA 2022-05-01 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/jLVMb💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended version of the orchestral cover of Elden Ring's Main Theme.(Also, yeah, this version sounds different to the regular video because I forgot to turn on my mastering plugins for the regular version ... oops)--------------------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: Elden Ring★Developer: FromSoftware★Publisher: FromSoftware, Bandai Namco Entertainment★Composer(s): Tsukasa Saitoh, Shoi Miyazawa, Tai Tomisawa, Yuka Kitamura, Yoshimi Kudo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Elden Ring Main Theme, Title Screen, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sheet Music, Score, Extended#EldenRing#Orchestra#SheetMusic
Elden Ring Main Theme | Orchestral Cover TandA 2022-04-24 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/jLVMb💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleElden Ring's Main Menu Theme, now with an expanded orchestral cover (i.e. adding woodwinds!)--------------------➤ Analysis:We commence with remarkably sparse orchestration (0:03); a single bass drum strike signals the entry of a lone harp playing chords low in its register, creating a muddy, gritty texture. This harp oscillates between the tonic (here, A minor - A-C-E) and the subdominant (chord IV; here, D minor - D-F-A), before an armada of chromatic glissandi strings begin to swarm the space (0:16).This leads to a brief disruption of the time signature (removing 2 beats out of the established 4-beat measures) as we are thrust into the main theme (0:22). This theme begins largely chordal, built nearly entirely on triads that then drop a tone to form a gospel chord (e.g. A-C-E turning into G-B-D with an A in the bass; A-G-B-D = a gospel chord) alongside a steady, heavy drum pattern.This descends harmonically to the submediant (chord VI; here, F major) where the triad oscillation continues again (now F-A-C-E to F-G-B-D). Then we climb into G with a suspended 4-3 chord (G-C-D to G-B-D) with the 3rd already present, creating a harsh semitonal clash of the B+C which is quickly resolved. Finally, this drops to E minor (a tertiary modulation) to form a minor 7th chord (E-G-B-D).This material is loosely repeated (0:34), now with added choir and woodwind flourishes. Here, however, the harmony develops slightly: at 0:41, rather than ascending to G, we fall from F into C major (a plagal cadence). This forms a gorgeous major 7th dissonance (C-E-G-B) that is but fleetingly visited as the bass jumps up to 1st inversion (E-G-C) to act as the dominant note of A minor (E) for a smooth return back to A.When the material repeats again (0:47), we now have a proper melody on top; here, in the brass. Accompanying this is a tasty string ostinato that is doubled in the winds to create a fleeting flurry of notes. There is little development here, aside from a loose hemiola appearing at 0:58 (where the compound pulse of 123-123 briefly returns to a straight pulse of 12-12-12, or vice versa).With the next repeat (1:00), I added a countermelody in the horns, alongside other developments such as expanded woodwinds which were otherwise absent. For the final statement (1:13), the string ostinato returns, and the piccolo joins the fray, while the harmony slowly ascends up a scale (loosely) for dramatic effect.Finally, the orchestra drops out, leaving the choir exposed for their moment of glory (1:25). From the original, I suspect they speak gibberish Latin ("Ah" & "Cre"), but I'd suggest singing something a bit more relevant (perhaps "El-den" or even the proper Latin; "Cre-do"). This leads to a final orchestral hit that slowly diminishes with the fading cellos and basses.--------------------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: Elden Ring★Developer: FromSoftware★Publisher: FromSoftware, Bandai Namco Entertainment★Composer(s): Tsukasa Saitoh, Shoi Miyazawa, Tai Tomisawa, Yuka Kitamura, Yoshimi Kudo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Elden Ring Main Theme, Title Screen, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sheet Music, Score, Extended#EldenRing#Orchestra#SheetMusic
Izumo in Despair (Extended) | Golden Sun Orchestral Cover TandA 2022-04-10 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/6LVMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleThe initial Izumo music heard before slaying the serpent, now for orchestra (and extended!)--------------------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, Ethno World 5★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Izumo in Despair#GoldenSun#Orchestra#Izumo
Izumo in Despair | Orchestral Cover TandA 2022-04-03 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/6LVMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleEnjoy this ethnic-orchestral arrangement of Izumo's 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 year's 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 that's 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
Juris Theme (Extended) | Street Fighter Orchestral Cover TandA 2022-03-27 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/KtVMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended orchestral arrangement of Juri's Theme (officially "Theme of Juri") from Super Street Fighter IV.Many thanks to Andjë for commissioning this arrangement.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Super Street Fighter IV★Developer: Capcom, Dimps★Publisher: Capcom★Composer(s): Hideyuki Fukasawa★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Super Street Fighter 4, Ultra Street Fighter IV, Juri, Theme of Juri, Juri's Theme, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#StreetFighter#Orchestra#Juri
Theme of Juri | Orchestral Cover TandA 2022-03-20 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/KtVMw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn orchestral arrangement of Juri's Theme (officially "Theme of Juri") from Super Street Fighter IV.Many thanks to Andjë for commissioning this arrangement.--------------------➤ Analysis:One of the most sadistic and vengeful characters of Street Fighter, it is only appropriate for Juri to have a musical theme to match.Immediately, the first interval is the tritone (E♭-A), literally named the "devil in music" ("Diabolus in Musica") due to its unstable harmonic nature. We get several instances of this devilish interval before resting in our tonic of E♭ minor at 0:08 (E♭-G♭-B♭).Here, we get the first statement of the iconic "Juri scream" effect, which I have replicated here with a sliding electric guitar harmonic.With our tonic commencing in E♭ minor with various swelling instruments, we quickly climb up a minor 3rd to G♭, and then again to B♭♭ (enharmonically; A). The sum of these two intervals brings us once more to the tritone (E♭-A), as the tonality climbs briefly to the dominant (B♭) before dropping to F♭ (enharmonically E; another tritone jump) to slip back down chromatically to the tonic of E♭ minor.By 0:15, most of the forces diminish, and we are left with an arpeggiated melody that is oscillating between the tonic and mediant (E♭ & G♭) atop an ostinato in the strings and clarinets. This melody swirls around to various dissonances, including a major 7th (D; 0:18) followed immediately by the flattened 6th (C♭), acting here as the minor 9th of the dominant (C♭ atop B♭) - a rather crunchy dissonance.At 0:21, we drop to the submediant / 6th chord (C♭; enharmonically B), before falling to the dominant (B♭) with the melody bringing us the minor 9th dissonance once more (C♭). This 8-measure phrase is repeated with additional forces (0:27), and development: a heavily syncopated rhythmic dissonance at 0:32 in the lower instruments; and a tweaked melody at 0:37.As we move into the next section (0:40), we get an expansion on the opening arpeggiated melody of 0:15, now (true to its name) as it climbs up through an E♭ minor arpeggio (E♭-G♭-B♭). This is repeated at 0:43, but with the arpeggio falling to D♭ whilst a pedal E♭ is retained (a harmony that some of you may know similarly as the "gospel chord"). This falls once more to the submediant (C♭) before slowly making its way back to the tonic (E♭).In the next section (0:53), we abruptly jump via a tertiary modulation to G♭ minor (enharmonically F♯ minor). Here, a solo violin and viola exchange some call and response material while the accompaniment offers another statement of the 0:40 harmonic progression, though now in F♯.1:06 is perhaps the most interesting section. Here, we slow into a half-time (the tempo sounds half as slow) and we fall back to our tonic of E♭ via another tertiary modulation. The harmony has some more crunchy dissonance (minor-major 7ths; E♭-G♭-B♭-D; 1:15) and we conclude on a suspended 4th chord on B♭ (1:18). Here, the regular 4-measure phrasing is disrupted and reduced to a mere 3-measures. This thrusts the structure into disarray as we enter the climax (1:23).Here, the tritone reigns supreme with material familiar to the opening (0:02) plus various chaotic developments and chromaticisms as the lower instruments play a new iteration of the earlier violin melody of 0:15. And by 1:32, the structure breaks down and we get an intensely syncopated rhythm, thwarting the regular pulse. We also climb up a tritone from E♭ to A, but then interestingly a perfect cadence into D. This can then climb chromatically back to E♭ to complete our loop without issue.To finish, I wrote a little concluding outro in the style of the opening material.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Super Street Fighter IV★Developer: Capcom, Dimps★Publisher: Capcom★Composer(s): Hideyuki Fukasawa★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Super Street Fighter 4, Ultra Street Fighter IV, Juri, Theme of Juri, Juri's Theme, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#StreetFighter#Orchestra#Juri
Alone (Shebas Theme) | Golden Sun Orchestral Cover TandA 2022-03-06 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/r36MQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn orchestral cover of Alone (or Sheba's Theme) from Golden Sun, now extended and complete with a Sheba sprite suffering from blepharospasms.Bonus music box version on Bandcamp! ➤ bit.ly/TandABandcamp--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Cinesamples.★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, Taylor Davis Solo Violin★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#GoldenSun#Sheba#Alone
Alone (Shebas Theme) | Orchestral Cover TandA 2022-02-27 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/r36MQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAApplePrepare your tissues and bring on the tears; we're all about to cry along with this orchestral cover of Alone (also known as Sheba's Theme) from Golden Sun.Bonus music box arrangement on Bandcamp! ➤ bit.ly/TandABandcamp--------------------➤ Analysis:One of the saddest themes of the franchise, alongside "Sorrow and Regret" (youtu.be/jb5Ygf50Lwk - both in the same key!), how does Sakuraba create a tragic atmosphere through music?To begin, we open in a minor key (Em; E-G-B). Minor keys are your cheat sheet to creating tragic emotional music, although it is very possible to do so in a major key as well.This minor tonality is combined with an extremely delicate instrumentation; Sakuraba's original was scored merely for strings and a celesta-like instrument. I complemented this by utilizing various bright mallet instruments (singing bowls, hand bells, vibraphone, glockenspiel, celesta, etc.) and expanding the accompanying forces to include soft (yet assertive) brass.Beginning in E minor (0:03), we quickly drop down to D major with a touch of contrary motion (the parts moving away from each other; note the E dropping to a D, and the G climbing to a D). Symbolically, outward contrary motion denotes things moving away from one another, akin to Sheba being perpetually separated from her people. This harmony moves to B major in 1st inversion (D♯-F♯-B) which can safely return us to our home tonic of Em via a perfect cadence (V-i; B major to E minor).We swirl for a bit around these two chords, before falling to our good friend the submediant (chord VI; here, C major; C-E-G; 0:15), which jumps surprisingly up an augmented 2nd interval (enharmonically a minor 3rd spelt differently) from C to D♯ - an extremely stark jump, as we return to the tonic.From here (0:19), the material is repeated with arpeggiated development in the bassline. To complement this, I expanded the instrumentation, and reinstated the classic Sakuraba echoing technique prominent throughout the entire OST (and early 8/16-bit music in general).As this section closes, we get another repeat of this material with some further development (0:36). Here, strings and choir are added with doleful countermelodies. I added various semitonal dissonances to further invoke this tragic aesthetic (e.g. F♯ + G at 0:42 in the violins). Towards the end, the new strings treat us to a gorgeous major 7th chord (C-E-G-B; 0:48) as we transition into the climax (0:52).Here, the opening material disappears and we are thrust into an orchestral passage of brass, strings and choir. Although it commences in E minor, we quickly adventure to various distant keys; D minor (1:05) to F♯ minor via a tertiary modulation (1:09) and back to D minor (1:13). These rather distant keys again signify Sheba's inherent distancing from her people. In this climax, I also expanded the chordal harmonies to include various missing notes (e.g. E♯ at 1:10) to bolster these utterly melancholic harmonies.As the section closes (1:17), I decided to add a brief moment of silence rather than looping instantly - an effort to emphasize the final swelling chord and enhance its trailing impact.And to close us off (2:35), I wrote a brief closing phrase referencing some earlier material, now with additional soli instruments (Schindler's List maaay have popped into my mind here) before culminating on a final E minor chord that slowly swells and tails off into the distant nothingness.And for fun, I made a little music box version of this arrangement as well ➤ bit.ly/TandABandcamp--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Cinesamples.★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, Taylor Davis Solo Violin★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Alone, Sheba's Theme#GoldenSun#Sheba#Alone
Midnight Theme (Extended) | Pokémon Legends: Arceus Orchestral Cover TandA 2022-02-14 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/6ljM4💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended version of the orchestral cover for Pokémon Legends: Arceus' calm Midnight Theme, with some gorgeous piano.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Pokémon Legends: Arceus★Developer: Game Freak★Publisher: Nintendo, The Pokémon Company★Composer(s): Go Ichinose, Hitomi Sato, Hiromitsu Maeba★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Pokemon, Pokemon Legends Arceus, Midnight Theme, Night Theme, Piano, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#Pokemon#Arceus#Midnight
Midnight Theme | Orchestral Cover TandA 2022-02-13 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/6ljM4💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleHere is an orchestral cover for the serene night theme from Pokemon Legends Arceus, complete with licensed sheet music and individual part scores for orchestra.--------------------➤ Analysis:We begin in E♭ minor, commencing with a delicate phrase echoing in the piano and celesta; two particularly twinkling instruments when played high in their register. Harmonically, we get a surprising Dorian slip, noted by the C♮ (0:14) - the raised 6th that defines the Dorian mode (E♭-F-G♭-A♭-B♭-C-D♭).As we seamlessly transition from a 4/4 meter into a 3/4 meter, an off-stage ethereal choir is added, complementing the twilight aesthetic invoked by the opening piano and celesta. By placing this off-stage, you can strongly enhance this effect (see Gustav Holst's "Neptune, the mystic"). Here (0:18), we have a gorgeous phrase that travels to the subdominant (A♭ minor; A♭-C♭-E♭) with the added 7th (G♭), creating wonderful soft dissonances so much that we can't quite discern the true tonality of the music (something E♭). This is doubled by a new harp delicately plucking, and a glockenspiel played with softer mallets. I also added solo violin harmonics to decorate the top of this ethereal harmony.By 0:33, we return to material referencing the opening piano and celesta material, although now with added harp harmonics and vibraphone to develop the timbre. Muted strings also emerge, playing with the "flautando" technique ("like a flute"; airy) to create a softer lift in their sound. A great deal of this music is untethered to meter, and as such, I instruct the clarinets to play "accelerando and decelerando ad lib." ("accelerating and decelerating freely"), to further blur this constant change of meter. The fluttertonguing flute arriving off-the-beat also complements this.At 0:48, we get a surprising shift to something louder (an interesting choice, for "Midnight"). Here, we receive a great chiming of ancient gongs as if distant tribes are ringing bells in ritualistic dance. As such, I incorporated various bell and mallet instruments; plate bells, tubular bells, glockenspiel, vibraphone, and antique cymbals (also known as crotales).These strong chimes are accompanied by a rather free descending pentatonic ostinato in the harp, piano and celesta. The pentatonic nature of this ostinato - using only 5 notes; G♭, E♭, D♭, B♭ & A♭ - enhances the exotic otherness of the sound. This is further strengthened by accenting the bare 5th interval (E♭-B♭) - invoking influences of old Gregorian chant.As if the meter were not blurred enough, we get a metric modulation at 1:18. This is where a previous rhythmic value becomes a new rhythmic value (e.g. a triplet 16th note now equals a regular 16th note), but this shift is only in writing - the previous rhythm continues at the same speed as it were before. A rather complex technique, but incredibly powerful when used effectively to blur the pulse.To complement this, I added scalic runs ascending in various instruments. These are to be played freely, to create a rushing wisp of sound floating upward in the distance.By 1:34, the metric modulation is reversed and we get a closing phrase of ambiguity with a suspended 4th chord that never truly resolves (E♭-A♭-B♭). And slowly, instruments fade themselves out until we are left with only the crotales, glockenspiel, piano and harp to drift off into the silence.Then to finish (2:06), we get a rather abrupt shift into some soft jazz. Personally, I think this shift was the wrong direction by the original composers; it compromises what is an otherwise ethereal and mystical track with a sudden club-like casualness. But that's probably just me ¯\_(ツ)_/¯ . And then the piece ends in E♭ major (the tonic major), which would act as a "Tierce de Picardie" (ending in a major chord in a minor 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: Pokémon Legends: Arceus★Developer: Game Freak★Publisher: Nintendo, The Pokémon Company★Composer(s): Go Ichinose, Hitomi Sato, Hiromitsu Maeba★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Pokemon, Pokemon Legends Arceus, Midnight Theme, Night Theme, Piano, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#Pokemon#Arceus#Midnight
Isaacs Battle Theme (Extended) | Golden Sun Orchestral Cover TandA 2022-01-31 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/gctMp💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleTandA lets out a howl!The most popular track of the franchise, here is Golden Sun's "Isaac's Battle Theme", now for orchestra.Pay no attention to the downed Isaac.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Sampleism.★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, Isaac's Battle Theme#GoldenSun#Orchestra#Isaac
Isaacs Battle Theme | Orchestral Cover TandA 2022-01-30 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/gctMp💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleTandA lets out a howl!--------------------➤ Analysis:Undoubtedly the most popular track, and the most recognizable to those even outside of the franchise, how does Sakuraba present the intensity of a battle?To begin, we are thrust into action with diminished 7th chords (B-D-F-A♭). To enhance the intensity, Sakuraba pits two of these chords against one another; note the bassoon and contrabass in the 2nd beat of the 1st bar remain on B-D-F-A♭, while the orchestra pivots to C-E♭-F♯-A. This creates a remarkably aggressive semitonal clash.These diminished 7ths jump to our tonic of A minor (A-B-C-D-E-F♯-G♯-A; 0:04), where the melody dances on the tonic triad (A-C-E). We then drop down to the flattened 7th (G) with a suspended 4-3 chord (G-C-D to G-B-D), with the 4th (C) acting as the familiar pivot note between the two chords, so to not make the jump too abrupt.We would then expect the harmony to descend down another tone to the flattened 6th (F), but interestingly Sakuraba chooses to jump up a major 3rd (a tertiary shift) to B major (B-D♯-F♯). This sudden reversal of the harmonic direction is quite exciting as the melody then steps up chromatically from D to D♯ (0:08).This then progresses (as we expect) into E minor (E-G-B) - the dominant minor from our tonic of A - where we then get a brief sequence as this harmonic progression repeats a 3rd higher (D to G; another tertiary modulation). This shift from E minor to D major allows a natural expansion of the outer voices (contrary motion), where the bass descends (E to D) while the melody ascends (E to F♯), creating more excitement.When we reach G, it is but a fleeting visit as we are quickly engulfed in another tertiary shift to E major (E-G♯-B; 0:11), acting as the dominant chord to return us safely back to the opening tonic of A - a perfect cadence (chord V to chord I; here, E to A).On our return to A, we once again jump down to G, and now we receive our further descent down to the flattened 6th (0:15). This descent continues (as expected) to the dominant (E), which is prepared with another suspended 4-3 chord (E-A-B to E-G♯-B), accenting the upcoming perfect cadence back to our tonic of A.When we return to A (0:18), we receive the most climactic bar of the whole track (bar 8). Here, the orchestra are largely homophonic (playing the same rhythm), but this rhythm is syncopated (off the beat), creating a wonderful rhythmic dissonance.In this bar, we descend once again from A to G to F, but this time linger on the flattened 6th (F) rather than tailing off on the dominant (E). This F acts as another tertiary pivot back to our tonic (0:19), where this material is repeated.But while the first statement of this material was 8-bars long, the repeat is cut a bar short at only 7-bars long. When we get our dominant preparation in the 7th bar (on E), Sakuraba shifts cheekily into a passage in F major / E minor (0:34) for a brief 4-bar respite.Following this, we return to A (0:43) and get a Dorian progression of A minor to D major (A-C-E to D-F♯-A); a minor tonic to a major chord IV. This partially repeats, but in the opposite direction, from A to F - another tertiary modulation. We swim between these two chords momentarily. When we reach the end of the phrase, our tonic has surprisingly turned major (A-C♯-E).From this, we fall intriguingly into F♯ minor (the relative minor of our tonic major) for a brief interlude phrase preparing us for the loop to the beginning. Harmonically, we move from F♯m to E to D and back to E, all while sitting on top of an F♯ pedal. The last of these chords (E major atop an F♯) acts both as a dominant chord (E major) and a tertiary shift (F♯) as we return to our opening tonic of A for the loop.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Sampleism.★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, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Isaac's Battle Theme, Isaac Battle Theme#GoldenSun#Orchestra#Isaac
Attack of the Killer Queen (Extended) | Deltarune Orchestral Cover TandA 2022-01-13 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/VV3Mw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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➤ Check out the original version with a definite ending and an analysis: youtu.be/F7O1k14YZLsAn extended version of the orchestral cover of Attack of the Killer Queen boss music from Deltarune Chapter 2.➤ Copyright ClaimsA word of caution to anyone using this cover as background music for anything, it will unfortunately get claimed by Materia Publishing (the publishers for Toby Fox), which is what has happened to this video. So a word of warning if you plan to use it - this is completely out of my control! D:--------------------★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Toby Fox, Lena Raine, Marcy Nabors★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Addictive Drummer 2★Tags: Deltarune, Chapter 2, Attack of the Killer Queen, Boss, Battle, Combat, Music, Remix, Cover, Arrangement#Deltarune#KillerQueen#Orchestra
Attack of the Killer Queen | Orchestral Cover TandA 2022-01-09 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/VV3Mw💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleTook me a bit longer than a week, but here you go - the chaotically intense boss theme, "Attack of the Killer Queen" from Toby Fox's Deltarune: Chapter 2. ➤ Copyright ClaimsA word of caution to anyone using this cover as background music for anything, it will unfortunately get claimed by Materia Publishing (the publishers for Toby Fox), which is what has happened to this video. So a word of warning if you plan to use it - this is completely out of my control! D:--------------------➤ Analysis:The first point of interest lies with the tonality; the track is originally scored in A(half)♯ minor, or B(three-quarters)♭ minor (that is, it lies half way between A minor and B♭ minor; about 50 cents detuned). Therefore, arrangers are faced with a choice concerning which key to score this - A minor or B♭ minor? The most practical solution would be to use A minor, owing to its benefit of being more legible (e.g. fewer accidentals) and easier for most instruments to play (apologies, trumpets and clarinets - but I also wrote a version in A for you!)And for ease of analysis, I will treat the entire track as if it were scored in A minor.We open (of course) in A minor, with a lead instrument (here, the solo violin) emphasizing our A minor triad (A-C-E). By the 2nd measure (0:04), this quickly jumps up to the relative major (C major; C-E-G), functioning as the dominant for a perfect cadence into F major (F-A-C; 0:06), which can safely drop down a semitone to E - the dominant of our original A minor - bringing us back to the tonic (Am).So far, so good. We are in familiar territory.While the introduction so far has largely been ascending, the 2nd half of this introduction (0:09 - 0:16) is essentially inverted - it DEscends. Tonally, we fall down to the subdominant (chord iv; here, D minor; D-F-A), which can step up to the dominant (chord V; E-G♯-B) to return us to the tonic (chord i; A-C-E).Once the energy is set in motion (0:16), unusual yet exciting elements start to emerge. Foremost, the harmony pivots from A minor (A-C-E) to A diminished (A-B-D♯). This chromatic slip creates our devilish interval of the "tritone" (the augmented 4th; A-D♯ - the most unstable of all musical intervals). The appearance of this (already dissonant) interval is coupled with another dissonance; false relations, similar in concept to major-minor chords. While the harmony slips into its diminished triad (A-B-D♯), the melody remains in A minor, creating a harsh (but exciting!) semitonal clash of D♯ vs E & D. These semitonal clashes appear in abundance throughout this track (e.g. the major-minor chord of 0:33 with both D and D♯), generating the majority of its playful uneasiness.The next section commences at 0:42, modulating briefly into the subdominant (D minor; D-F-A), before pivoting via a secondary dominant (chord II; B major; B-D♯-F♯; 0:46) into the dominant and back to the tonic via a perfect cadence (V-i; E major to A minor).Here, we also get our fan-favourite Fox polyrhythms - a metric dissonance where multiple different rhythms are played against one another (note the offbeat piano against the steadiness of the drum kit; this is a polyrhythm, or rhythmic "syncopation").The next point of interest occurs at 1:06, with a chromatic descent from B to B♭ to A. Whereas previously we had our secondary dominant progression (B to E to A; 0:46), here the dominant is substituted for a loose German augmented 6th chord (B♭-D-F-G♯ progressing to A-C-E).This new chromatic descent forms the crux of our next section (1:09 - 1:22), where we return to our opening soloist (now doubled by trombone) as they descend from G to F♯ to F to E. This is accompanied by a harpsichord - a regal instrument now often reserved as a signifier for royalty - fitting, for a Queen.I would keep writing, but I've run out of characters lmao.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Addictive Drummer.★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Toby Fox, Lena Raine, Marcy Nabors★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Addictive Drummer 2★Tags: Deltarune, Chapter 2, Attack of the Killer Queen, Boss, Battle, Combat, Remix, Cover, Arrangement#Deltarune#KillerQueen#Orchestra
Wintery Imil (Golden Sun) | TandA x VVGO TandA 2021-12-25 | 🎄 Happy Holidays! 🎄2 months in the making, featuring 40 musicians, and in collaboration with the Virtual Video Game Orchestra (VVGO) for their 2021 Wintry Mixtape, please enjoy our virtual performance of Golden Sun's "Wintery Imil".Want to hear the full mixtape (coming soon!), or participate in future projects? Come and join the VVGO Discord - all skill levels welcome! :D➤ discord.gg/mt8EZdsrc6Keep an eye out on the VVGO YouTube page for the full Wintry Mixtape coming soon, plus our other Golden Sun project, featuring over 450 submissions!➤ youtube.com/c/VirtualVideoGameOrchestra--------------------★ A massive thanks to ★The other project hosts, SableProvidence and Ian Martyn for doing a lot of the legwork for this project, and notably Sable for producing the entire video!Neshirys for their incredible art and perpetual assistance throughout this project. Do check out their other work and support them on Ko-fi!➤ https://linktr.ee/Neshirys➤ ko-fi.com/neshirysVVGO and their executive directors for creating such a wonderfully collaborative environment of fellow musicians that share a love of video game music!➤ vvgo.orgNiezlyziom for their fantastic stock snowing animation backgrounds, available at Pexels:➤ pexels.com/video/niezlyziom-5485148The countless people and communities that offered feedback on the audio. I had never mixed with 100% live performers before, so I sorely needed it! xD--------------------Also a special thank you to my patrons for supporting this channel:➤ Alex B➤ Anthony Palmer➤ Aurore Louviaux➤ Brandon➤ The Carlos V➤ Carrie Wood➤ Christopher Peterson➤ Citrus Blitz➤ diannetea➤ DoorkeeperForLethal➤ Dustin Bleichert➤ Ernest➤ Fantasiay➤ Faustenberger➤ It is me but Jolteon➤ Jeremy Goh➤ Jared Le Doux➤ jm➤ Joshua Gouzy➤ Kim Mathiot➤ Kim Systad➤ Kurihara Hiroki➤ Matthew Buscemi➤ Michael Holmes➤ Miguel Lino Mata➤ Music Scores➤ Pascal Görsdorf➤ Platix Zhan➤ Raúl Sangonzalo➤ Relaxmoods.com➤ Schreiber➤ SDanckaert➤ sharmander➤ Shindonghyuk➤ SkyguyLP➤ Stanley Muzylowski➤ Timon Kalis➤ Trent➤ Vin Lynn➤ ViolinGamer➤ William Fadel➤ WiLLiSGaming➤ Zach Ernst--------------------★Game: Golden Sun★Developer: Camelot Software Planning★Publisher: Nintendo★Composer(s): Motoi Sakuraba★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Imil, Wintery Imil#GoldenSun#VVGO#Imil
Prox (Extended) | Golden Sun Orchestral Cover TandA 2021-11-08 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/KCgM4💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleNearly at the end of our quest, we begin to understand the motivation of our villains as we venture to their homeland of Prox.F in chat for me rendering this monstrosity at 1440p for some reason ¯\_(ツ)_/¯--------------------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, Prox#GoldenSun#Orchestra#Prox
Prox | Orchestral Cover TandA 2021-11-07 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/KCgM4💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleNearly at the end of our quest, we begin to understand the motivation of our villains as we venture to their homeland of Prox, from Golden Sun.--------------------➤ Analysis:Although we first hear this theme as Sheba and Felix fall from atop Venus Lighthouse, the most familiar association is with the cold village of Prox to the north, just south of the final lighthouse, Mars.The lore here is that Weyard (the world of Golden Sun) is slowly crumbling into a dark abyss due to alchemy being sealed away in the lighthouses. Prox, being towards the edge of Weyard, is on the brink of vanishing into this vast chasm. It can only be saved if the 4 lighthouses are lit, thus bringing alchemy back into the world. But Mars Lighthouse itself is even closer to the edge than Prox, ready to collapse into the dark at any moment, sealing Prox's (and the world's) fate forever. The desperation is incredibly profound and defines this track.We open in a tragic A minor (A-C-E); very slow, very simple and empty with some lonely strings as if the other instruments had abandoned hope and fled the village. The strings drop down dolefully to the dominant - E major (0:08; E-G♯-B) in 1st inversion (G♯ in the bass). This resolves via a perfect cadence back to Am (0:13). We then commence a chromatic descent from A-G♯-G, as if we are slowly falling into the depths of nothingness. Harmonically, we have progressed from Am to E to C (the relative major of Am). This sudden appearance of the relative major (C-E-G) gives us a sliver of hope in this otherwise despairing atmosphere.From here, we climb back to E, and then progress via an interrupted cadence into F (0:22; F-A-C). Then we can drop back down to E so we can have our perfect cadence back to the tonic of Am (0:31). Then we get another partial chromatic descent of A-G-F♯-F-E - again, more falling off of the edge of the world - as we finally conclude with a crushing diminished 7th chord (0:44; G♯-B-D-F).Generally, this opening section has remained identical to Sakuraba's, outside of some filling in of the harmonies that were previously absent. The next section (0:46 - 1:29) is essentially a repeat of the opening (0:00 - 0:45), now with an oboe introducing a new melody to complement the strings.After this (1:29), Sakuraba originally looped the track here. But I decided to offer one more statement of this phrase with some larger, more dramatically yearning instrumentation as if everyone is coming together for one last attempt to prevent their doomed fate.And for the first time, I've given this track a definitive ending (4:19). I'd like to start adding some optional definitive endings to these arrangements now that some video game orchestras are starting to play them and (like me) don't know how to end it!--------------------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, Prox#GoldenSun#Orchestra#Prox
A CYBERS WORLD? (Extended) | Deltarune Orchestral Cover TandA 2021-10-18 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/3VgMb💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn extended orchestral cover of Toby Fox's "A CYBER'S WORLD?" from Deltarune: Chapter 2.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Addictive Drummer 2.★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Toby Fox★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Addictive Drummer 2 (Fairfax)★Tags: Deltarune, Chapter 2, A CYBER'S WORLD?, Cyber Field, A Cybers World, Music, Remix, Cover, Arrangement, Orchestra, Orchestral#Deltarune#ACybersWorld#Orchestra
A CYBERS WORLD? | Deltarune Orchestral Cover TandA 2021-10-17 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/3VgMb💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleToby Fox knocks it out of the park once again with another absolute bop of an area theme, now orchestrated and complete with sheet music & parts for orchestras to perform.--------------------➤ Analysis:How does Toby Fox make his music exciting?One of his most common musical traits is syncopation ("off the beat"; melodies that emphasize being off the pulse). From the very beginning, we get some of this syncopation (0:03). Normally, bass material would be on the beat in order to establish the pulse of the track. But here, Fox has delayed the bass material by an 8th note, causing it to be on the off-beat. This, combined with the melody being on the beat, creates our syncopation, adding excitement as our brains struggle to try and find the pulse when we listen to the track for the first time.Adding to this is the harmony; Fox masterfully uses added note chords to create a more exciting sound. These are chords which have extra notes not usually found in the typical triad chord (e.g. C-E-G = C major triad, but add in a B, and you get a major 7th chord, C-E-G-B; an added note chord).Again, right from the start we get have an added note chord. Our bass is anchored on G♭, but on top of this, our melody is playing D♭, C, A♭ and F. The first of these is a typical note from the G♭ triad (G♭-B♭-D♭ = G♭ triad), but the remaining notes are all added notes: C (the sharpened 4th or 11th); A♭ (the 9th); and F (the 7th). The use of these notes creates a wonderfully bright Lydian 11th chord, adding to the excitement.Instrumentally, we start with only two voices (here, a clarinet and bass clarinet). Another way to create excitement is to play around with the number of voices, for example, expanding them. After the opening phrase concludes (0:18), we get this expansion: a drum kit; extra support on the bass; and a slightly echoed support for the melody are all added (well, in Fox's original at least - I didn't quite add that here!)Next, we build and build and build on top of this material, adding countermelody upon countermelody: 0:35 (in the strings and horns); and 0:52 (in the bass clarinet, piano and cello). This could be considered a loose form of counterpoint - combining multiple independent melodies together, as if solving a harmonic puzzle.This method of counterpoint is all over Fox's work, clearly seen for example in the climax of his "Battle Tower Battle Theme" from Pokémon, which builds to 4 independent melodies all playing at once (youtu.be/h5hl-q-aNsg?t=115, also demonstrating Fox's excellent employment of syncopation). The use of counterpoint is particularly exciting to listen to as the ear attempts to follow 2+ melodies that are beautifully crafted to work both together and independently.By 1:10, we shift into a new section, falling down a tone to A♭ (from our original tonic of B♭ minor). Again, we get some more counterpoint: the main melody is in the altos and 2nd violins; and then we get a countermelody at 1:25 in the violins and E♭ clarinet.At the close of the phrase, we get another form of excitement through a "tertiary shift". This is a form of tonal modulation as we shift a 3rd in either direction. Here, we are in G♭ and modulate to B♭♭ (or A♮) - a 3rd away. These types of shifts are incredibly exciting, and are commonplace in film and game music since they are a simple and effective way to modulate to a new key.One final way Fox creates excitement is his re-use of existing material ("motifs") in new contexts. During the final climax (2:32), we get a return of our opening motif (0:03). Now, however, it has been painted in an entirely different harmonic context, whilst identically following its original contour. This development is wonderful to listen to, and demonstrates effective methods of getting the most out of your material.So, here are just a few ways Fox constructs his music to be as exciting as they are.--------------------★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Toby Fox★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Addictive Drummer 2★Tags: Deltarune, Chapter 2, A CYBER'S WORLD?, A Cybers World, Music, Remix, Cover, Arrangement, Orchestra, Orchestral#Deltarune#ACybersWorld#Orchestra
Shaman Village | Orchestral Cover TandA 2021-10-03 | 🎵 Sheet Music & Parts: musicnotes.com/l/xCrMm💗 MIDI / XML / Sibelius / Stems: bit.ly/TandAPatreon🎹 Commissions: jshaw.co.uk/commissions🎮 More Arrangements: jshaw.co.uk/TandA🐦 Twitter: bit.ly/TandATwitter📻 Spotify: bit.ly/TandASpotify🎵 Bandcamp ➤ bit.ly/TandABandcamp🎵 Spotify ➤ bit.ly/TandASpotify🎵 Deezer ➤ bit.ly/TandADeezer🎵 YouTube Music ➤ bit.ly/TandAYouTube🎵 Apple Music / iTunes ➤ bit.ly/TandAAppleNot particularly shaman-y, but here is a new orchestral cover for this gorgeous little track that first appears in the Shaman Village of Golden Sun.--------------------➤ Analysis:This theme first appears in the Shaman Village, but then, why does it not sound particularly shaman-like, similar to the percussively-driven Kibombo music? Unlike Kibombo, this theme is used in multiple locations: it also appears in the dwarven town of Loho, and also as the final track during the epilogue just before the ending credits. As a result, this final appearance is probably the most memorable use of the track, and so its association isn't really that of a Shaman Village, but more of a final emotional theme. But since it first appears there, here we are!The original was scored for flutes, hi-hat, electric bass and some sort of plucked melodic instrument. To incorporate that here, I have similarly employed flutes, hi-hat, a softer upright bass, and acoustic guitar to take on the melodic role. To go further, I have added soft harp plucks to support the flutes, as well as a string ensemble (which we'll get to later).The track opens in a C major tonality (C-E-G); no sharps, no flats - all peaceful and simple. Harmonically, we gradually float downward from C to G (in 1st inversion; B-D-G), to A minor - the relative minor (A-C-E) - and back to G in root position (G-B-D). We therefore have a pleasant step-wise descent through C-B-A-G.During this progression, and perhaps the most unique element of this track, are the flutes. Nothing extreme; just a simple note puffing away, usually in 3rds or 4ths on every beat. The steadiness of this material, combined with the often syncopated melody creates a charming but soft little conflict that keeps the track in motion. Also, note the regular use of the dotted 8th notes rhythm, such as 0:07, which were often used to simulate triplets which were not easily possible on the existing hardware.From here (0:13), the track takes a subtly darker tone with a B major augmented chord (B-D♯-G) - a rather extreme tertiary modulation from G major. This leads us into E minor, which can then pivot back down to C major via another tertiary modulation. Then we rest interestingly in D major (0:21), acting as an imperfect cadence on the dominant chord (presumably for G).But no, it turns out to be an interrupted cadence (V-vi; D major to E minor), as we progress into the 2nd half of the phrase. For development, I have added a soft celesta to double the melody and provide some harmonic support through arpeggiated chords (similar to the harp). Here, the new strings also begin to fade in gradually.The rest of the phrase remains largely simple, concluding with a gorgeous 4-3 suspended chord (D-G-A to D-F♯-A) on the dominant (0:40; D major - another imperfect cadence). As usual, we would expect this to resolve either via a perfect cadence (V-I; D to G) or an interrupted cadence (V-vi; D to E minor). Funnily enough, we get neither, instead receiving an inverted interrupted cadence (V-IV; D to C), which floats gently outward in contrary motion (e.g. the bass moves down while the melody moves up).Originally, the track would loop here, but I have repeated the entire track once more with additional instrumental and harmonic development, including a more present string ensemble, violins doubling the melody, and extra piano warmth in the lower harmonies. A very gorgeous little track.--------------------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
BIG SHOT (Extended) | Deltarune Orchestral Cover TandA 2021-09-24 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/PtrM8💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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➤ Check out the original version with vocals, a definite ending, and an analysis: youtu.be/nU27tIs93JwAn extended version of the orchestral cover of BIG SHOT (Spamton NEO's boss music) from Deltarune Chapter 2, now also without vocals.--------------------★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Aaaand Toby Fox★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, AmpleBass★Tags: Deltarune, Chapter 2, BIG SHOT, Spamton Neo, Boss, Battle, Theme, Combat, Music, Remix, Cover, Arrangement, Extended, 30 minutes#Deltarune#BigShot#Spamton
BIG SHOT (Spamton NEO) | Deltarune Orchestral Cover TandA 2021-09-23 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/PtrM8💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleWith the greatly anticipated release of Deltarune Chapter 2, here is an orchestral arrangement for the secret boss, Spamton NEO (Big Shot), originally composed by Toby Fox, as well as a short musical analysis below.--------------------➤ Analysis:BIG SHOT opens in bombastic fanfare with a motif from the track "Spamton Battle", which BIG SHOT is based off of (youtu.be/0FW2vQe0cOE?t=21). This motif, in wonderful Toby fashion, is heavily syncopated (off-beat) which is where it conjures most of its excitement and energy. This syncopation is similarly found throughout Toby Fox's Undertale, particularly this similarly purposed track, "Power of -NEO-" (youtu.be/mwrUem9vM_A).Complementing this motif, the harmony is swirling chromatically from a minor triad (B♭-D♭-F) to a chromatic tritone triad (B♭-C-E), instilling a sense of uneasiness and instability that the tritone interval can effortlessly achieve (hence why it is named the "Diabolus in Musica" / "The Devil in Music").Following the opening 8 bars (0:16), we transition to a fast energetic section utilizing Spamton's leitmotif (youtu.be/54hspvf6b5c) at a substantially inflated tempo. Underneath this sits a new intense bass ostinato that persists largely for the entire track.After Spamton's leitmotif has been played in full, it is repeated (0:23) with extra melodic doublings and countermelodies in the winds, strings and mallets. At 0:28, we also hear the first of many vocal samples, here exclaiming "Now's your chance to be a big shot", from which the title of this track is drawn. Spamton's life is all about the success and failure of a salesman, persistently offering others the chance to become a "BIG SHOT" (hence why this phrase is used).At the close of this 8-bar phrase (0:30), we return to another statement of the opening material, now also with the bass ostinato and drums that were previously absent. Following this (0:43) there is a chromatic shift from B♭ to D♭ to C to F♭ (enharmonically E). Both of these pairs of shifts are tertiary modulations (e.g. shifting a 3rd; B♭ to D♭, and C to E). The last of these chords (E) then resolves surprisingly to B♭ - a tritone away from E - once more demonstrating this use of the tritone interval throughout.At 0:57, we transition into a new section, though still in the tonic of B♭ minor. Here, a tenor saxophone takes the melodic role (referencing a melody from Chapter 1's "The World Revolving"; youtu.be/Z01Tsgwe2dQ?t=21), which is taken over by the trumpets at 1:11. This is followed by another statement of Spamton's leitmotif at 1:24, with some additional development in the 4th bar (1:30). This new development continues in the next 4-bars (1:31) through a new trumpet countermelody that is deliciously chromatic in nature.Our tenor sax returns at 1:39 for another solo, here outlining (you guessed it) the tritone interval (B♭-E). At the close of this phrase (1:50), all the instruments drop out abruptly and we are given a solo piano motif that is seemingly disconnected from the rest of the track. This melody is actually a direct quote from Undertale's "Dummy!" (youtu.be/94JDIBZhSBM?t=129), which may very well be a cheeky commentary from Toby alluding to Spamton's nature.Following this, we slam back in to the introductory material (1:51), now with even greater force and aggression. Then at 2:06, miraculously, we get a modulation. Up until this point, the track has largely been tethered to B♭ minor, but now we progress via a perfect cadence into E♭ minor (E♭-G♭-B♭). Clearly the track is reaching it's climax. And at 2:17, as everything slides up chromatically, we get another cut to silence with nothing but the piano playing our familiar "Dummy!" motif.Originally, the track would then repeat, but I added a little conclusion to the track should it be needed, if ever performed (good luck!)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Deltarune: Chapter 2★Developer: Toby Fox★Publisher: Toby Fox★Composer(s): Toby Fox★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, AmpleBass★Tags: Deltarune, Chapter 2, BIG SHOT, Spamton Neo, Boss, Battle, Combat, Music, Remix, Cover, Arrangement#Deltarune#BigShot#Spamton
Royal Palace | Orchestral Cover TandA 2021-09-12 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/VfKMJ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleNext we step into Kalay and the palace of Master Hammet for a regal meeting. Enjoy this royal theme from Golden Sun, now orchestrated!--------------------➤ Analysis:How can we convey regality through music?A common stereotype to signify royalty is to employ stylistic elements from Baroque and Classical musics. This use has been largely consistent in all forms of media (film, games, musical theatre, etc.).The reason for this strong association could well be historically due to this music often being reserved for royal courts and upper class patrons (think court music, or musicians employed by kings, or sponsored by wealthy patrons). Or it could even be simply due to Baroque and Classical musics being more often listened to by older generations, creating a passive association that these musics are only consumed by the older and (arguably) wiser generations. Or it could simply be the decades of use in film that have solidified this association.Either way, these elements appear here.The track opens in the triumphant royal key of D major (D-F♯-A), progressing quickly through a circle of 5ths to G major (G-B-D) followed by C major (C-E-G). The "circle of 5ths" was a harmonic technique commonly found in the Baroque era, whereby we (confusingly) travel up in 4ths (D to G to C to F to Bb to Eb etc. etc.). We largely continue with circle of 5ths progressions, as well as shifts to the relative minor through to 0:29.Interestingly, we conclude the opening phrase in E major (rather distant from D major), acting as the dominant key in a perfect cadence to lead us into A major (V - I; E major to A major). For instrumentation, Sakuraba used a string ensemble with some synthesized flutes. To evoke more of a regal atmosphere, I added in a harpsichord doubling for harmonic support with improvisatory ornaments (and I could have gone further with figured bass), as well as brass fanfares (0:29). Additionally, I used chamber virtual instruments (so instruments with fewer performers than normal) to simulate a smaller ensemble of musicians playing in a kingly court.When our brass ensemble appears at 0:29, we get a short pedal on A, sitting underneath the chords of A major, D major, and E major (the last of which causing a nice semitonal clash of G♯ & A). This section only lasts a mere 8 bars, giving the melodic role to the trumpet (a trumpet in D; better suited for D major), after which the flute appears to take over the melodic role of the trumpet (0:41). All this time the meter has been consistently blurred; are we in a 3/4 or 6/8 meter? This is a common style of Sakuraba's music used to create further rhythmic interest by dividing the 6 beats of the bar into either 3 groups of 2 (3/4) or 2 groups of 3 (6/8).Nevertheless, as we enter the final section (0:43), we continue in A major (A-C♯-E), with a tertiary modulation (0:46; D major to B major) for added excitement. To complement this, we abruptly step down a tone from E major to D major (0:48), creating this wonderful chromatic voice leading of suspended 4th progressions (E-A-B to E-G♯-B, then D-G-A to D-F♯-A; note the smooth step-wise voice leading of A-G♯-G-F♯ - beautifully smooth stuff).To finish off, we are gifted with many more circle of 5ths (0:51; E to A to D to G) and tertiary modulations (0:56; G major to E major), which is repeated, now with the trumpet returning and doubling the melody an octave lower, as we reach our loop point with another chromatic voice leading descent.--------------------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, Vienna Symphonic Library★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Royal Palace, Royalty#GoldenSun#Orchestra#RoyalPalace
Ballad of the Goddess (Main Theme) | Orchestral Cover TandA 2021-08-22 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/gkNMW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleHere is the main theme of The Legend of Zelda: Skyward Sword, Ballad of the Goddess, complete with a full sheet music transcription and recreation to test its accuracy.--------------------➤ Analysis:Being the main theme of Skyward Sword, what Zelda motif could possibly be used here? Do we get the iconic adventurous motif (youtu.be/cGufy1PAeTU)? Maybe a tease of the Lost Woods (youtu.be/Ljqe4Nj7nBA)? Or perhaps Zelda's Lullaby instead (youtu.be/EPhfbtjqWM8)? We do, in some regard, receive the latter.Our track opens with an 8-bar introduction in an ambiguous tonic of D. This tonic is ambiguous due to the lack of the 3rd (F♯ or F♮), which holds the role of determining whether the tonality is major or minor respectively. Instead, we have bare open 5ths chords (D-A), but constructed in an empowering and exciting shape. These 5ths, combined with the relatively swift tempo, convey a sense of grandeur that is rapidly approaching.And at 0:14, we get that grandeur, as well as our 3rd (F♮; so D minor is our tonality). The melody, cleverly enough, is "Zelda's Lullaby" played backwards (what's known as melodic retrograde). With Skyward Sword chronologically being the earliest entry in the Zelda timeline, utilizing this theme no longer signifies a lullaby, but rather, an awakening. Whether that be an awakening of the Zelda franchise (being the first chronological entry), or an awakening of Zelda / the Goddess herself - we cannot say for certain.To convey this grandeur, we harmonically step outwards in contrary motion (the bass moves from D down to C, while the melody moves from D up to E). This creates an inherent expansion to the sound, creating that grandeur, and we swiftly pivot into the relative major of D minor, F major (0:17), before moving surprisingly to E minor in 1st inversion (G-B-E). This is followed by a tritone jump up to B♭ major (0:19; B♭-D-F), which then alternates between C and B♭ to return us to our tonic of D.In just 10s, we have travelled extremely far, harmonically at least: starting in D minor, to C major, to F major, to E minor, to B♭ major alternating with C major, back to D. This swift traversal complements the quick and agile nature of the Loftwings found in Skyward Sword.By 0:25, we get a full repeat of the previous 8-bars, but with some instrumental and countermelodic expansion in the winds and brass.At 0:36, we transition into the B section with a modulation into the relative major, F major. Here, the oboe brings us a gorgeous little phrase, doubled by the violins and complemented by strings, winds and a baking tray (probably not what the original composers used, but hey, it sounds about right ¯\_(ツ)_/¯ ). By the end of this phrase (0:47), the melody is repeated, but in an entirely different harmonic context. Instead of F major, we have returned to our tonic of D minor (D-F-A).As the B section concludes (1:00), we return to an A section with a repeat of the opening material, again, with more expansions and developments, including new flute countermelodies and thicker brass. And to finish us off (1:22), we get a concluding section reminiscent of the intro (0:03), utilizing bare 5ths chords (D-A).Intriguingly, with this closing section, it now appears that the entire track could itself be played in retrograde (in reverse). Structurally, it is palindromic (Intro-A-A-B-B-A-A-Outro), and due to the heavy use of Zelda's Lullaby in reverse, I have a suspicion this palindromic structure was no accident. And in fact, if you were to download this track and play it in reverse, you'd find that it actually works remarkably well - scarily well, I should add - but that is nothing short of the genius I would expect from a Zelda soundtrack.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and the finest Yamaha Mk. II Baking Tray.★Game: The Legend of Zelda: Skyward Sword★Developer: Nintendo EAD★Publisher: Nintendo★Composer(s): Hajime Wakai, Shiho Fujii, Mihoto Yokota, Takeshi Hama, Koji Kondo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Zelda, The Legend of Zelda, Skyward Sword, Skyward Sword HD, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sheet Music, Ballad of the Goddess#SkywardSword#BalladOfTheGoddess#SheetMusic
The Golden Sun Rises | Orchestral Cover (#GoldenSun20) TandA 2021-08-01 | 🌞 Happy Golden Sunday! 🌞🎵 Sheet Music & Parts ➤ musicnotes.com/l/NkhMn💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAugust 1st 2021 marks 20 years after the release of the first Golden Sun game, and what better track to celebrate with than the glorious ending credits music, "The Golden Sun Rises".With thanks to Artificialraven for their Golden Sun footage:youtu.be/PLHfXKEhTr0--------------------➤ Analysis:We've finally made it - the long and epic quest to save Weyard has finally come to its conclusion. And for a special treat, Sakuraba gives us one of his most triumphant fanfares to date. The material itself is remarkably simple, but simplicity often leads to fantastic music ("less is more", as they say).We open in C minor (C-E♭-G) - a sad tonality, yes, but the harmonic journey we take afterwards is what evokes our feeling of triumph and victory. We fall down to the 7th (0:07; B♭-D-F), and once more to the 6th (0:09; A♭-C-E♭) with some wonderful contrary motion (two parts either moving away or towards one another) in the brass and bass to spell out a victorious major 7th chord (A♭-C-E♭-G). This chord quickly climbs back to B♭ before dropping down (unusually) to the dominant minor (0:11; G-B♭-D).This harmonic journey is accompanied by a wondrous brass fanfare in octave unison, all the while the strings provide a countermelody, and the winds and mallets offer the iconic Sakuraba arpeggios.Continuing onward, we step upward to A♭ and progress back to our tonic of C minor (0:15), where the winds and strings ascend and descend up and down. We then progress to F minor (the subdominant; F-A♭-C), back to the dominant minor (G-B♭-D), and rest safe and sound in our tonic, C minor.This 8-bar phrase is then repeated, now with even more fanfare and grandeur provided by additional string unisons, wind melodic support, and choir.By 0:37, we get a brief development section. We modulate into the subdominant (F minor), but interestingly with a minor 9th added-note chord (F-A♭-C-E♭-G). This chord resolves inward via contrary motion, creating a gorgeous minor 7th (G-B♭-D-F) which quickly takes us back to C minor. But we quickly fall back to F minor (0:41) and commence an upward ascent (F - G - A♭ - B♭). This ascension could very well be a signifier for the rising of the Golden Sun - or, at the least, it holds the emotional power to convey as such.This 4-bar phrase is repeated once more (0:45), now with additional forces as we climb towards the final climax (0:53). I consider this next 8-bar phrase to be the most glorious of the entire Golden Sun OST.We start in the tonic (C minor). The bass steps down to B♭ while the melody remains on the 3rd (E♭) creating an absolutely magical suspended 4th chord (B♭-E♭-F) which resolves as we would expect to B♭ major (B♭-D-F). Then we get some contrary motion as the bass steps down to A♭ while the melody climbs back up to E♭, creating an exhilarating opportunity for a major 7th chord (A♭-C-E♭-G) which resolves inward via even more contrary motion to B♭, before finally dropping down to the dominant minor, G minor.For the final 4-bars (1:01), we climb upward to A♭, B♭ and reach our tonic of C minor, before one final journey into F minor, G minor and back to C minor.For a track that only explores 5 chords, there is a significant power here that few other ending tracks have been able to achieve. The use of simple harmonies decorated with contrary motion and added-note chords creates an unforgettable fanfare that I shall look forward to hearing one day when I finish playing through Golden Sun HD on the Switch.--------------------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, The Golden Sun Rises, Credits Theme#GoldenSun#NintendoPls
Golden Sunday Schedule (#GoldenSun20) TandA 2021-07-30 | ➤ Global Countdown Timers:jshaw.co.uk/golden-sunday=============Golden Sunday Events:➤ 16:00 UTC - TandA Premiereyoutube.com/c/TandA-Music➤ 20:00 UTC - #GoldenSun20 Twitter Tributestwitter.com/IsaacAdepts/status/1349852090093367296➤ 21:15 UTC - VVGO Pre-Show Livestreamtwitch.tv/VirtualVGO➤ 22:00 UTC - VVGO Premiereyoutu.be/wSWu9UJG1s0=============Other Events:➤ Coaltergeist's 20th Anniversary Artwork Submissionsreddit.com/r/GoldenSun/comments/o61wfe/20th_anniversary_artwork_submission➤ VVGO Discord (Premiere after-party!)discord.gg/vvgo➤ Golden Sun Discord (More celebration and discussion!)discord.gg/hJR7qCa=============A huge thank you to Jordy de Lat (Motion Graphics Artist) and William Brewer (Sound Design) for creating the opening animated logo sequence, which will be featured in the VVGO release.See you Sunday!#GoldenSun20 🌞
Fis Theme | Orchestral Cover TandA 2021-07-11 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/6BSMm💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleWith The Legend of Zelda: Skyward Sword HD nearly upon us, here is a familiar track, now fully transcribed and recreated with full sheet music scores and parts.Special thanks to SableProvidence for performing the Dizi!--------------------➤ Analysis:We open with an ambiguous bare 5ths chord (A + E), unsure of our tonality. Through the combination of strings, bells and sitar (interesting choice!), we eventually get a hint of tonality through the presence of an F♯, suggesting an A Dorian modality (A-B-C-D-E-F♯-G). However, the crucial 3rd note of the scale is not yet established - we don't know if it is major (C♯) or minor (C). Nevertheless, the use of these ancient modes complements Fi - a character bound to a timeless sword.Regarding instrumentation, we get an intriguing use of a sitar and bamboo flute (either bansuri or dizi with a lessened membrane). This use of traditional exotic instruments, as well as the chiming of bells, further complements the agelessness of Fi.Following the sitar's modal opening, we transition to the bamboo flute, outlining Fi's motif in full. This motif is also Dorian in nature (through the F♯), and also uses several musical ornaments such as mordents and acciaccaturas, mirroring a well-ornamented / decorated blade.By 0:28, we get our first tonal shift from A Dorian into C major (C-E-G), followed by D major (D-F♯-A). These chords align closely with our tonic of A Dorian, but then we get an intriguing tertiary shift up to F major (0:32, F-G-A-B♭-C-D-E), starkly contrasting with our previous Dorian mode through the lack of an F♯. To complement this, the bamboo flute has also modulated into F with another statement of Fi's motif.As the phrase closes (0:38), we conclude in D major (D-F♯-A) with an added 9th note (E) in the melody. To return to our tonic of A Dorian, we get an unexpected shift to F♯ minor (0:44, F♯-A-C♯), followed by an even more unexpected C♯ minor 7th (C♯-E-G♯-B). However, this unusual chord is structured in such a way to act more so as the dominant (E-G♯-B) with an added 6th (C♯). If we look at it that way, the unusual nature of this chord diminishes, and we get a safe perfect cadence (chord V to I; E to A) back to our tonic.This opening section (0:17 - 0:46) is repeated (0:46 - 1:15), with some subtle development in the accompaniment, as well as additional bass 5ths support (harp at 1:01). As the section closes (1:12), the harmony differs from before, as we rise into the tonic major; A major (A-C♯-E), thwarting the previous Dorian mode and finally giving us the answer to the 3rd note (major; C♯). We also get a slight dynamic growth into the next section, followed by a sudden drop in dynamics (marked "sub." or "subito" = "suddenly").In our final section, the sitar returns as we shift upward into the distant key of B♭, alternating with A. This alternation suggests a Phrygian modality (A-B♭-C-D-E-F-G), though it is but a fleeting visit if so. It could alternatively be analysed as B♭ Lydian through the presence of B♭ and E, though this is less tangible due to the frequent alternation with A. Nevertheless, the sitar swirls around these keys for a while, as if floating above the clouds, and we ultimately rest in A, giving us the perfect opportunity to loop back to the start in A Dorian.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: The Legend of Zelda: Skyward Sword★Developer: Nintendo EAD★Publisher: Nintendo★Composer(s): Hajime Wakai, Shiho Fujii, Mihoto Yokota, Takeshi Hama, Koji Kondo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Zelda, The Legend of Zelda, Skyward Sword, Skyward Sword HD, Fi, Fi's Theme, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sheet Music, Score#SkywardSword#Fi#SheetMusic
Festival in Izumo | Orchestral Cover TandA 2021-06-27 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/ctWMq💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleFrom Golden Sun, we have slain the Serpent, rescued Susa & Kushinada, and now we can celebrate with a glorious festival, now with an orchestra to cover us.--------------------➤ Analysis:In short, Izumo is a representation of ancient Japanese culture. Through its pentatonic melodies, architecture, and even the shape of the island itself, all of these point towards Japan.Therefore, Japanese elements were of the utmost importance for this arrangement. The original track was remarkably sparse ( youtu.be/uaY9t-uwRRg ), only consisting of a percussive ostinato and single melodic instrument, with near total absence of harmony. As such, there was far more room for expansion than I would usually have when tackling these arrangements.Since this percussive ostinato is a crucial characteristic of the track, the arrangement begins with this ostinato on its own (0:02). When our melodic instrument arrives (0:10), I matched it closely to Sakuraba's track by placing it in the Piccolo Oboe ("Piccoloboe") - the rare highest of oboe instruments - which can be taken by the flute if not available due to its scarcity. These two elements (percussion and oboe) continue for some time, almost identically to Sakuraba's original outside of additional harp flourishes.Development commences at the conclusion of the first phrase (0:26) where more Japanese elements begin to enter, including a 17-stringed koto and string pizzicatos in 4ths/5ths, complementing pentatonicism (using only 5 notes). Here, harmony is also added for the first time, outlining an E pentatonic modality (E-G-A-B-D) with some added notes for some extra spice (C♯; 0:35; suggesting E Dorian).Harmonically, we climb through E-G-A-Am-Bm, all remaining relatively close to the pentatonic center (E-G-A-B-D). The C♯ - C♮ progression strays from true pentatonicism, but I felt that it contributed far more excitement to the harmony than had I remained strict to pentatonicism. Towards the end of the phrase, a piccolo is added to double the melody (0:39). By 0:45, the strings develop with more movement, with the violins moving in parallel 4ths and 5ths, again complementing pentatonicism and Japanese elements. Here, I made a decision that I've only done twice before (in "Sorrow and Regret" & "Jupiter Lighthouse") - I extended the duration of Sakuraba's track. Originally, the track looped at 0:47, but I took the liberty of repeating the entire track to allow for additional development and to get the most out of this material.As such, this 2nd half of the track (0:51 - 1:27) is structurally a repeat of the 1st (0:10 - 0:47), but now with the strings playing with the bow ("arco"), additional tambourine ostinati, and additional woodwind support from bassoons and clarinet.By 1:10, the harmony alters slightly, shifting up to G rather than remaining on E (0:30). The clarinet soars up to the major 3rd (B), while the strings shift from their ostinati and into sustained chords to anchor Sakuraba's original melody, now found in piccolo, piccoloboe and koto. All the while the drums and harp continue the rhythmic ostinato that has remained uninterrupted.We get one final suggestion of E Dorian with a shift to A major (1:23; A-C♯-E) before we conclude with a final statement of the percussion ostinato, allowing a loop back to the beginning.Overall, very surprised how this one turned out considering I hadn't programmed a koto before, and drums have always caused me problems in mixing but for some reason gave little trouble this time. Nevertheless, a very pleasant and joyful festival tune - enjoy!--------------------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: 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, Festival in Izumo#GoldenSun#Orchestra#Izumo
Trailer Theme (E3 2021) | The Legend of Zelda: Tears of the Kingdom TandA 2021-06-16 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/tG5MX💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleWell snap, didn't expect to be tackling this one, but here it is - a full sheet music transcription, recreation and cover of the recent Legend of Zelda: Breath of the Wild 2 trailer music theme released at E3 2021 during the Nintendo livestream, now without any sound effects.24 hours well spent ... maaaaybe ...Disclaimer: This isn't the official sheet music or original audio, but simply what I can hear in the recording (the clarinet and bassoons imitate the distorted voices towards the end).--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: The Legend of Zelda: Breath of the Wild 2 (BotW 2)★Developer: Nintendo★Publisher: Nintendo★Composer(s): Yasuaki Iwata, Manaka Kataoka, Hajime Wakai★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Hardware: My ears, mouth and hands★Tags: Legend of Zelda, Breath of the Wild 2, botw2, botw 2, Trailer Theme, Trailer Music, Orchestra, Arrangement, Remix, Cover, Transcription, Sheet Music, Score#Zelda#BotW2#BreathOfTheWild
Shrine Ruins Theme | Orchestral Cover TandA 2021-06-06 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/CR5SQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAnother massive cover from Monster Hunter Rise, this time, the "Shrine Ruins" battle theme, official titled as "Sanctuary Abandoned by the Gods" (a name of suitably epic proportion).--------------------➤ Analysis:This arrangement is a fusion of two tracks: the optional intro, "Forgotten Shrine (Day)" by Miwako Chinone, and "Sanctuary Abandoned by the Gods" (also known as the "Shrine Ruins Battle Theme") by Satoshi Hori. Both of these tracks are original to Monster Hunter Rise (unlike "Mizutsune", which had a previous version from Generations).This opening follows similarly to many other area introductions; a slow and freely floating little passage of music. Here, performers are given more freedom in their material to create a partially improvised introduction, including random opportunities for breathing and blurring the tempo.The track opens with a tonic pedal (on C) as the remaining instruments spell out a loose C pentatonic drone (C-D-F-G-B♭) with occasional auxiliary notes (e.g. A). A male choir arrives as if in chant (a familiar Eastern aesthetic present in nearly the entirety of Rise's OST), and all the instruments slowly fade to silence.Then the real fire begins (0:19). We open with bare 5ths chords (C-G) and a 3-3-3-3-2-2 rhythmic ostinato. To add excitement, I added a bass clarinet spelling out a floating suspended 4th chord (C-F-G), complementing the overall pentatonicism. This tonic of C shifts up surprisingly to D♭ (0:23), suggesting a Phrygian modality (C-D♭-E♭-F-G-A♭-B♭). Here, the upper strings winds and choir return in parallel 5ths - again, complementing the Eastern aesthetic.As we drop back down to C (0:27), we quickly begin growing to a climax, which is quickly reached (0:30). Here, Phrygian takes the lead role with a C-D♭-E♭ progression in wide octave unison. Very dramatic stuff!At 0:34, the main section begins, again with more parallel 4ths/5ths alluding to the Eastern aesthetic. As a consequence of this technique, this material has some striking similarities with the "Mizutsune Theme" ( youtu.be/C5dRP7DRpdU?t=35 ), which similarly uses parallel 4ths/5ths in nearly identical fashion. Hitherto we have remained largely in C, but at 0:37 we get a surprising shift to A minor in 1st inversion (C-E-A) - an extreme tertiary shift that strays from C Phrygian. This progression repeats (0:41) with some slight additions.As we shift into 0:49, we get a C-D♭-D-D♭ bass progression, beginning to blur the established Phrygian modality. For further interest here, I added a running 16th ostinato dove-tailing between English Horn and Clarinet, outlining a 7th sus-4 chord (C-F-G-B♭), complementing the earlier bass clarinet ostinato (0:19) and enhancing the pentatonic aesthetic.At 1:03, we get a short passage that gives opportunity for improvisation similar to the introduction. Harmonically, we are still, of course, on C. But at 1:18, we break out of this with a tertiary shift into A♭, as we descend chromatically downward (A♭-G-G♭-F).As we begin the pre-climax, we have another tertiary shift up to Ab (1:32), with the Eastern influence becoming more obvious through a return to pentatonicism (A♭-B♭-C-E♭-F). This progresses to D♭ (underneath a 9th suspension - E♭ - which is never resolved), acting as a loose Neapolitan 6th progression into the Dominant of G (1:39). To prepare the climax, we get an extra two measures thrown in for added drama.And at 1:43, we climax in C, following a safe downward progression: C-B♭-A♭, followed by our loose Neapolitan 6th; D♭-G. Random trivia, this is the exact same progression used in NieR: Automata's "Amusement Park" climax ( youtu.be/wEVYS7Ofbgo?t=71 ). From here, it's pretty smooth sailing, outside of an extra measure slapped onto the end for an improved loop point (2:12).(... Day 2998 waiting for the Dire Miralis theme to return ...)--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, 8Dio and Vienna Symphonic.★Game: Monster Hunter: Rise★Developer: Capcom★Publisher: Capcom★Composer(s): Satoshi Hori★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, 8Dio★Tags: Monster Hunter Rise, Shrine Ruins Theme, Sanctuary Abandoned by the Gods, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover#MonsterHunter#MHRise#ShrineRuins
Boss Battle Theme | Orchestral Cover TandA 2021-05-16 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/KVBSJ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleAn absolutely insane track from Sakuraba, pushing the GameBoy Advance to its limits. Here's an attempt to throw it all together for orchestra with a track from Golden Sun.--------------------➤ Analysis:The standard boss battle theme from the original Golden Sun, what does Sakuraba do to instil the fearful presence of a boss?During our brief introductory "anacrusis" ("before measure 1"), we are thrust into combat with an ascending diminished 7th chord (D-F-Ab-B). Diminished 7ths are fragile by nature, wanting to quickly resolve to a more stable harmony. And so it does, resolving to a loose E Dorian modality (E-F#-G-A-B-C#-D). I say "loose" as there is a fair chunk of chromaticism going on (note the melody ascending D-D#-E, and then descending G-Gb-F-E).This chromaticism and unstable harmony are fitting techniques for a villainous boss encounter. To enhance this further, the chromatic melody is doubled in 4ths/5ths, creating an exposed sound that historically would have been met with shock and distaste (parallel 5ths yo!). And additionally, various chromatic glissandi are sprinkled within to destabilize the harmony even further.After the opening chromatic passages, we shift to something more stable in A Dorian (A-B-C-D-E-F#-G; 0:10). Here, the rhythmic syncopation is chopped into a 3-3-2-2-2 pattern, further exacerbated by a shift into a 5/8 meter (0:13), squashing this pattern to a mere 3-3-2-2 division. This shortening of the meter invokes an impending sense of doom, as if time is running out.As we conclude another 4-measure phrase, this opening material repeats in full at 0:16. To add a touch of development, I sprinkled in a flickering of winds and trumpets (0:19), and doubled the melody another 5th above in the 1st violins.At 0:29, we get new material, highlighting an interval that has made quite an impression already - the "tritone" (sharpened 4th / flattened 5th, e.g. F-B). This "diabolus in musica" ("devil in music") is fully exposed in the strings and trombones through an eerie passage of glissandi tritones. By this point, any semblance of tonal harmony is all but extinguished, outside of some form of tonal centre surrounding E.The theme floats chromatically until we get some familiar-sounding material at 0:37. Indeed, it is a brief respite with our good friend, A Dorian. But this lasts a mere 4 seconds, and by 0:41, we are once more thrust into new territory.Here, at least, the tonality is moreso anchored to E - perhaps some sort of E Phrygian Dominant/ Hijaz tetrachord through the presence of the F-G# interval (E-F-G#-A-B-C-D). The piano has completely run amok, being one of the only instruments that could more easily perform such a rapid passage (I would not want to be so cruel to flutes & violins... maybe next time ;) )And as we reach 0:48, we receive the icing on the cake: an acoustic Shephard tone (an illusion of infinite ascent). Sakuraba's original saw a continuously, chromatically ascending passage, which was incredibly difficult to pull off with the limitations of the GameBoy Advance. Now for orchestra, we can more seamlessly create the illusion of a Shephard tone by spreading this material to many different instruments that reset at different intervals. The result: a passage that is seemingly rising forever. All the while the harmonic anchor also ascends chromatically (low winds, brass, contrabass).Very dark and impressive stuff - one of the most advanced and dissonant tracks of Golden Sun, or indeed of the GameBoy Advance era!--------------------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, Boss Battle#GoldenSun#Orchestra#Boss
Mizutsune Theme | Orchestral Cover TandA 2021-05-02 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/cKBqm💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleHere's an orchestral arrangement for Mizutsune, A Bewitching Dance from Monster Hunter: Rise.Featuring the vocal talents of:Mikasa Scarlet➤ http://twitter.com/scarlet_mikasa➤ tiktok.com/@mikasa_scarletPsamathes➤ youtube.com/psamathes➤ twitter.com/Psamathes➤ https://psamathes.bandcamp.com➤ psamathes.com Tracy F.➤ pillowfight.io➤ youtube.com/channel/UCLtmLrnU8bkjGEYRgNgDYTA--------------------➤ Analysis:Mizutsune, our bubbly monster of soaps, appears for the 2nd time in the franchise following "Monster Hunter: Generations". As such, this is also the 2nd rendition of its theme (here is the original version from Generations: youtu.be/VyXeOpj3RWI ).The main differences between the two versions are thus: Generations is all-round more punchy and louder, where Rise is more restrained and softer; regarding traditional Eastern instruments (koto, tsuzumi, shakuhachi, shamisen, dizi, etc.), Generations brings these more to the forefront, with Rise instead achieving a balance of both Western and Eastern instruments; the melodic role of the shakuhachi in Generations is replaced with vocalists in Rise; and Generations maintains a steady 4/4 metre, whereas Rise disrupts this with a single measure of 3/4* (1:15).(*Actually it doesn't. I transcribed from a version that cut a beat out for some reason lmao)Both versions are absolutely fantastic and heavily rely on pentatonicism (5-note scales) to achieve an Eastern aesthetic.I should also note that my goal for this arrangement was to create a version of this track that only requires Western instruments, allowing less-equipped ensembles to perform this track. Eastern instruments can be added freely if available (e.g. guitar performed by shamisen / koto), but they are not essential.Now, on to the analysis:We open in what initially appears to be E pentatonicism (E-G-A-B-D), but soon an F comes in and suggests, instead, a Phrygian modality (E-F-G-A-B-C-D-E). The alternation of these two tonalities is the main harmonic conflict of the track.We fully begin at 0:07, starting with a common 5-6-7-6 progression (B-C-D-C), coupled with a familiar 3-3-2 syncopation. This progression repeats again at 0:13, but with significant instrumental expansion: the violins play aggressive swirls in parallel 5ths (someone cover Bach's ears, quick! :O ); this is doubled by the woodwinds as well as additional brass chords.As the phrase concludes (0:20), we get an interesting F-natural sitting high atop the orchestra in a piccolo. Pitted against an implied pedal of E, we have a fascinating semitonal clash of E-F, even more surprising given the F♯ just two measures before. This clash again supports the suggestion of this track being in an F Phrygian modality.After our little percussive episode, the progression partially repeats again (B-C-D-E), now with additional pentatonic syncopation in the strings. At 0:32, we break our tonic pedal (E) by falling to the 6th (C) for a luscious major 7th chord, before dropping to the dominant minor (B-D-F♯) to prepare for a perfect cadence back to E.Now at 0:35, the progression returns (B-C-D-E), now with flute melodic interest. This continues more or less the same through to 0:56.Here, our vocals return in wonderful nasal tone as the harmonies start to develop; F♯m over E (1:03), D over E (1:07), and even a tertiary shift up to G (1:10). We are clearly building towards a climax. And indeed we are, for we get a sneaky measure of 3/4 (1:15) to thrust us into an exhilarating passage in G / B minor. The 3-3-2 rhythmic pattern is augmented into 3-3-3-3-2-2, the strings and winds deliver a brilliant syncopated pentatonic phrase, all while the vocals ring out in pure 4ths. The final interesting observation is an instance of major-minor dissonance (1:41); the vocals stay true to the harmony of F♯ (F-A♯-C♯), yet the strings and percussion instead have a cheeky A-natural, creating a semitonal clash with the A♯.--------------------★Game: Monster Hunter: Rise★Developer: Capcom★Publisher: Capcom★Composer(s): Reo Uratani, Satoshi Hori★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Monster Hunter Rise, Mizutsune Theme, A Bewitching Dance, Orchestra, Remix, Cover#MonsterHunter#MHRise#Mizutsune
Ankohl Ruins | Orchestral Cover TandA 2021-04-11 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/c5lFX💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleThe exotic and foreign ruins of the Ankohl Ruins from Golden Sun, now for ethnic and orchestral instruments.--------------------➤ Analysis:One of the trident towers, alongside "Tundaria Tower" (youtu.be/2u0n2mjfkm0) and the "Shrine of the Sea God" (youtu.be/4MnBJcj4Msg), the "Ankohl Ruins" is a dungeon containing one piece of the 3-part trident used to defeat Poseidon.Where Tundaria Tower was themed around ice and Shrine of the Sea God around water, the Ankohl Ruins are themed around Earth, in particular, sand. The ruins themselves are based off the real-world Angkor Ruins, Cambodia - notably the ruins of Bayon which themselves are famous for their numerous large stone faces (faces of which similarly appear in the Ankohl Ruins here).Due to this close relation to a world location (sick rhyme, I know), I tried to orchestrate as closely to the culture of Cambodia as I had access to. That includes numerous mallet instruments (Byeon, Katana, Pamade, etc.) as well as gongs and their close neighbour, gamelan. But to keep this orchestration as a ... you know ... orchestration, all of these parts are alternatively playable on more familiar Western instruments (xylophone, marimba, vibraphone, tubular bell, etc.), which is what I have scored here, with optional exotic percussion if available doubling at free will. Plus the usual string ensemble helps retain that orchestral aesthetic.To analyse the track, we open in an exotic pentatonic tonality (also a great rhyme) - only using 5 notes; E, G, A, B & D. For further interest, this is pitted against a simple polymeter of 3/4 & 6/8 (two time signatures playing at once), creating the duality of simple and compound time.As we grow to our 2nd section (0:23), we break out of our pentatonic tonality and progress into a loose E Aeolian mode (E-F#-G-A-B-C-D) - the modality of which helps to convey the atmosphere of an ancient culture due to its old heritage. To play with this idea of modality, I slipped in the occasional Dorian note to enhance this exotic modal flair (C#; 0:37 in violins).Melodically, we remain very simple in Aeolian, though with some parallel 4ths and 5ths adding to the ancient aesthetic due to their association with drones and plainchant. Harmonically, we also remain simple - pivoting between an E & D root note.By 0:43, we shift back into pentatonicism (E, G, A, B, D) as the mallet percussion takes over the melodic role. At 0:53, this is complemented by the rest of the ensemble in a final 4-measure phrase of Aeolian modality before we loop.--------------------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, Ankohl Ruins#GoldenSun#Orchestra#AnkohlRuins
Halcyonia | Orchestral Cover TandA 2021-03-28 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/3lTwm💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleThe calming opening village / city theme from Halcyonia in Bravely Default 2, now with fully transcribed sheet music and full cover / recreation to test its accuracy.--------------------➤ Analysis:Halcyonia, the first major city on our adventure.We begin in the simplest of tonalities - C major - with an adorable little recorder melody accompanied by soft, happy stringed instruments and accordion sustain. Harmonically, we have a gradual downward descent, moving from C into B♭ (0:05), yet the recorder melody retains its C tonality. As a result, the track presents a Lydian sound due to the sharpened 4th interval that occurs when combining B♭ (B♭-D-F) with C (C-E-G); the B♭ against the E.We step downward once more, with the bass sliding onto an A (0:08) to spell out an F major tonality in 1st inversion (A-C-F). Still, our recorder stands strong in its C major melody, creating added-note chords such as major 7ths (F-A-C-E) and 9ths (F-A-C-G).To complete the opening phrase, the bass descends downward once more with a smooth chromatic tertiary progression from F into A♭ (A♭-C-E♭; 0:10). Now the recorder has no chance of remaining in C major without causing extreme dissonance. Thus, the recorder adjusts itself into A♭ through the presence of an E♭. But cheekily, it's final note returns to the sharper E-natural (atop a B♭ chord) to once more suggest a Lydian modality.As the main section of the track begins (0:12), the melody swaps to an acoustic guitar, softly accompanied by another guitar, harp and some steady percussion. Harmonically, we have a very simple progression: C - G - Am, then Am - Em - F, then F - C - Dm - Am, and finally B♭ - Csus4 - C. Very familiar chords and nothing extreme (appropriate for a soft spring breeze). The melody continues outlining the Lydian sharpened 4ths (0:21), as well as 4-3 suspensions (0:16, 0:21 & 0:31), all of which resolve as expected down to the 3rd.At 0:33, we get a partial of this phrase in the subdominant (F), but now with the recorder returning in the melodic role alongside some additional stringed accompaniment. The harmony also develops: F - C - Dm, then Dm - Am - B♭, then F - E♭ (getting quite extreme), followed by a partial Neapolitan shift (♭iib - V; E♭ - A) into A major with a short dominant pedal to prepare us for the next section.We would expect this dominant chord to return to the tonic (V - I; A - D), but our expectations are diverted by an interrupted cadence (V - VI; A - B♭; 0:55), also with the sharpened Lydian 4th (E) for some extra brightness. Now two recorders become present, as the harmony slips down again to A, but in its minor variation (0:57). From here, we begin a circle of 5ths progression (a favourite of Revo's neo-classical style) as we spiral from Am - D - Gm - C - F, and ending with a tertiary shift back to A major to allow a return to B♭ with another interrupted cadence (1:05).The section concludes in F major (F-A-C; 1:13), so what can we do to return to the opening tonality of C? Simple, just jump up a tone (from F to G) and we instantly have our dominant chord of C (V = G). From there, a quick perfect cadence (V - I; G to C) and we're home, safe and sound. Sprinkle in a repeat of the opening material with some extra recorder call and response, and we're done. Boom, one city track ready to go.Revo Drinking Game: Take a swig every time you hear wind chimes.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Bravely Default II★Developer: Claytechworks★Publisher: Square Enix, Nintendo★Composer(s): Revo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Bravely Default 2, Bravely Default II, Halycion, Home of the Spring Breeze, Cover, Recorders, Remix, Transcription, Sheet Music, Score, Re-creation#BravelyDefault2#Halcyonia#Cover
#GoldenSun20 (TandA x VVGO) TandA 2021-03-18 | ➤ Watch the performance: youtu.be/wSWu9UJG1s0➤ VVGO Discord: discord.gg/vvgo(Edit 3rd May: Submissions are now closed - thank you for contributing - but you are still more than welcome to join on other VVGO projects!)I'm very excited to announce a collaboration with the Virtual Video Game Orchestra (VVGO) to perform some of Golden Sun's music in celebration of the 20th anniversary of the franchise.If you play an instrument or sing and want to get involved, click the link above to join the VVGO Discord channel to find the sheet music for this project.Or if you know someone who plays an instrument, then please share this project with them (or just share it in general!). Let's show Nintendo and Camelot that the Golden Sun community is still very much alive. 🌞For additional 20th anniversary events check out:▶ reddit.com/r/GoldenSun▶ twitter.com/IsaacAdepts▶ VVGO Website: vvgo.org▶ Background Music: Surely you must know ;)#GoldenSun20
Linked Battle Theme | Orchestral Cover TandA 2021-03-14 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/rRTpQ💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleThe battle music for Golden Sun's multiplayer link battles (or perhaps more recognizable as the final sounds heard by those crushed by giant boulders), now for orchestra.--------------------➤ Analysis:From the start, we are thrust into combat with a cluster of parallel tritones - our favourite interval, the "diabolus in musica" ("devil in music"). This is complemented by intense polyrhythms, pitting a syncopated simple meter against triplets. This opening measure concludes with a nearly universal collapse, as nearly every instrument is instructed to fall ad lib. ("freely").Then our main material begins. The melody, here in the trumpets (0:04), is very reminiscent of "Sea of Karagol's" iconic opening melody (youtu.be/AL5QD0__QYE), as well as Sakuraba's battle theme for "Tales of Destiny 2" (youtu.be/pvXrsqi7Ggc). I suspect when having to devise thousands of RPG tracks, one will undoubtedly begin to repeat their material.Nevertheless, our track continues in an Aeolian modality (A-B-C-D-E-F-G), pivoting between A, G and F chords. To support the melody, I have added a new countermelody in the horns, strengthened by aggressive tremolandi strings. Further, the pivotal arpeggios (which Sakuraba originally placed in the harp), have additional support from a celesta and glockenspiel, conjuring an extra dazzling sparkle to their rapid arcs.As the section ends (0:17), we get a nearly identical repeat. To offer some development, the melody is now additionally doubled in the winds, and we now have some extra brass harmonic and rhythmic interest. As we near the end of the section (0:28), the material changes slightly as the strings begin to take over the melodic role.We thus shift to the subdominant (D minor; 0:30) as we begin our next section with a violin melody. To support this, the winds and trumpets exchange a series of alternating 16th note sputters. Harmonically, we climb from D minor to E minor, allowing a quick return to A minor (0:33). The choice of using E minor as the dominant pivot is quite unusual (it would usually be E major for a true perfect cadence), but it is nevertheless a very functional choice that offers a welcome change to harmony.As we enter the 2nd half of this section (0:37), the flutes join in with an extra countermelody soaring high above, before concluding with some double-tonguing descents (0:41). After their 4 measures, the winds and strings re-enter with a rhythmically diminished response to the trumpets major 9th call (0:48).For these final 4 measures, the prior material partially repeats, now in the winds and strings and trumpets for a final climb up into the relative major (C major; 0:52), followed by a seamless tertiary shift from G into E major (E-F#-G#-A-B-C#-D#; 0:54), allowing for a true perfect cadence back to our opening tonality of A. To reflect this loop point, several of the instruments fall freely once more, akin to the opening measure.--------------------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, Linked Battle Theme, Link Battles#GoldenSun#Orchestra#LinkedBattleTheme
Asterisk Boss Theme | Orchestral Fantasy Cover TandA 2021-02-28 | 🎵 Sheet Music, Parts & TABs ➤ musicnotes.com/l/NRTPX💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleA full band cover and sheet music transcription for one of the Asterisk Boss themes from Bravely Default 2, composed by Revo in the heavy fantasy rock style of Linked Horizon.A massive thanks to guitarist and fellow composer, Raúl Sangonzalo, who was invaluable in performing the guitars and drums, as well as guidance with mixing & mastering. Check out his awesome work:➤ instagram.com/raulsangonzalo➤ https://linktr.ee/raulsangonzaloSupport the official soundtrack:➤ rlbd2.ponycanyon.co.jp/release--------------------➤ Analysis:In classic Revo style, we begin with large aggressive bare 5ths chord in A (0:03). The presence of a Bb suggests a Phrygian modality (A-Bb-C-D-E-F-G), rather than the typical harmonic minor. This tonality, combined with forceful syncopation (rhythms going against the pulse) create an instant battle aesthetic - very suitable for an asterisk boss. This atmosphere is further enhanced by diminished 7th chords (0:07; A-C-Eb-F#).At 0:09, this opening material repeats, now doubled in open 4ths / 5ths by the violas. But by 0:14, we abruptly step up a tone to B minor / Phrygian, with another repeat of the opening material. This time, the piano contributes some seemingly improvisatory chromatic material with some dissonant trills (0:22).Halfway through the intro (0:26), we return to our tonic of A, expanding the opening material with increased aggression through more drums, bass, strings and piano presence. And, as expected, we step to B at 0:37 with another expansion of earlier material with extra spice.But as we conclude the phrase (0:48), instead of stepping back down to A, we step up a further semitone to C Phrygian (C-Db-Eb-F-G-Ab-Bb) for the climax preceding the main asterisk boss theme. This passage is Phrygian in nature due to the C-Db-Eb progression. As this climax concludes (0:52), we get a heavily distorted rising swell with some unison syncopation as we enter the main asterisk theme.Here (0:55), the off-beat syncopation continues (very reminiscent of the "Attack on Titan" season 1 OP, also by Revo) as we get a shift to A Aeolian (A-B-C-D-E-F-G). The material is otherwise quite simple. We get a quick tertiary shift up to C Aeolian (1:05), where this opening phrase is almost repeated in full, but transposed.By 1:18, a 2nd section begins with the strings taking the melodic role. Here, we tonally swim through multiple tertiary modulations (from C, to A, back to C, then to Eb, and back to C). These progressions are termed "tertiary" since they modulate a 3rd away from one another (e.g. A is a 3rd away from C).We return to the 1st section at 1:30, more or less unchanged outside of some additional spark from the piano, and the 2nd section is also repeated again at 1:41. But as it concludes, this time we modulate to the relative major of C minor (Eb) for a brief episode. This shift to the relative is very typical of neoclassical composition, a style that Revo heavily incorporates in his music (note the circle of 5ths we'll see later).Following this relative episode (2:04), we get a developed return to the 1st section in C Aeolian, now coloured with new harmonies such as the submediant (Ab) and relative (Eb), as well as a new horn & viola countermelody.At 2:27, we get our famed Revo guitar solo section, now seamlessly falling back into A minor (the tonic). This solo plays around a circle of 5ths (Am-Dm-G-C-F#-B-E-Am) - an incredibly neoclassical technique. As the intense solos come to an end, we get an instant loop back to the beginning of the 1st section, as the track repeats (2:50).Revo Drinking Game: Take a swig every time you hear wind chimes.--------------------The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.★Game: Bravely Default II★Developer: Claytechworks★Publisher: Square Enix, Nintendo★Composer(s): Revo★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library★Tags: Bravely Default 2, Bravely Default II, Asterisk Boss 1, Cover, Guitar Cover, Band Cover, Remix, Transcription, Sheet Music, Score, Re-creation#BravelyDefault2#AsteriskBoss#Cover
An Enemy Appears | Orchestral Cover TandA 2021-02-14 | 🎵 Sheet Music & Parts ➤ musicnotes.com/l/x6fJW💗 MIDI / XML / Sibelius / Stems ➤ bit.ly/TandAPatreon🎹 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/TandAAppleA 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, I've 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 can't 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
