Music Theory Breakdown: This whole track is in the key of F minor. Harmonically-speaking, this is not the most experimental or pushing-the-envelope track that I've covered since it rarely strays from a traditional minor key sound - it really shines in the expression of the instruments and their raw energy. The arrangement/orchestration is what made this track stand out to me, as well as how close the instruments sounded. It felt like they were in the room with us rather than in a gigantic orchestra pit which I thought was very cool. Our own personal violinist scoring our battle in the Carian royal courtyard. Those close mics are powerful! However, despite that, there are still a few interesting moments I'd like to highlight in the harmony that I thought were really fantastic. I'll also go over some of the common mechanisms used to achieve the sound this song has. Namely, pedal tone, close combination of Aeolean and harmonic minor, chromaticism, and creative use of inversions. The first thing to take note of is the extensive use of pedal tone. I've covered this before in a bunch of my other writeups, but this is a very common technique used by From Software's composers. There is very little chord movement as the song sits mostly on the F note root in the bass. Tones and intervals from F Aeolean and F harmonic minor ring out over the top, creating our mood. Keep in mind that these two modes share all the same notes except for one, the 7th. Similarly to the last piece I analyzed, Dragonslayer Armour from DS3, the composer goes back and forth between Aeolean and harmonic minor to create this hybrid mood mixture. It's a mixture of the somber, longing, epic, and nostalgic Aeolean mode with the medieval, classical, imposing, royal, and elegant harmonic minor mode. Put all those adjectives together and you've got the Carian Royalty and Castle Ensis. Changing that diatonic b7 (Eb) to the raised 7 (E) has such a dramatic effect and it's important to take note of how it sounds when you see that 7th. The combination and trading off with each other between the b7 and raised 7 is essential to the energy and mood in this track. Toward the end some measures, we get a brief move to root note E before moving back to F. This provides the most tangible sense of tension and release. This is a form of the V-i movement, E being the third of our V chord C7. It's a C7-Fm move but with C7 in first inversion. Sometimes it presents as an Edim chord, but that is also just a form of C7 as it has the same notes as a rootless C7b9. 0:18: This move to an E in the bass before returning to F is first seen here, but happens a lot throughout the song. Having this minimal level of actual bass movement keeps us in that brooding/droning pedal tone mood while adding a little bit more tension/release and intrigue than just staying on low F the whole time. Yet, it doesn't have as much motion and harmonic storytelling as a full-fledged chord progression involving multiple chords would. It's an awesome middle ground. 0:19: The high violin runs in this song often use chromaticism to add additional spice to their sound. For me this was another great takeaway for my own composing - it can be tempting to just run up or down a scale sometimes. I think adding in the chromatic neighbor tones like Tai Tomisawa does here gives it a more refined and classical-sounding vibe. It's hard to put into words but I really like the impact it has. I heard D, B, and both Eb and E (the two options for our 7th) within the fast runs, breaking out of any defined scale shape. They're only hit for a brief moment though, so do not take away from the overall minor/harmonic minor sound the track has. 0:45: These rapid string riffs combine both previous ideas nicely, in that we have a run from Eb to E to F. Both of our 7th options are utilized, combining the Aeolean and harmonic minor sounds. It's also phrased as a chromatic rising melody resolving to F, so we can taste that chromaticism spice at the same time as we get a clean voice-leading resolution. A fantastic sound. 1:08: The first time see the b9 (Gb), which is very notable. This doesn't happen often in the song, which was one of the clues to me that the track wasn't by Kitamura (she uses this note and chords build off of it a lot more frequently). 1:13: This incredibly strong and well-highlighted cello melody is going from F to E to Eb. It's a reinforcement of the previous concepts. Both options for the 7ths are used in close proximity to one another, and chromaticism is injected at the same time. This illustrates Tomisawa's songwriting skills as he is adeptly re-using concepts from his song in new ways to create cohesion and a sense of identity. The faster run that follows continues to display similar principles, with chromaticism involving the b5 (B). It uses an Eb on the way down, but an E on the way up, again mixing Aeolean and harmonic minor. 1:20: One of the coolest parts about pedal tone is writing is that when the song finally does actually get some fancy bass movement and a more fully-formed chord progression, it can have a much more dramatic effect in contrast to the previous droning of a single note. We saw this in Dragonslayer Armour as well. Just when the pedal tone sections might become a bit tedious, the composers throw in a fast-moving chord progression to add motion and excitement. Here we have: F Gdim Bbdim C7b9 C7b9/E It can be viewed as an elongated i-V, but there is so much movement in the bass that it doesn't really feel so simple when we hear it. I say that because Gdim and Bbdim are also just rootless C7b9. They have dominant function in regard to F minor. Gdim and Bbdim are enharmonically equivalent, being inversions of one another. Despite that, you can feel a ton of motion moving from Gdim to Bbdim in the song because previously the bass wasn't very active, just relaxing on F. Gdim, Bbdim, C7b9, and C7b9/E are all different expressions of the V7 chord. Just because they have the same function does not mean they sound the same in practice though, as this passage clearly illustrates. 1:36: The same elements as mentioned above, but presented much more boldly. Fm Cm/Eb DbMaj7 C7 This is really cool! It's a i-v-bVI-V progression. We get both versions of the V, major and minor, one right after another. The inversion on the first one (Cm/Eb) is fantastic, helping create a fluid downward bass motion as opposed to using C as the root. Once again, Aeolean mode and harmonic minor mode are combined very tightly. Both of the available options for the 7th are chosen one right after the other. Tai Tomisawa blends them together masterfully. Phase 2 does not present a harmonic shift from phase 1, the same techniques, chords, and commonly-used notes still apply for the most part. A few notable things to point out though: 2:32: This b9 in the main melody (Gb) is wonderful! This really reminds me of Yuka Kitamura's writing. Sounds amazing and really stands out. 3:07: F MAJOR!!! This comes in out of nowhere after an F minor triad has been clearly outlined by the violins for the past few seconds. I love how this sounds. The voice leading is very clean, chromatically ascending into the A from G and Ab. It's followed up with a bass move from C# to E, outlining a C# dim harmony, before resolving back to F minor. As mentioned before, this is just an expression of the V. So I view this as a i-I-V7-i progression. I haven't seen that too frequently and I'm definitely going to try it out for myself! The inclusion of that 'A' note was totally absent in phase 1 so I guess this constitutes the biggest harmonic shift between the phases. 3:38: Fm Cm/Eb C# m/E Fm Fm/Ab C7/E Db/F Fm Bbm/Db Fm C7/E Fm The final section I'll highlight as it's another really cool way that Tai Tomisawa mixes Aeolean and harmonic minor. This time we get Eb to E in the bass, a very strong expression of both available 7th options. This segment adds another key Souls-music staple technique which is creative use of inversions. There are so many amazing inversions in this segment that obscures the fact that the underlying harmony is relatively simple. Each one of these is either a i, V, iv, or bVI - very commonly used chords in a minor key. However, because they very frequently placed in 1st inversion, it sounds a lot more complex and layered. This also allows the bass movement to be more expressive, as long as the upper chord structures are compatible. I always try and make it so that these writeups are helpful to composers/musicians/etc, as my primary motivation for digging into these tracks in the first place was to figure out what tools are being used and put them in my own toolbelt. So if you want to sound harmonically like Rellana's theme and would like a TLDR of takeaways: 1. Minor key and pedal tone most of the time, with brief stopovers to nearby notes like the raised 7th to create tension and release 2. Use both b7 and raised 7 interchangeably and close to one another, mixing Aeolean and harmonic minor modes 3. Add chromaticism to violin runs 4. Creative use of inversions to support interesting/rapid bass movement as a way to break up the pedal tone segments 5. Briefly throw in a b9 or b5 now and then, or even a major 3rd! Of course, nailing the arrangement, orchestration, expression, and melody structure are absolutely integral to actually sounding like this song, but my focus area is always on the harmony. Thank you so much for reading if you've made it this far - until next time! You can reach me in the Discord server (linked in the description) if you have any questions, corrections, or just want to discuss this topic further.
What twist of fate! I hearken to the melody and find myself bewildered, yearning for the lore behind the hymns of Souls. They oft share an ethereal “mood,” yet its essence eludes my grasp. A neophyte in the arcane art of music theory am I. My gratitude to thee, Tarnished.
It's a bit surprising that such an otherwise thorough analysis doesn't mention the significant use of the leitmotif melody taken directly from the beginning of Rennala's theme (used here primarily at 0:55-1:10 and 2:56-3:09, but many parts of the theme are built from/references this leitmotif). I'd say it's pretty integral to the piece both on the narrative level and the compositional level.
@@KuzuneGreat point, thanks for adding that. I was so laser focused on the harmonic content that I didn't notice it. I guess I haven't really listened to Rennala's theme in a bit. Now I totally hear it!
Cool interpretation that's definitely like-worthy, then I get to the comment section and find a detailed analysis of the piece and the creation of the arrangement, nah, now that's a subscription + bell-worthy., keep it up good fella.👏
Thank you botti! I am having a great time with the DLC it's wonderful - and I am definitely planning to do more covers. She is my favorite so far. I appreciate your comment 💜
Woow you really captured the elegance in her theme! ❤It's absolutely beautiful and her theme is one of my favorites in the dlc. It has that intensity along with the elegance which fits her fighting style so well being reminiscent of Pontiff Sulyvahn ^^
Thank you so much!!! I agree the theme really fits her and her fighting style so well, they did a great job with it. Total Sulyvahn callback as well, I agree. I appreciate your comment 💜
@@moonlapsepiano You're very welcome! She UTTERLY destroyed me when I first played this expansion but made it so satisfying when I managed to defeat her and has since become a favorite of mine in the dlc :D Funny how that works honestly with struggling so much but then come to love these fights XD I thank you as well too ✨
@@themoonlighthuntress7065 SAME she really took me down. I think it took me 3 days, and probably 6-7 hours total to win and it works the exact same for me. The longer and more arduous the struggle the more fondly I remember the boss lol. And the more the song is burned into my head. I bet you could make a pretty badass pixel sprite of her!
@@moonlapsepiano ah major congrats on beating her! ✨She took me about 3 to 4 hours to beat but it was a super close fight to say the least but like you said, the more you struggle the more we tend to remember the bosses ^^ I did plan on making pixel art of her at some point! I did make Messmer recently cause he's my 2nd favorite fight right behind Bayle :D So many great characters to make art of it's hard to choose lol
Just uncovering your channel. What really makes you standout is your music theory breakdown of a piece. You have no idea how valuable it is to people like me who love listening to Fromsoftware’s OSTs without any preexisting knowledge of the mechanics behind music creation
@@HeevaEgo thank you that means a lot. part of why I started this channel in the first place was because I was feeling like that, frustrated I couldn't find much music theory on Fromsoft soundtracks. So it is wondeful to see other people reading and learning from my theory analysis!! 💜 There is no reason this beautiful style of music should remain a mystery
I was waiting for someone to arrange this the moment I heard it in the fight. This is an incredible score, and you did a wonderful job transcribing it to piano.
Awesome work, Moon! This is a fantastic arrangement! While going through your analysis, you bring up a very good point, and something that I felt while playing the game. This piece in particular sounds almost like chamber music instead of the huge orchestral sound we're used to. I agree that it REALLY does feel like the musicians are inside of the arena with you as you have your duel with Rellana. This wasn't really my favorite piece from SotE, but after thinking of it in this way, it really did make me appreciate the piece a whole lot more, and is probably top 5, tbh. Again, great work!
@@LudwigVanLarx Thanks Ludwig!! I appreciate you reading my analysis as always. My appreciation for this song grew as well once I took note of the small room mix.
Thank you so much! 💜 I haven't gotten there yet and have no idea what that is, but once I'm all done w/ the DLC I'm sure it will be contender for a cover lol.
@@moonlapsepiano wow thanks for the update! I was literally checking earlier to see if you had uploaded them, what a coincidence haha. Keep putting out awesome work!
I'd love to see a cover, but more so an analysis of mohg or midra's theme. I really like them both, but don't have a good enough ear to really hear the specifics of what is going on
@@Reversi44 sheets are up! link's in the description 💜if you do want to donate, I put my buymeacoffee link in my RUclips profile, but no pressure whatsoever it's totally optional! i love doing this
@@paoloruiu2558 Thank you so much!! That one I can say you won't likely see here, I like to stick to themes from actually in the game. But thanks for your comment! 💜
@@froqwo4851 Hi, not yet as I'm focusing on doing more SotE arrangements first. I will make sheets for all of them afterward, and I'll add them to the description here and let you know. Thanks for watching 💜
@@rexwest4532 It takes practice and experience but there's definitely techniques you can start applying right away. I do it 1 instrument at a time, start with the highest most obvious melody. Then the deep bass. Then fill in the inner voices instrument by instrument. Play along with each line on the piano until you get it right. It's ok if it takes time or pausing and rewinding the same section over and over! I record all that into my DAW to take down all of the harmonic notes/information in MIDI format. Next step is to transform that into something that makes sense to play on piano, which involves moving some notes up or down octaves, restructuring them into chords, or cutting some voices if there are too many to be reasonable to play on piano. Good luck and I'm happy to answer any questions. The key is just having the song you're transcribing and you piano playing at the same time and trying to match it.
Music Theory Breakdown:
This whole track is in the key of F minor. Harmonically-speaking, this is not the most experimental or pushing-the-envelope track that I've covered since it rarely strays from a traditional minor key sound - it really shines in the expression of the instruments and their raw energy. The arrangement/orchestration is what made this track stand out to me, as well as how close the instruments sounded. It felt like they were in the room with us rather than in a gigantic orchestra pit which I thought was very cool. Our own personal violinist scoring our battle in the Carian royal courtyard. Those close mics are powerful!
However, despite that, there are still a few interesting moments I'd like to highlight in the harmony that I thought were really fantastic. I'll also go over some of the common mechanisms used to achieve the sound this song has. Namely, pedal tone, close combination of Aeolean and harmonic minor, chromaticism, and creative use of inversions.
The first thing to take note of is the extensive use of pedal tone. I've covered this before in a bunch of my other writeups, but this is a very common technique used by From Software's composers. There is very little chord movement as the song sits mostly on the F note root in the bass. Tones and intervals from F Aeolean and F harmonic minor ring out over the top, creating our mood. Keep in mind that these two modes share all the same notes except for one, the 7th.
Similarly to the last piece I analyzed, Dragonslayer Armour from DS3, the composer goes back and forth between Aeolean and harmonic minor to create this hybrid mood mixture. It's a mixture of the somber, longing, epic, and nostalgic Aeolean mode with the medieval, classical, imposing, royal, and elegant harmonic minor mode. Put all those adjectives together and you've got the Carian Royalty and Castle Ensis. Changing that diatonic b7 (Eb) to the raised 7 (E) has such a dramatic effect and it's important to take note of how it sounds when you see that 7th. The combination and trading off with each other between the b7 and raised 7 is essential to the energy and mood in this track.
Toward the end some measures, we get a brief move to root note E before moving back to F. This provides the most tangible sense of tension and release. This is a form of the V-i movement, E being the third of our V chord C7. It's a C7-Fm move but with C7 in first inversion. Sometimes it presents as an Edim chord, but that is also just a form of C7 as it has the same notes as a rootless C7b9.
0:18: This move to an E in the bass before returning to F is first seen here, but happens a lot throughout the song. Having this minimal level of actual bass movement keeps us in that brooding/droning pedal tone mood while adding a little bit more tension/release and intrigue than just staying on low F the whole time. Yet, it doesn't have as much motion and harmonic storytelling as a full-fledged chord progression involving multiple chords would. It's an awesome middle ground.
0:19: The high violin runs in this song often use chromaticism to add additional spice to their sound. For me this was another great takeaway for my own composing - it can be tempting to just run up or down a scale sometimes. I think adding in the chromatic neighbor tones like Tai Tomisawa does here gives it a more refined and classical-sounding vibe. It's hard to put into words but I really like the impact it has. I heard D, B, and both Eb and E (the two options for our 7th) within the fast runs, breaking out of any defined scale shape. They're only hit for a brief moment though, so do not take away from the overall minor/harmonic minor sound the track has.
0:45: These rapid string riffs combine both previous ideas nicely, in that we have a run from Eb to E to F. Both of our 7th options are utilized, combining the Aeolean and harmonic minor sounds. It's also phrased as a chromatic rising melody resolving to F, so we can taste that chromaticism spice at the same time as we get a clean voice-leading resolution. A fantastic sound.
1:08: The first time see the b9 (Gb), which is very notable. This doesn't happen often in the song, which was one of the clues to me that the track wasn't by Kitamura (she uses this note and chords build off of it a lot more frequently).
1:13: This incredibly strong and well-highlighted cello melody is going from F to E to Eb. It's a reinforcement of the previous concepts. Both options for the 7ths are used in close proximity to one another, and chromaticism is injected at the same time. This illustrates Tomisawa's songwriting skills as he is adeptly re-using concepts from his song in new ways to create cohesion and a sense of identity. The faster run that follows continues to display similar principles, with chromaticism involving the b5 (B). It uses an Eb on the way down, but an E on the way up, again mixing Aeolean and harmonic minor.
1:20: One of the coolest parts about pedal tone is writing is that when the song finally does actually get some fancy bass movement and a more fully-formed chord progression, it can have a much more dramatic effect in contrast to the previous droning of a single note. We saw this in Dragonslayer Armour as well. Just when the pedal tone sections might become a bit tedious, the composers throw in a fast-moving chord progression to add motion and excitement. Here we have:
F Gdim Bbdim C7b9 C7b9/E
It can be viewed as an elongated i-V, but there is so much movement in the bass that it doesn't really feel so simple when we hear it. I say that because Gdim and Bbdim are also just rootless C7b9. They have dominant function in regard to F minor. Gdim and Bbdim are enharmonically equivalent, being inversions of one another. Despite that, you can feel a ton of motion moving from Gdim to Bbdim in the song because previously the bass wasn't very active, just relaxing on F. Gdim, Bbdim, C7b9, and C7b9/E are all different expressions of the V7 chord. Just because they have the same function does not mean they sound the same in practice though, as this passage clearly illustrates.
1:36: The same elements as mentioned above, but presented much more boldly.
Fm Cm/Eb DbMaj7 C7
This is really cool! It's a i-v-bVI-V progression. We get both versions of the V, major and minor, one right after another. The inversion on the first one (Cm/Eb) is fantastic, helping create a fluid downward bass motion as opposed to using C as the root. Once again, Aeolean mode and harmonic minor mode are combined very tightly. Both of the available options for the 7th are chosen one right after the other. Tai Tomisawa blends them together masterfully.
Phase 2 does not present a harmonic shift from phase 1, the same techniques, chords, and commonly-used notes still apply for the most part. A few notable things to point out though:
2:32: This b9 in the main melody (Gb) is wonderful! This really reminds me of Yuka Kitamura's writing. Sounds amazing and really stands out.
3:07: F MAJOR!!! This comes in out of nowhere after an F minor triad has been clearly outlined by the violins for the past few seconds. I love how this sounds. The voice leading is very clean, chromatically ascending into the A from G and Ab. It's followed up with a bass move from C# to E, outlining a C# dim harmony, before resolving back to F minor. As mentioned before, this is just an expression of the V. So I view this as a i-I-V7-i progression. I haven't seen that too frequently and I'm definitely going to try it out for myself! The inclusion of that 'A' note was totally absent in phase 1 so I guess this constitutes the biggest harmonic shift between the phases.
3:38:
Fm Cm/Eb C# m/E Fm Fm/Ab C7/E Db/F Fm Bbm/Db Fm C7/E Fm
The final section I'll highlight as it's another really cool way that Tai Tomisawa mixes Aeolean and harmonic minor. This time we get Eb to E in the bass, a very strong expression of both available 7th options. This segment adds another key Souls-music staple technique which is creative use of inversions. There are so many amazing inversions in this segment that obscures the fact that the underlying harmony is relatively simple. Each one of these is either a i, V, iv, or bVI - very commonly used chords in a minor key. However, because they very frequently placed in 1st inversion, it sounds a lot more complex and layered. This also allows the bass movement to be more expressive, as long as the upper chord structures are compatible.
I always try and make it so that these writeups are helpful to composers/musicians/etc, as my primary motivation for digging into these tracks in the first place was to figure out what tools are being used and put them in my own toolbelt. So if you want to sound harmonically like Rellana's theme and would like a TLDR of takeaways:
1. Minor key and pedal tone most of the time, with brief stopovers to nearby notes like the raised 7th to create tension and release
2. Use both b7 and raised 7 interchangeably and close to one another, mixing Aeolean and harmonic minor modes
3. Add chromaticism to violin runs
4. Creative use of inversions to support interesting/rapid bass movement as a way to break up the pedal tone segments
5. Briefly throw in a b9 or b5 now and then, or even a major 3rd!
Of course, nailing the arrangement, orchestration, expression, and melody structure are absolutely integral to actually sounding like this song, but my focus area is always on the harmony.
Thank you so much for reading if you've made it this far - until next time! You can reach me in the Discord server (linked in the description) if you have any questions, corrections, or just want to discuss this topic further.
Thanks for posting your analysis 🙏
What twist of fate! I hearken to the melody and find myself bewildered, yearning for the lore behind the hymns of Souls.
They oft share an ethereal “mood,” yet its essence eludes my grasp. A neophyte in the arcane art of music theory am I.
My gratitude to thee, Tarnished.
It's a bit surprising that such an otherwise thorough analysis doesn't mention the significant use of the leitmotif melody taken directly from the beginning of Rennala's theme (used here primarily at 0:55-1:10 and 2:56-3:09, but many parts of the theme are built from/references this leitmotif). I'd say it's pretty integral to the piece both on the narrative level and the compositional level.
@@KuzuneGreat point, thanks for adding that. I was so laser focused on the harmonic content that I didn't notice it. I guess I haven't really listened to Rennala's theme in a bit. Now I totally hear it!
congratulations. your breakdown of the music is more lore than we actually have about Rellana herself
Underated AF channel. This is incredibly high quality with both the arrangement and the analysis in the comments
@@Osoch Thank you so much! I appreciate it 💜
I couldn't say anything less, 150% agreed
Bayle would being amazing please
It could happen! I haven't selected the next one yet :)
Curse you bayle
the part at 0:39 goes so hard it is unbelievable
it's even goosebumpier in the original. very pirate like :D
conveyed the majestic mobility of the song perfectly
Thank you! I definitely tried to keep that in mind 💜
Bro this is absolutely amazing! Thanks
Please do Messmer's theme 😭
Thank you!!! 💜 I will have to defeat Messmer first before I can consider doing that lol, but maybe!
@@moonlapsepiano good luck! His fight is one of the best fights in entire series in my opinion.
@@ChristianClownagreed
@@ChristianClownFr his movements aren’t to hard to dodge but so fun when you know how to dodge them
AMAZING, Goated dlc boss and Goated cover
@@rysspace2511 thank you!! 💜
0:40 best part wow
@@WRSH101 Thanks! I like that part too. I appreciate your comment💜
THIS IS INCREDIBLE wonderful job capturing all the different parts of the track, you can hear the original so clearly with this cover!
Nice rendition! A nice touch with each hand's note colors matching Rellana's swords as well :)
@@DeltaForce1522 thanks! 💜
Been coming back here often and I love this piece the most.
@@JamesLem thank you! 💜
Cool interpretation that's definitely like-worthy, then I get to the comment section and find a detailed analysis of the piece and the creation of the arrangement, nah, now that's a subscription + bell-worthy., keep it up good fella.👏
Thank you so much godfather! I appreciate that a lot. 💜 There will certainly be more similar videos + analysis coming soon!
Rellana was one of my favourite fights in the DLC, thanks for dropping this one, hope you release some of the other bosses too, have fun in the DLC
Thank you botti! I am having a great time with the DLC it's wonderful - and I am definitely planning to do more covers. She is my favorite so far. I appreciate your comment 💜
Woow you really captured the elegance in her theme! ❤It's absolutely beautiful and her theme is one of my favorites in the dlc. It has that intensity along with the elegance which fits her fighting style so well being reminiscent of Pontiff Sulyvahn ^^
Thank you so much!!! I agree the theme really fits her and her fighting style so well, they did a great job with it. Total Sulyvahn callback as well, I agree. I appreciate your comment 💜
@@moonlapsepiano You're very welcome! She UTTERLY destroyed me when I first played this expansion but made it so satisfying when I managed to defeat her and has since become a favorite of mine in the dlc :D Funny how that works honestly with struggling so much but then come to love these fights XD I thank you as well too ✨
@@themoonlighthuntress7065 SAME she really took me down. I think it took me 3 days, and probably 6-7 hours total to win and it works the exact same for me. The longer and more arduous the struggle the more fondly I remember the boss lol. And the more the song is burned into my head.
I bet you could make a pretty badass pixel sprite of her!
@@moonlapsepiano ah major congrats on beating her! ✨She took me about 3 to 4 hours to beat but it was a super close fight to say the least but like you said, the more you struggle the more we tend to remember the bosses ^^
I did plan on making pixel art of her at some point! I did make Messmer recently cause he's my 2nd favorite fight right behind Bayle :D So many great characters to make art
of it's hard to choose lol
masterclass
Love your stuff man
Just uncovering your channel. What really makes you standout is your music theory breakdown of a piece. You have no idea how valuable it is to people like me who love listening to Fromsoftware’s OSTs without any preexisting knowledge of the mechanics behind music creation
@@HeevaEgo thank you that means a lot. part of why I started this channel in the first place was because I was feeling like that, frustrated I couldn't find much music theory on Fromsoft soundtracks.
So it is wondeful to see other people reading and learning from my theory analysis!! 💜 There is no reason this beautiful style of music should remain a mystery
AMAZING! I had no doubt that you'll bring us something gorgeous from the DLC. Someday I'll put hands on it. Thank you so much for this. ❤
@@SaimoodPianoVersions Thanks Sai! That would be wonderful to see 💜
I was waiting for someone to arrange this the moment I heard it in the fight. This is an incredible score, and you did a wonderful job transcribing it to piano.
Thank you very much Ignatius! 💜I knew from the instant I heard it that I was going to have to arrange it lol
Awesome work, Moon! This is a fantastic arrangement!
While going through your analysis, you bring up a very good point, and something that I felt while playing the game. This piece in particular sounds almost like chamber music instead of the huge orchestral sound we're used to. I agree that it REALLY does feel like the musicians are inside of the arena with you as you have your duel with Rellana. This wasn't really my favorite piece from SotE, but after thinking of it in this way, it really did make me appreciate the piece a whole lot more, and is probably top 5, tbh.
Again, great work!
@@LudwigVanLarx Thanks Ludwig!! I appreciate you reading my analysis as always. My appreciation for this song grew as well once I took note of the small room mix.
I've been waiting for someone to arrange DLC OST on piano! This is amazing! I can't wait for more like Bayle and Dancing Lion!
@@obsidianking621 Thank you! 💜
This goes so hard (hard being the key word of this song)
Thanks! She was very hard to fight, and this is likely very hard to play lol.
I’m not the only one hearing Gael in there right..?
@@birdbox1136 Hmm now that you say it, I kinda see what you mean!
same i was getting heavy gael vibes too,especially the first half
Rellana’s theme gives off heavy DS3 vibes.
Similar harmonic ideas when it comes to the music theory of the track.
This was amazing! If you would be so kind, please do Messmer’s theme next. I would even pay.
@@GONELLYO Thank you!! I have a different one coming up next but Messmer is definitely a possibility in the future. I appreciate your request 💜
@@moonlapsepiano I beg of you. Please. It’s the only one I need to see done well. All the other tutorials are (no offence) pretty bad.
You must do The Saint of the Bud! Ok, you mustn't, but I really want to see your rendition. Thank you always for them (this one included obviously)!
Thank you so much! 💜 I haven't gotten there yet and have no idea what that is, but once I'm all done w/ the DLC I'm sure it will be contender for a cover lol.
@@moonlapsepiano it's the OST for Romina's boss fight in the DLC. It was also used in the story trailer. Anyways, thank you again for your videos!
This requires sheet music, I must learn to play!
You've done a wonderful job.
@@VoiceintheRadio Thanks!! I will make sheets for it pretty soon and let you know 💜
sheets are up! link's in the description 💜
"I am Rellana, Flameblade of Messer"
Incredible video! Hope that the next will be Bayle or Midra
@@1_Kriper_1 Thank you! My next vid will definitely be something from the DLC :)
As always another amazing arrangement ^.^
Keep up the good work.
@@mydude_ Thanks! 💜
Banger.
Thank you as always wraith! 💜
messmer the impaler would be awesome
Wow, amazing job! can't wait to see the sheet music uploaded!
I will update you once it's available! Thanks for your comment 💜
sheets are up! link's in the description 💜
@@moonlapsepiano wow thanks for the update! I was literally checking earlier to see if you had uploaded them, what a coincidence haha. Keep putting out awesome work!
Amazing
Amazing work, best Boss in the game (for me)
@@lord_nem3sis Thanks! 💜 I haven't finished it yet but I'd say she's the best so far for me as well
@@moonlapsepiano GL with the final boss 😅 took me, stubborn casual, +300 trys
Haven’t even watched and I already know this is gonna be good. Let’s GOOOOO!
Update: It was in fact good
@@davem2856 thank you so much! 💜
It’s absolutely beautiful, hands up for u. Pls can you play Promised consort?
Thanks! I haven't gotten there yet or heard the song, but maybe! (This game is wonderfully challenging and taking me a while lol)
Wow
HEEEEYYY YOU ARE ALIVE!
@@Elvereto Yes I was moving so I missed uploads last 2 months but I'll be more active now 💜
Fantastic cover! I’ve been trying to tackle writing some pieces. Really hard sometimes
@@DurpyKraken Thank you! 💜 It definitely can be a challenge but if you keep trying you'll nail it (just like an Elden Ring boss)
I'd love to see a cover, but more so an analysis of mohg or midra's theme. I really like them both, but don't have a good enough ear to really hear the specifics of what is going on
Thank you, I will keep that in mind. I appreciate your comment
Ahhh it's so beautiful 😭 the drop around :40 is nuts
Thank you!!!!! 💜
If Elden Ring had a theme like Dark Souls 3's Transitory Lands. For the Dark Soul.
This is amazing. I just wish this was somehow made for violin 🎻😢
Or I would love to purchase the sheet music for this if possible
@@Reversi44 i will make sheets in a few weeks, they will be available for free and I'll update you. Thanks so much! 💜
@@moonlapsepiano amazing! 🥰 I'd like to donate to you then what I can for them
@@Reversi44 sheets are up! link's in the description 💜if you do want to donate, I put my buymeacoffee link in my RUclips profile, but no pressure whatsoever it's totally optional! i love doing this
Soooo good man, complimenti! Can you do the SOTE Trailer music?
@@paoloruiu2558 Thank you so much!!
That one I can say you won't likely see here, I like to stick to themes from actually in the game. But thanks for your comment! 💜
Could you do Midra, Lord of frenzied flame?
@@Ultram04-q3n Perhaps! I am about to fight him for the first time, haven't heard the song yet
your performance is so amazing!
Do you have any plans to release the sheet music?（Sorry for my poor English）
@@ウニザウィッチ Yes I am planning to in the next few weeks! Thanks 💜
sheets are up! link's in the description 💜
thank you for sharing😊
Absolutly amazing... Thank you. Can't wait for your sheets :)
Thank you!! I will let you know when they are available 💜
sheets are up! link's in the description 💜
Romina, Saint of the Bud would be amazing if you have the time ^^
It's certainly a possibility! 💜
Is there any sheet music?
@@froqwo4851 Hi, not yet as I'm focusing on doing more SotE arrangements first. I will make sheets for all of them afterward, and I'll add them to the description here and let you know. Thanks for watching 💜
@@moonlapsepiano 👍 amazing arrangement
@@froqwo4851 sheets are up! link's in the description 💜
I could have bet my life that this was Kitamura before I saw it wasn’t. She might be gone from the team but her spirit lives on.
@@rexwest4532 Absolutely!! I think they definitely told him to try and emulate her style a bit in this song.
@@moonlapsepiano unrelated but how do you learn to play these songs by ear? I’m trying to learn to play but not sure where to start.
@@rexwest4532 It takes practice and experience but there's definitely techniques you can start applying right away.
I do it 1 instrument at a time, start with the highest most obvious melody. Then the deep bass. Then fill in the inner voices instrument by instrument. Play along with each line on the piano until you get it right. It's ok if it takes time or pausing and rewinding the same section over and over!
I record all that into my DAW to take down all of the harmonic notes/information in MIDI format. Next step is to transform that into something that makes sense to play on piano, which involves moving some notes up or down octaves, restructuring them into chords, or cutting some voices if there are too many to be reasonable to play on piano.
Good luck and I'm happy to answer any questions.
The key is just having the song you're transcribing and you piano playing at the same time and trying to match it.
ReNNalla's theme was written by Kitamura, ReLLana's theme borrows heavily from it's essence but in another style, so I see what you mean!