Battle Theme I | Orchestral Cover
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- Äas pĆidĂĄn 16. 02. 2019
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A recent JRPG game I've played had some excellent themes all around, some of which I couldn't resist transcribing the full sheet music!
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†Analysis:
The track itself is quite a typical "Battle Theme" (and indeed, very similar to the other two "Battle Themes" from Octopath), with an aggressive rhythmic ostinato juxtaposing the rhythm of 3 against 2 (0:05), which continues periodically throughout.
I was a little uncertain with the last note of the opening two bars; I can hear 2 main melodic lines in there (e.g. Violins on one, then Cello and Contrabass on the other), with a slightly different 3rd in the viola and upper brass. But I also hear a very slight B-flat on the very last note of these two bars, though it may well simply be an A-flat instead.
The strings take the main focus, with the brass only entering at syncopated cadential points (e.g., 0:21, 0:45) and other occasional melodic doubling (0:47). Surprisingly, there are no woodwind instruments at all, I suspect largely due to the likelihood of the winds being drowned and lost in the final mix.
Otherwise, the track sticks to the key of G minor, remaining safely close to it throughout with a quick modulation to C minor at 0:34 before moving back to G minor at 0:47. It is a small shame that Nishiki doesn't explore the material a little bit further, but I'm sure he had an exceptionally tight deadline to produce the 80+ tracks for this game!
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The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
â Game: Octopath Traveler
â Developer: Square Enix
â Publisher: Nintendo
â Composer(s): Yasunori Nishiki
â Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
â Tags: Octopath Traveler, Battle Theme I, Battle Theme 1, Octopath Traveler OST, Octopath OST, Octopath Soundtrack, Octopath Battle Theme, Octopath Battle Music, Battle Music
#OctopathTraveler
#BattleTheme
#SheetMusic - Hudba
When I thought your taste couldn't get any better, you drop this on us!
this is AMAZING!
You deserve much more credit for this, the amount of effort this must have taken
You have earned a new subscriber (Specifically exactly 500th subscriber lol) I love your remixes such as your Golden Sun remixes for example. Hopefully you get to 1,000 subs really soon!
Many thanks - and drinks all around to 500! Be on the lookout on Sunday for the next arrangement ;)
TandA Looking forward to it! :)
I love it! *Though I am still hoping for Karst and Agatio Battle theme!* - I'd still love to see more Octopath after this :)
Brutal
You're back!!!
Subscribed
Amazing đđđ
,,I'M READY! ARE YOU?"
I have no idea why this does not have more views, but you'll definitely be getting my support from now on
I missed the "trending" period by about 6 months ;)
Nevertheless, thank you for your support, and Happy New Year!
@@TandA-Music Keep up the great work and Happy New Year!
Fantastic work. I love listening while reading a score. I'm a firm believer that's the best way to listen to music, if you want to really understand it.
Pro tip - write the syncopations as ties, instead of a run of dotted eighth notes (the first full bar, and other places). That kind of rhythm is never professionally published with a series of dotted notes, and for a good reason. As a musician, that notation of the rhythms (series of dotted notes) is very difficult to read. It's much easier to "feel" when we can see the beat with the grouped beams of sixteenth notes (semiquavers). As you notated it, beats two and three are hidden somewhere inside the second and third dotted notes. 'Correctly' notated, it would be a dotted eighth, sixteenth tied to an eighth, eighth tied to a sixteenth, dotted eighth, and two eighth's in that first bar (or in Queen's English - dotted quaver, semiquaver tied to a quaver, quaver tied to a semiquaver, dotted quaver, and two quavers). Or even better, given that they're notated with a staccato articulation, write them as eighth's and sixteenths (or quavers and semiquavers) only, and put rests where appropriate. This highlights the space you want to player to make between pitches. We're trained as players to think 'long' when we see the dot, as it adds time to the un-dotted notehead. I enjoy a good transcription/arrangement, but whenever I see one with janky notation on CZcams, Musescore, wherever, I cringe and die inside. It takes time to parse those out, but is well worth it in terms of the readability of the music. Happy transcribing!
Thanks for the tip!
I did ponder for a good while on which notation to use for those syncopations! Eventually I decided on the above as I found it more visually pleasing for the average viewer (except us die-hard music folk!). And, well, ultimately I figured the score would never be performed by live musicians anyway.
You are really talented at transcribing music!
I would really appreciate it, if you could also add chord symbols in your transcriptions.
As soon as I get a Patreon account I'm going to be a supporter! :)
how did you make that sheet music
Using my good old ears and 8 years of music education! ;)
@@TandA-Music no, what software?????
@@spongewent1479 Check out the description - Sibelius!
lol im only here for the obvious touhou reference at the beginning
Yeaa--- alice theme