Category Archives: Music of The Spiral

The Celestian Orchestra

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Celestia, world of the shining stars, the reflecting moon, the powerful sun -and crabs- we invite you to the recently discovered in-tact ruins of the Celestian Opera House. Archaeologists have inspected the theatre to be in safe enough condition for public entry. Our finest Marleybonian musicians have decided to hold a special performance of a collection of works held by the Archivist for hundreds of years to play for you tonight.

Main Theme

Celestia’s main theme is divided into two primary sections. These two sections highly contrast with one another, changing tonalities when going into the second section. This divide between an A and B section is called binary form. One common attribute binary form has is that the A and B section are equal in length (read: duration), as they are here.

We begin the piece off with two contrasting timbres of the low brass and flute. Instruments add in building the piece’s momentum, such as the harp, glockenspiel, and horns.

The texture becomes stable as the horns completely take over the melody and a back-beat ostinato, or repeating figure, in the strings and percussion is added.

At 00:51 seconds into the piece, the key changes into the minor mode, giving us a mysterious mood change in stark contrast to the adventurous mood in the primary section. The repetitive ascending lines in the strings give us tension, leading us upward into the mysteries. The descending eighth note line propels us forward into the next ascending row. At timestamp 1:12, the horns come in with a melody.

Each time the horns sustain a note before rhythmic trumpeting, the woodwinds play a quick descending line as counterpoint. At 1:20, the harp takes that idea and develops upon it. The harp is the main focus and the section lacks any punctuating rhythms, unlike the previous moment. Timestamp 1:25 brings back the punctuation as well as syncopates the rhythm for the thrilling tensity. Above this is the violin, borrowing from the themes of Marleybone. Using a theme to represent the people of Marleybone is a leitmotif. This makes the music coherent with the world, showing how the Marleybonians have brought their musical voice and how it effects the world of Celestia.

Mysterious Theme I

Like sea life swimming in and out of the corals in a reef, the orchestral texture solemnly and constantly shifts, phasing in and out. The high piano keys and harp accompany the echoing solo, like a sea creature seeing another silhouette off  in the distance.

The texture shifts at 00:26 seconds, coming in with the timpani strike. The texture solidifies to be more traditionally orchestral. The cellos play the melody with the celesta doubling. The horns play an ascending line in the space of the melody. When it repeats, the strings and trumpets take over this counterpoint. At 00:42 seconds, the horns come back in lower, playing the melody as the trumpets play the counterpoint. The trumpets then lead us into the next section with their soli.

The next section at 00:52 seconds brings in a colder texture with the piccolo, harp, and celesta. The piccolo, as the highest voice, is the most noticeable to our ears. This develops a motif in different harmonic contexts that form a melody. The harp and celesta play arpeggios along with the bassoons. The horns play to lead into the different chord changes.

The unstable harmony builds tension, leading to the climax at timestamp 1:08. The horns and choir sustain their tones, giving the orchestra a full, supported sound. The celesta doubles the melody of the horns, adding a mysterious timbre. The timpani pluck of the harp marks the end of the adventurous section and leads us back into the cloudy mystery of the harp and celesta. The celesta plays the piccolo’s melody from before, giving an eerie tone.

Mysterious Theme II

Check out Maleficent’s transcription of this piece on Musescore! 
We begin with a very light and airy texture, utilizing the smooth and cold sounds of the flutes, harp, and celesta. The flute and violin harmonize with each other as the murmuring harp supports the overlaying texture.

The flute section plays two variations on a harmonized five-note melody. At 0:12 seconds, the cello enters as the celesta continues its overlying waltz figure and the harp continues its arpeggio pattern. The slight texture change effects the mood, becoming more peaceful and melancholy than mysterious.

At 00:24 seconds, the cello’s descending figure in the melody leads to a brief stop in the harmony of the music as the suspended cymbal leads us into the next section. This technique is common in dance music, where a brief break after building tension makes us desire a resolution.

The celesta and piccolo double the melody as the violin takes over the harp’s function from before. The horns and strings sustain chords, implying the dorian mode (a specific kind of minor mode). We sway back and forth between two chords, the tonic and the major IV chord. Typically a minor iv chord, the raised scale degree in dorian gives us the unique and regal harmonic colour presented in this section.

In stark contrast, our next section has modulated to the major mode, giving it a brighter mood. The upbeat waltz pattern in the horns and strings mellows the tone. The light melody on the flute is uplifting and delicate. The music paints a picture of the fragile crumbling ruins of Celestia and the delicate breeze in the leaves of the Floating Lands.

The glissando in the celesta at 00:50 seconds leads us into the contrast of orchestration in the section. The melody is carried to the violin, still being supported by the underlying waltz figure in the horns and pizzicato strings. Timestamp 0:58 gives us a cadential point, or rest within the music. The low strings and brass come together to play a descending figure, which as the tonic gets lower in the orchestra, the more at rest we are with it and the closer to the end we seem to become. Like Tchaikovsky’s The Nutcracker, the piece ends with a quick sixteenth note run in the celesta.

Calling back to the themes of Marleybone again, we are given a Mary Poppins-like texture with quick descending arpeggios in the celesta. The low strings and brass begin the melody as both sections high ends add in gradually, building the tension. Mysteriously, we end quietly with the celesta and violin in a cute and peaceful duet, calling back to the cello solo at the beginning. The flute ends the piece on the leading tone, which when harmonized with the pizzicato strings, implies the lydian mode, a mysterious and airy major mode.

Tribal Theme

The Tribal theme begins aggressively with a swift tam-tam (gong) strike and men’s choir. Hand drums accompany the singers primitive-sounding vocals in the intrada leading into the next section. Percussion of many colors adds vibrance to the flute’s main melodic line 00:11 seconds into the piece.

Timbres such as the marimba and xylophone are essential to the tropical sound of the piece. The bassoon takes over the flute’s melody in its mid-high register 00:21 seconds in. The xylo adds in, like a bandage to patch the transition.

At 00:34 seconds, the texture becomes more mysterious with a strong modal shift occurring at the same time. The flute takes over the melody, bringing a colder texture upfront in the ensemble. The harp has a glissando over a sustained chord in the vibraphone.

We come back into our happy texture at 00:38 seconds with harmonizing high strings and xylophone doubling a melodic line. As they fade out, the bass drum strikes, empowering the marimba’s ascending arpeggiated line.

Timestamp 00:43 brings us a hefty cadence point into the next climactic section. We see the return of the tribal voices in counterpoint of the strings and mallet percussion. In other words, the voices sing where the other melody’s voice is sustained on a note.

This thick orchestral texture relaxes into a flute solo at 00:56 seconds. This time, the melodic line is played in a lower register, bringing a sense of familiarity, but closure to the piece. Most pieces feel resolved in lower registers and more tense in the higher ones and this piece exemplifies that.

Finale Theme

The crash in the percussion initiates the orchestra. The woodwinds scramble together from motifs, or recognizable fragments in development. This continues as an ostinato as the low brass comes in with a simple melody. The high brass comes in at 00:19 seconds, continuing where the low brass left off. This melody introduces the main thematic material used in the piece, categorized by its short-long-short-long rhythm. This section ends with a bass drum hit as the ensemble plays a dramatic chord.

The suspended cymbal leads us into the next section at 00:32 as the rhythm changes into a triple meter. The woodwinds’ downbeat is emphasized more than the other two beats in each measure, giving the feeling of a waltz. The melody stated beforehand in the brass develops with this meter change. The short-long-short-long pattern shortens the longer note by a single beat so that the long note plays on each downbeat. As this occurs, the horns and trumpets have a call-and-response pattern with each other. As one group sustains a note in their melody, the other repeats it in the meantime. The melody is given to the flute, continuing the same rhythmic pattern

The melody climaxes at 00:52 seconds, as the timpani strikes. The high strings emphasize the downbeat of the melody the as the brass plays. All the while, the harp plays quick, descending arpeggiated runs while the flute rocks back and forth between notes.

In the transition section at 1:15, the flute and the harp duo together to create a mysterious ambiance before jumping right into the grand finale of the piece at timestamp 1:29. In the meantime, the mysterious mood distracts us from the fact that the rhythm is changing to duple meter, giving us four beats per measure. In this section, we see the full development from the short-long-short-long motif become short-long-short-up-down-up-down.

Thank you, Starlights, for joining me on this musical adventure through the music of Celestia.

Click here for more of our Music Guides

Disclaimer:

All transcriptions of the music are from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated.

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The Monquistan Choir

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Despite its location in an isolated corner of the Spiral, Monquista, rich in gold and culture, is one of its most prominent powers. The Skull Island colonies enrich their people considerably. In line with Valencia and Marleybone, their society is posh and structured in which there is a noble class, a (daily changing) monarchy, and the Church. These powers fight vigorously with one another for control.
 
Please note I title tracks with their Wizard101 music scroll title and not the title of the You Tube video.

Skyway Theme

You can receive this music scroll from fishing chests in the Myth House, Sultan’s Palace, and Polarian Shipwreck

The Monquista soundtrack is most notable for its vocal counterpoint and harmony. This is complemented by stringed instruments like the guitar.
We begin with the full choir harmonizing together. The cello accompanies in a soulful motion, keeping the tempo and balance in the ensemble. Three pulses per measure is established, giving us a Mediterranean essence. 
We are greeted by the guitar at 00:18 seconds, the brass then joins in a perfect cadence. A classic resolution drives us into the next section. More strings join, creating counterpoint in the melodic contours between the pizzicato strings, the cello, and the voices. 
The tension rises though the chord progression. The cello hits a higher top note in each measure, leading us up to the entrance of the flute at 00:36 seconds. The contrasting chords in this section remind me of Tchaikovsky’s Swan Lake.
 
This continues until 0:52 seconds in when the high strings foreshadow other pieces to come. This connects the musical development and identity of Monquista. 

Royal Theme

You can receive this music scroll from fishing chests in the Myth House and Polarian Shipwreck

The piece begins with a regal texture, sharing likeness to Mozart’s Lacrimosa in melodic contour and structure. Beginning with the cello solo with the bass accompaniment, we feel the music in patterns of three, setting the tempo and mood for the entry of the choir.

At 0:26 seconds into the piece, the strings drop out, leaving the choir a capella. This leaves the music to sustain its somber, church-like tone until the string’s re-entry 0:38 seconds in, the cadential point, or moment the music’s tension seizes.

The flute begins 0:54 seconds into the piece, introducing the melody in a major modulation, or key change to a brighter key. We can hear the key change with the music’s relaxed tone instead of the somber and dramatic counterpart that came before.

Native Theme

You can receive this music scroll through fishing chests at the Death House, Nomad’s Camp, Polarian Shipwreck, Serpentine Escape, and the Winter Wind Tower.

The men of the choir sing in bass and baritone range, doubled by the guitar like the last track. This is the closest we’ve seen to monophony in the game’s soundtrack. In other words, each instrument plays in unison, without a simultaneous harmony. As the timpani strikes, the guitar drops out in favor of the strings section, thickening the orchestration. 
The horns crescendo into a new section. The strings take over, violins with the melody as the lower strings stabilize with long tones. The melody passes to the choir as the strings sustain beneath.
 
Like before, the orchestra crescendos into a new section. We receive a cadential point with a faint cry of the flute in the distance. The strings die down from sustaining chord progressions into lighter orchestration at timestamp 1:05. 
 
The guitar is accompanied by percussion in this new section. Every now and again we hear the flute’s cry once more. The melody passes from the choir to the strings, ending in a suspended chord, withholding a proper resolution.
 
We embark on the coda of the piece at timestamp 1:37. The beat is accented by the choir and tambourine. The strings interlude, leading us back to the beginning. 

Thank you, Starlights, for joining me on this musical adventure through the music of Monquista.

Click here for more of our Music Guides

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated

The Darkmoor Philharmonic

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In the first Wizard101 arc we learn the story of Malistaire and Sylvia. Even in death their love holds them together. A dark and mysterious man in a supernatural castle who goes too far. In Gothic literature this is a common theme. This is only fitting for our Phantom of The Opera esq love story. Let’s us take a look at the magic behind the music in the haunted sequel of this epic love story.

Main Theme

The orchestration begins with an eerie celesta solo accompanied by a shrill violin. The bass instruments soon follow, supporting the established sound. This theme calls and responds throughout the ensemble. It travels to the oboe and harp then follows to the flute and pizzicato strings soon after.

The choir and chimes enter at 00:39 seconds in. They trade off beats as the brass and strings emphasize the modulation of a minor chord to a major chord. This repetition develops into a different minor chord. This sets the mood of the dark essence of a Gothic castle.

We continue with a waltz which uses the same texture as before until timestamp 1:13. This is where we enter a Marleybone style orchestration with more organic sections. A change from the block-style Darkmoor tends to use. Then we jump back into the familiar melody introduced at the beginning. The orchestration lightens with several solos before its return to the start.

Tense Theme

The timpani, contrabass, and bassoon begin this section in a low rumble. They solo before the harp’s tone cluster 00:10 seconds in that introduces the high strings.

The alto flute introduces a maniacal theme, doubled by the grandiose pipe organ. This instrument is a familiar feature in pop culture when exploring the Gothic era and its music.

Timestamp 00:27 surprises us by clustering the tones within its chord progression. In the midst of this dissonance, a waltz occurs. The melody is a whisper, stressing tension on the non-chord tones. The bass line becomes overpowering. This reflects the feelings of our Wizard in the quest to conquer Castle Darkmoor.

The next section sneaks in, with arpeggiation in the woodwinds, celesta, and pizzicato strings. The music sneaks around the castle in espionage and exploration. The beginning theme returns in solo instruments, like a hollow echo of what came before.

Reunited Theme

A short piece plays in the Darkmoor reunion scene when Malistaire and Sylvia reunite. This is where they may finally be at rest together.

At timestamp 00:15, the upper strings enter the scene with the first violin sustaining a high note. This reminds us of the start of the main theme. The second violins and violas harmonize on the offbeats, swelling into them. We progress into a major modulation before the music halts into silence.

We continue as before, except now moving onward to a darker minor chord. The timpani interrupts, crescendoing into a tutti section of the ensemble. The great pipe organ swells in a twelve-tone row. In this form atonality all twelve keys are equally presented.

The romantic music begins at 00:58. The romance derives from tension tones added to chord. This makes us feel that we are wanting resolve. It is this tension that makes us expect something brilliant to happen at the climax of the music. Often, it’s a kiss. Here, it’s the finality of death as Malistaire and Sylvia cross to the other side of the veil. Together forever.

Large brass fanfares and orchestral jubilation continue as we say goodbye to Malistaire. Third times the charm, am I right?

Thank you, Starlights, for venturing with me through the Gothic music of Castle Darkmoor.

Click here for our selection of Music Guides

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated

The Valencian Philharmonic

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T

he home of the ruthless clockwork empire and our own Diego the Duelmaster. Valencia was once a land of pristine culture and beauty until the clockworks came onto the scene.
 
This is best shown through the music of Valencia. Elegant classical instruments such as the piano and strings identify the culture. Played in a tense style, they represent the threat of The Armada to our pirate.

Tense Theme

You may receive this music scroll from fishing in the Amber Estate, the Fire House, the Polarian Shipwreck, or The Acropolis

The intrada is unique and notable for its thin texture. Only the piano and high strings begin before the lower instruments join in, creating rhythmic contrast. We are next greeted with an arpeggio that has the same melodic contour as Skull Island’s Main Theme at 0:07 seconds.
 
Changing instrumentation and mood, the music develops alongside the story. This maintains the spirit of adventure. The music leads us to the idea of the strings and piano repeating one another in a game-like fashion.
 
In the next section at 0:25 seconds the beat is emphasised with bass and snare, like a military march. This is intentional and reminds us of Valencia’s dominant military power.
 
The next section at 0:50 seconds brings us back to Skull Island. The music paints the adventure of being a pirate in the lion’s den, with a choir sustaining chords behind it. The brass joins in as the piano continues, a feature of Valencian music we will continue to see later. The brass that welcomed us bursts forth accents where the melody does not play. This counterpoint presents throughout the music in classical Valencian style.
 
Combining the previous ideas, the piano joins the percussion in emphasizing the beat. The contrasting ideas of the Armada and the cultured Valencians are now one and the same. Valencia has been conquered.

Espionage Theme

The strings slyly play their chord progression leading us to a melody in the piano we hear in other tracks. This leads us back to the strings, and they keep trading off in this manner. Every time the pattern occurs, there is a slight variation in what they play. This keeps the music interesting in its development.

At timestamp 0:40, the piano and strings finally come together in harmony. They start a new chord progression together, leading into a new section. In a mournful style, the piano plays a new solo line as the strings quietly sustain in the background.

The piano repeats this line in an ostinato. More texture is added by other instruments of the ensemble. The pizzicato strings, clarinets, and string bass are most prevalent in the texture. They either contrast or harmonize with the melodic line.
 
The brass and strings unify together at timestamp 1:06. Bold and bright, this section contrasts with the moody sections before, like a beacon of hope.
 
The section at timestamp 1:16 is the realization of devastation. The atonal piano line seems to stop time itself before the clarinets come in. The line these reeds play is a common “Easter Egg” in many video games and movies. It is a reference to the Dies Irae, the clarinets are warning about tragedy and horror.
 
The line ends on a major chord, bitter-sweet. The next section is a morbid and joyous waltz, before leading back to the beginning.
 
 

Skyway Theme

You may receive this music scrolls from fishing in the Botanical Gardens, Fire House, Life House, Serpentine Escape

Throughout this piece the orchestra is light and exposed, like a mournful ballad.
 
Like a cog at work, the piano begins by hammering away at its lower end. This trades off to the higher register of the piano with an added delay effect. The English horn enters next with a sixteenth note run, playing twice before resolving to the next section.
 
Now the piano with its delay effect, takes over the melody of the piece, louder than before. After this hallucination-like solo at timestamp 0:42, the bass of the piano pairs up with the contrabass. The cellos play arpeggios and violins sustain chords over this more driving section. The bassoon and metal strikes enter, resolving the tension. 
Contrasting with the previous vigorous section, this section brings a breath of relief. This piece emotes anxiety, yet we see a melancholy side. The swelling strings and quiet murmuring of the machine that backs up the clarinet solo posses a relaxing ambiance.
 
Almost playful, the bassoon at 1:40 plays the theme we heard from the previous track. The mood changes here to balance the sad and mournful with hope as the adventure progresses.
 

Danger Theme

Silent but driving, the strings begin with an underlying ostinato. The other orchestration is layered throughout the first 0:38 seconds of the piece. We see this texture from the previous piece, but orchestrated to fit a new mood. The theme plays through the ensemble beginning with the bassoon, and carries to the horns.
 
This leads to a climax in the music as the strings, horns, and piano join in homophony. Playing similar melodies that harmonize into one.
The next section at 0:53 seconds leads back to a driving ostinato with strings and percussion. The horns have the melody in a short-short-short-long pattern that develops by changing chords. At 1:10, there is a chromatic mediant, a change to the chord not within the key we are in.
 
Timestamp 1:18 brings us a piano solo, ending the horns’ melody on a short note. A new motif emerges of even shorter notes that get passed to-and-fro from the piano and oboe. As the piece gets more wild, the low bassoon carries the motif, keeping stability. We hear the theme from previous pieces hinted at, reminding us of our pirate’s heroic nature.

Thank you, Starlights, for venturing through the music of Valencia with me. Have a wonderful night.

Click here for our selection of music guides

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated

Skull Island’s Tavern Band

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Somewhere in the Spiral, there’s a refuge for young pirates, orphaned when young who have turned to a life of crime. Marked by skull-shaped mountain, there is danger and treasure lurking all throughout the island region. Whether it’s hoodoo, dueling, brawling, treason, or smuggling, pirates ally with Captain Avery for their own safety and a large cut in the treasure of Captain Gold.

Main Theme

The pace is set immediately with a waltz-like rhythm with the percussion and quacking trumpets. The mood gives us the feeling that something is off, there is a mystery at hand and we’re just the pirate to look into it. This vibe continues as it moves into a 12/8 section 00:12 seconds into the piece, which means there’s three notes per beat. We are given one of the main arpeggios used throughout the soundtrack of Skull Island.

The arpeggio sets up our next section 00:20 seconds in, as the brass features the melody. We also carry over crescendoing chords sustained in the horns from the previous section. The harp twinkles down as the melody passes onto the low reeds, giving a dark and damp feeling, reminiscent of the sewer-like passages within the Skull Mountain.

The climax of the piece comes in at 00:52 seconds. We are no longer in a mysterious minor key, but now an adventurous major key. The violins stir the excitement on their high strings as the oboe plays the melody. The low voices crescendo as the piano strikes along on the downbeat. The resolution drives us forward with a feeling of hope in our adventures as a pirate.

We move on to a clambering call and response from the ensemble before a joyous celebration, alluding to Celestia’s crab march with the castanets and xylophone. 

City Theme

The mood of this piece is serious. Unlike the spookiness, joy, and film-like nature of the other pieces, we begin with a fife- like military march with flutes and drums. After the strings play the main melody, we move into a major key at 00:39 seconds. The strings play rolling hills of arpeggios as other strings instruments accent the first note of each bar.

As the violins descend their quick sixteenth notes, the dynamic of the piece raises and adds in with more instruments. Percussion notably accents the first beat of each bar along with the strings section. After a cymbal roll, we begin a waltz with the brass. The low brass and plucked strings keep the time as the horns play the melody, eventually passing to the accordion.

We enter a new, flourishing section at 1:17 as the brass sustains the chords as the quick violins play speedy figures. The fife adds in to the violins to accent their melody. We end the phrase in a dissonant cluster that seems to be magically cleared by the flute’s ascending glissando.

Skyway Theme

The Skull Island Skyway Theme is a stark contrast to the other pieces. It is bright and joyous and begins with a fanfare, compared to the damp textures the other pieces convey. There is a certain kind of silliness to the piece, like a young child earning their sea legs.

The melody gets passed around from instrument to instrument, taking turns with the texture. Along with that, there is notable hemiola. A hemiola is a complex rhythmic figure where two groupings of three notes can be played as three groupings of two notes, which gives the piece syncopation. A famous hemiola is “America” from West Side Story.

Haunted Theme

The mood of the piece is established right away with the bass end of the piano, swaying back and forth between the notes. Notice how on the harp part, it develops the main arpeggio I pointed out earlier. Also take note of the how the horn pitch bends downward, also like the Main Theme.

This change of mood and instrumentation is what enhances a story. By developing the music along with the story, the music becomes more complex by giving itself a narrative to follow.

 Vaguely like Stravinsky’s The Firebird, we hear the piano and horns play an aggressive melody before the tension breaks with a hauntingly beautiful waltz. The music fits well with the original story of Lasko, Manny, Mo, and Jack who were Ratbeard’s poisoned crew mates, murdered by Ratbeard himself. Lasko wanted his crewmates to have their final wishes before being released to the afterlife and one of them wanted to return a locket to their lost love.

Jungle Theme

The very first bit we hear in the music is the brass pitch bending upward rather than downward, developing a motive we’ve heard in previous pieces. As the brass starts the chord progression, the harp comes in with the arpeggio motif at 00:09 seconds in. This pattern continues as the bassoon comes in with a new idea 00:36 seconds into the piece.

The musical content is layered into the texture while the harp plays a new idea as an ostinato or repetitive figure. The percussion bangs away on the drums, representing the idea of danger in the jungle. This leads to the eventual arrival of the horn taking away the melody. The low strings heavily approach a new ostinato, replacing the melody. The harp and voices add-in, trading off the strings for the brass to lead the orchestra back to the beginning.

Thank you, Starlights, for venturing through the music of Skull Island with me. Have a wonderful night.

Click here for our selection of Music Guides

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated

The Dragon Titan Army Band

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Intended for Musician and Non-Musician Alike

"Things started turning darker. Kingsisle were talking about dark and epic Mordor Wagner 'Flight of The Valkyries' in The Ring Cycle. I am looking at concept art and the NPC characters had Russian military influence; All the architecture was darker - more foreboding."
- Nelson Everhart in "Musical Tour Of The Spiral 6: Dragonspyre"

“Main Theme”

Just as mentioned in Everhart’s video linked above, we begin our adventure in Dragonspyre with a world-stopping minor-Major seventh chord, which flourishes throughout the ensemble as the harp and woodwinds flutter downward, providing emotional dissonance. We typically associate the word “dissonant” with something that sounds bad, but in this piece, it provides an unsettling air. 

The ninth of the chord is added to the melody bringing even more color and lending an elegant dissonance to the third tone. The third tone of the chord gives the emotion, so this dissonance that rubs against it creates a feeling of tension and suspension.

The intrada stops 00:10 seconds into the piece, bringing us a chord progression that starts in a minor key, then becomes uplifting and progresses back to the same chord with a picardy third. A picardy third is when a minor chord changes the third tone to become a Major chord. This progression carries along, developing the arpeggiating figures and changing the chords before it reaches a climax into a new section at 00:30 seconds. The strings play the main melody as the brass plays a counterline beneath, eventually joining together into a dismal setting at 00:40 seconds. The trumpet enters, bringing a sliver of hope before it fades away into the darker minor chords and ends.

The next section frolics dastardly within the woodwinds and harp, quickly arpeggiating, presenting the feeling of sneaking and slyness. The strings caress the melody beneath this texture, giving support to the voices above and conveying a kind of dark magic brewing within.

Picking up into timestamp 1:26, we transition into the brass as the bridge takes us into the next section, with heavy Lydian chord dissonances in the bass. The music is ascending into this one epic moment. At timestamp 1:45 we are given the antithesis to the main Wizard101 theme, an operatic technique. The same descending arpeggios and textures are used as the brass plays the ascending melody in a minor key. This reflects the darkness of the world and the danger the Wizard is in.

“Theme 1”

Calling back to the previous piece, we begin with the hard percussion, horns, and masculine choir. Through borrowed chords (chords that are similar to the key, but not the same) and chromatic mediants (chords that have slight or no relation to the key), we get a dark and enchanting texture. Also calling back to the previous piece, we have these four-note motifs played in the horns that bring us through the chord progression. The texture thickens with the addition of the woodwinds, but it 

Concept art of the fire wizard from the original Wizard101 loading screen

harkens forth, like a great army coming from the distance, closer and closer.

This brings us into the next section at 00:50 seconds which uses a repetitive eighth note figure in the horns as the rest of the orchestra brings forward tutti stabs, transitioning us into action. The same texture is still present, but now the melody in the brass and the high strings add-in, playing the chord progression while the trumpets sing in the higher register.

Next, the strings section glissandos in unbreaking unison as the flutes play descending Danny Elfman triplets. In film-scoring or in this case, game-scoring, notes in pairs of threes that have the same note on the first and third beat are considered “Danny Elfman triplets”  because it is characteristic of his work in pieces such as his Batman Theme or Alice’s Theme. The triplets develop, changing notes along the chord progression, giving the piece sass.

As the texture from before returns, the arpeggio transforms from being a Danny Elfman triplet, to playing the entire arpeggio. The notes rock up and down, leading us to a flourish that counterpoints between the sections. The piece calms down and recapitulates the music before returning to the beginning. 

“Theme 2”

A military march kicks the piece off, setting the texture and pace with some aggressive snare and bass drums. The dark minor tonality in the low brass gives us the feeling that something powerful is coming, and it is nearby. The choir joins in as the pauses in this motif get closer and closer until an ostinato in the strings takes off with the chimes adding further texture.

The solo trumpet comes in like before, continuing the style of the piece. The low brass and choir responds to the trumpet’s call. This idea repeats, leading to the addition of the strings. At 00:50 seconds, we introduce new musical content. The higher voices of the ensemble play ascending arpeggios, developing the arpeggiating ideas from the other pieces and giving the impression the single idea has split into two. While this is happening, the arpeggio splits among the other instruments, trading between them when they play, creating a more complex texture. Then, we return to the original arpeggio in the woodwinds as the rest of the ensemble sustains onto the chords. This idea trades off between the other instruments in the ensembles, growing in volume. 

At timestamp 1:15, the woodwinds move onto a new idea. Great swooping arpeggios that feel like dragon wings fly over the melody that is being played by the strong brass. This texture is prominent in the next track as it comes to its climax as well. This presents the idea as something we can ground our emotions onto, so we will remember this section when it is recontextualized.

Then the ostinato kicks in as a power drive to the end. The brass plays familiar motifs from the previous melodies to latch on to our memories of the ever-dangerous Dragonspyre.

“Theme 3”

 In the beginning, the drums set the tone of the piece with a stately march, keeping tempo for the horn’s repetitive melody. The lower brass joins the bass drum, thickening and supporting the texture as the woodwinds play the eighth note motif that the horns played in the melody.

The motion stops as the bass instruments play introducing the   

orchestra which joins in with a similar motif. The idea develops through a different articulation by stabbing at the notes rather than playing them legato, or smoothly. Next, we are greeted by a familiar idea in the woodwinds, rocking back and forth between two notes before completing the rest of the arpeggio. This idea can be found in the other tracks and provides texture as the brass harmonizes. Finally, the choir joins in bringing the rest of the brass section, the strings, and additional percussive flourishes, such as crash cymbals.

The excitement halts as the orchestra becomes homophonic, playing in a similar fashion, but harmonizing together. Afterward, the trumpets lead us into a climactic section that develops the two-note repetition idea by playing the first two notes in the woodwinds only, while the strings and brass take the melody. A familiar idea, but now re-imagined in a flourishing major key before becoming tense and heroic to reflect our now deathly situation.

In the end, we come full circle to a military feeling before engaging in an anthem. Very patriotic in style, it presents the strength of Dragonspyre as a force to be reckoned with. This dissipates into the bras and chimes, leading us back to the beginning.

“Theme 4”

Once again, we are greeted by a familiar symphonic texture, giving Dragonspyre continuity in its musical identity. After establishing the mood, the piece drifts to become sad and wistful in the next section. The strings lull us as the harp gently caresses the arpeggios. The flutes join in, embellishing the texture.
The brass crescendos quickly as the rest of the orchestra comes in

referencing the homophonic texture from before. This leads us to a climactic point in which the repetitive arpeggio from before creates tension as the brass sustains the chords. The next section contrasts this texture with stabs. Ideas from the previous tracks peep throughout this piece, greeting us like an old friend for this finale.

At 00:51 seconds in, we hear a theme being carried from instrument to instrument. The theme goes deeper and deeper, much like our wizard coming closer and closer to Malistaire in the story. This theme is played in The Crown of Fire, during the time that our wizard is carried by the young Battle Drake to our final confrontation with Malistaire.  

In the final section, the orchestra splits beats with the ensemble, creating syncopation before joining together. This thrilling moment dies down as the choir begins to solemnly sing. The flute and strings join in, introducing a new melody at timestamp 01:24. We enter a new key. It’s a major key, bright and happy. The future is looking bright and we are uplifted. Although the story is not over yet! Magic and mystery shroud us, and we can never be too sure whether those enemies we have conquered in the past may come back to haunt us.

Thank you, Starlights, for venturing through the music of Dragonspyre with me. Have a wonderful night.

Click here for our selection of Music Guides

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated. The example in “Theme 1” comes from Nelson Everhart’s video, as linked.

The Music of Mooshu

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Intended for Musician and Non-Musician

As the emperor falls ill, the factions of Mooshu wage war against each other and there is no way of knowing how it will all play out. Mooshu’s people are hesitant to trust us wizards because of Malistaire who stole their spiral key  in an attempt to resurrect his beloved Sylvia. Let us delve into the atmosphere and take a closer look at how the music of Mooshu is used to aid the story.

“Main”

From the first moment, the texture is established through a high-pitched gong. The plucked strings set the serene tone and give the land of Mooshu a musical identity. We feel the authenticity in relation to our own world. The flute comes in, sustaining a single tone with an embellishment, queuing the plucked strings to play a phrase in a soli. A soli is the musical action of having a single section play together, similar to a solo, but with more people playing the same phrase.

After that, we dive into the first melody. Syncopated and fluttering with notes, this is our driving theme of action. The finger cymbals add percussive texture. The flute plays it first, before the plucked strings, giving us continuity in the established musical texture, as well as creating a call-and-response pattern between these instruments.

By 00:32 seconds, we have our second melody. This melody contrasts with the first by being calmer, less syncopated, and having fewer notes. After the flute plays, the bowed strings make their first appearance, adding grandeur and excitement to the texture. The flute climaxes in a beautiful solo, with the same melody as before, except the notes are more sustained. This leads to the calming down.

Our call-and-response pattern continues as the plucked strings and percussion lead us back into the hardy bowed strings. The strings play an ostinato as the flute develops the melody sustaining notes whilst adding a flutter, combining the two melodies we have heard previously. The next section calms us down, phasing in and out the different instruments and bringing us back to the beginning.

 

 
 

“Plague”

The Shoshun village is one of the most memorable parts of Mooshu, acting as a major crossroads of four paths. Guarded and maintained by monks, here is where we find the healing waters that will save the plagued waters of Mooshu. The plucked strings take the majority of the piece with a motif before the erhu plays the melody at 00:49 seconds. This is the same melody as the second theme in the piece before, but the piece recontextualizes this theme to the current events of the story. This theme represents Mooshu’s ongoing troubles.

 

Next, at timestamp 1:25, the brass plays. This is a new instrument that hasn’t been in the first theme, and the majority of this piece is over when the brass comes in. The entry of the brass, ascending in pitch, represents the wizard uplifting Mooshu from its troubles. The high strings come in as the harp plays descending lines. This minor tonality represents the struggle of saving Mooshu from the plague.

“War”

Starting with the dark brass, there is new context to this timbre. The factions of Mooshu are waging war against each other and our wizard is the one who must be swift as the coursing river, with all the force of a great typhoon, with all the strength of a raging fire, and mysterious as the dark side of the moon.

Spontaneous and erratic, the deep drums signal the driving emotion of the high stakes in this section. The bowed strings and flute play, queuing in the hardy, pulsing plucked strings and percussion. This music represents how the attack occurred at Hametsu village, pillaging it to ruin.

The war theme contrasts with the plague theme in style and orchestration, but the pulsing melodic ostinato emphasizes the first three out of three-and-a-half pulses in each measure, similar to the melody heard in the plague theme. I say “three-and-a-half pulses” because the entire piece is in an “unusual” time signature to our western ears. The piece is in 7/8, meaning we must divide the number seven into three pulses, making one of them unequal to the others.

The brass enters again, signaling the devastation to the village with their minor tonality and descending tones. Afterward, the pulsing ostinato in the plucked strings continues as new elements are added to the texture. The plucked strings mimic and develop the brass’ line as a motif to tie the end together.

“Haunted”

The Haunted Theme plays in the Yoshihito temple that serves as a crossroads to the final areas of Mooshu. Serving as the grey area between life and death, the tone is melancholy and almost sorrowful.

We begin with the high strings harmonizing in a minor tonality, with the plucked strings and percussion responding to the high string’s cry. The erhu plays the melody, heard from the Plague and Main themes. The major harmonies and wind chimes give the theme new light. This thematically represents peace and the finality of death.

We glissando into the climax at 00:39 seconds. This glissando places the strings to play the highest notes an octave above the erhu. The erhu then walks down the scale in eighth notes, giving us resolution into the next phrase.

The ostinato heard in the Main Theme comes back, then, we jump around notable themes from the other three pieces. This alludes to the haunted theme acting as a recapitulation of the theme we heard before which brings resolution to this chapter of the story.

“Mystical”

This selection from Pirate101 is heard in the Skyways and is one of the most simple in orchestration. We begin with the koto playing a simple line. From the placement of the pitches, it feels syncopated, despite it being completely even eighth notes. This is accompanied by finger cymbals, blocks, and unique drums, fitting into the timbre of the previous pieces.

The erhu comes in, slightly thickening the light texture, adding sustained notes that stabilize the orchestration before the flute comes in. At 00:42 seconds in, we are greeted with a familiar element heard in the previous pieces of descending arpeggios. The flute seems to dim away as the tam-tam crashes, giving drama to the texture.

The plucked strings and flute play the melody in unison, emphasizing its importance. The brass come in, adding counterpoint in the pause of the melody. This calms down into a flute solo with the plucked strings having a wonderful glissando, giving a magical effect. The plucked strings come back in as the flute plays the main melody of the piece before the percussion, strings, and flute changes the texture into a climactic tutti, or the entire orchestra, before we calm down to start again.

Thank you, Starlights, for venturing through the music of Mooshu with me. Have a wonderful night.

Disclaimer

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated.

A Yuletide Carol

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It’s beginning to look a lot like Christmas, everywhere in the spiral. We sit by the glowing embers, drinking our hot chocolate, cuddling with our fuzzy kitten, when ho! – there’s Christmas music in the Bazaar! You run by the great tree near The Commons pool, through The Shopping District and take a peek into the yuletide scrolls, and in a wild frenzy, you decide to buy them all. ‘Tis the season, am I right? So now, the music is playing in your home, perfectly seasonal and festive.

Let’s take a look into these heart-warming music scrolls and see how well they rival Mariah Carey and examine the musical craftsmanship the composers at Kingisisle took arranging these holiday favorites.

https://www.youtube.com/watch?v=u92UQSI4NvM

“Jingle Bells” and “Yuletide Jingle”

Like snowflakes twinkling on the new-fallen snow, we begin with a glockenspiel and sleigh bells that set the festive tone. The piano glissandos, adding a new texture, heralding the melody, joyous and free. At 00:16 seconds in, the big band comes in. Heaven and nature sing as the trumpets and trombone begin to swing. The sax and percussion add such vibrant color, it really brings out a new Christmas wonder.

By 00:36 seconds, the first idea we heard with the twinkling and the melody being played on the piano develops, adding a new jazz band texture. It’s also worth noting the vibraphone playing a countermelody against the main jingle bells theme. This line arpeggiates the chord progression while the rest of the band plays.

With a strong, tutti finish, we enter a new section. The piano plays an impressive solo as the brass of the band stabs at some of the syncopated notes, adding emphasis. The saxophones take over the melody as the brass continues while the piano flourishes the piece with arpeggios. We are brought back to the first section we heard before a ritardando to the end.

Overall, our form was AABA, or in other words, we played our first section twice, played a new section, then went back to the original. In our culture, it’s very common to have Christmas songs played in a jazz style, even if we don’t know that it is. White Christmas and All I Want For Christmas is You are good examples with their jazz chords and interpretation.

Above is a simple arrangement of the piece “Jingle Bells.” The capital letters beneath each note match the pitch on your computer keyboard related to the Grand Playable Piano and Playable Toy Piano items found in the crown shop.

Notice the points of the music where it has the number 1 and number 2. In music, we typically call these “first” and “second endings.” The idea behind this is that you will go back to the beginning of the section, indicated by colon called “the repeat sign,” and play the same thing that you have just done before, but now with a variation on the ending. The first ending is called the “antecedent” phrase, because it does not resolve, setting up the theme’s repeat. The second phrase is the “consequent” phrase since it contains the resolution.

https://www.youtube.com/watch?v=8tIwlRqPx60

“Deck The Halls”

In a rather upbeat manner, we start off with a line of eighth notes with some sixteenth note syncopation played by the piano as the harp glissandos along. A wind instrument calmy takes the melody. The flutes play along, strengthening the fa-la-la-la-la-ing of the chorus. This pattern continues until the reeds join in to resolve the phrase.

Next, at 00:39 seconds in, the melody is handed to the bassoon. This personally reminds me of older family members like grandparents that have a deeprooted joy for Christmas. The wood blocks add emphasis to the articulation the bassoon displays, developing the melody. The clarinets rock back and forth between their notes, like little youngsters playing with their elders.

The strings delightfully swoon through, gaining the household’s attention. The bassoon adds ascending arpeggios and it appears like the family is talking to one another. The family seems pleased with each other, all ending in the same melody.

We have a ritardando that leads us into the next section. The Commons theme begins to play, proclaiming that Christmas shall be brought to Wizard City with great fanfare. The Commons theme replaces the Deck The Halls theme seamlessly, because of the melody’s similar contour and rhythm, as some of the original melody still shines through.

 

In this simple arrangement of “Deck The Halls,” we play with the idea of different voices having different parts of the melody. At first, the treble staff rings out the melody as the bass staff holds the primary note of the chord, known as the “tonic” and also the “root of the chord.” We seamlessly switch the melody to the bass, giving emphasis on “fa-la-la-la-la,” but immediately switch back to the treble to complete the resolution.

The words at the end of the music, “D.S. al fine” means to go back to the sign and stop where it says “fine,” meaning “finish.” Unlike “Jingle Bells,” the resolution is built into the music. This is what we call “ternary form,” where we end with the section we started with, having a contrasting section between them.

https://www.youtube.com/watch?v=5zymp2tyEbc

“Carol of The Bells”

Dramatically, the piano and sleigh bells set the tone, as though we see a dim candle lit in midst of a storm. Short and plucky, the bass line comes in, descending down a major tetrachord. Scales are composed of two tetrachords, which are four note patterns. Echoing the line, the strings harmonize going down the next four notes. When notes move towards a descending motion like this, we typically feel calmed. This is also why the resolution of a piece relies on the tonic note when the rest of the scale ascends above it.

A rhythmic motif is added, emphasized by the piano and strings. A motif is a short, recognizable phrase that can be developed throughout a piece by using different notes or adding variation to the rhythm. This introduction is hinted at when we come to a cascading figure built upon a melodic minor scale.

This brings us to a new section at 00:20 seconds that reminds me of children playing beneath the tree on Christmas day. This melodic figure develops by changing the pitches whilst maintaining the rhythm for continuity. This is followed by the same cascading scale we heard before. This repeats, as the strings add-in again, leading to a climax.

Next, at 00:45 seconds, the brass come in. Their dark tone adding to the quality of the minor chords they play. This develops the line the piano has played previously, giving the notable ostinato new context with this texture and reharmonization.

This leads us into 00:53 seconds, where it feels truly magical with the sustained chords in the strings, the arpeggiated solo in the piano, and of course, the wind chimes. The horns come into the texture, introducing the trumpets, playing chords. The progression goes from the minor tonic i, to the relative major III, to the dominant V. In music analysis, we typically label chords with Roman numerals and capitalize the numeral based on major or minor tonality. This progression is the climax of the piece, using the chromatic voices to cause linear dissonance which then leads to the chords that point us to where the tension can be resolved.

We end the piece in a recapitulation of the melodic content that occurred at the beginning of the piece. We end in the very way we started, like that dim lit in the storm, fading away to nothing. This piece contrasts compared to the others. Neither in a jazz style, nor a Major key, we have a dramatic orchestral style set in a minor key, which evokes the sense of Christmas past, similar to other pieces like God Rest Ye Merry Gentlemen.

Take note of how the second staff is now also a treble clef. This means we play the second one with our left hand, but now we are playing in a higher register than before. Looking through the piece you will see that when we have the majestic ascending scales, the left hand will cross above the right hand in order to give the needed harmony while working with the restrictions of the in-game instruments.

Thank you, Starlight, for venturing through my Yuletide edition analysis. You have truly made this Yuletide bright. I bid you a Merry Christmas and a Happy New Year!

Disclaimer:

Please note: The above sheet are not transcriptions from the music scrolls, as they would be in previous articles. These are simple arrangements I’ve made to accommodate the simple nature of the in-game playable Wizard101 instruments.

The Wysterian Honour Band

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Welcome to the fourth annual Spiral Cup music competition, created to honor the success of our competitors in the Spiral Cup PvP competition. In the heart of Wysteria, Pigswick Academy thrives with the best school band of the Spiral, winning every single competition. Despite being the only competitor, we pride ourselves on our winning streak. Our judge tonight is composer Nelson Everhart. Unfortunately, our competition will be postponed until the magical occurrence that caused a crawling vine to run rampant and completely overrun the town is cleared. Enjoy your evening.

https://www.youtube.com/watch?v=J4oCifMm4b0

“Main Theme“

We begin with a confident, yet soft strike on the drum and cymbal as the horns begin the piece. The flute and the glockenspiel duo in some light counterpoint against the horns. The texture becomes more regal as the choir and harp adds-in. After this intrada, the clarinet begins its happy Major melody 00:25 seconds in, that can remind us of springtime. The eighth notes give us a quick feeling to the tempo as the sixteenth notes add an upbeat bounce.

Next, at 00:42 seconds, the woodwinds play a variation on the melody from before. Using the same notes and different rhythms, this gives the themes continuity between each other. By using such similar structures in the melody, they give Wysteria a musical identity. We associate this music to be happy, youthful, innocent – naïve. This reinforces the storyline that the Wysterian folk aren’t as good at magic as they seem.

This piece jumps from melody to melody, all with similar ideas that connect them together, such as an overture. The piece jumps into a waltz with the reeds having the melody and the brass keeping the time, promoting Wysteria’s elegance. Then, arpeggios float through the horns, passing the melody to the strings in a bold climax. The flute calms the piece down, leading us into the first melody we heard, played on the trombone. This section also mimics the texture we heard in the waltz, combining the various ideas that fasten the piece together.

https://www.youtube.com/watch?v=LB14GLh3jyQ

 “Theme 1“

Echoing the magical climax from the previous piece, the texture begins with arpeggios and harmonizing descending lines from the piccolo and flute. Afterward, the violin and horn engage in counterpoint on top of the sustaining chords and texture added from the glockenspiel, giving a royal texture.

Next, we go into a new major key, contrasting the minor key from before. The brass keeps time, giving us a waltz. Even this develops as the cello plays a counter-melody through this. The horn plays the melody, passing it to the flute as the strings become the timekeeper. The theme passes around the ensemble back to the horns, and then to the oboe.

After this, we enter a new section as the mood changes. The strings and percussion take this section, giving us the resolution to the climax. The horn settles down, playing the melody as a relaxing solo as the piece finishes.

https://www.youtube.com/watch?v=WcTZIK4AWRI

“Theme 2“

As the most cinematic score of Wysteria, we begin in silence as the harp crescendos in, setting the mysterious tone. The bass clarinet plays, interrupting the harp’s line, setting that there’s something beyond our grasp. This tidbit is the same melody that was played in the main theme, but now in a minor key. This is an operatic technique to signify we are now in the villain’s domain.

The high strings break the serenity in high intensity. The horns add-in, dipping back down to a quiet piano dynamic before immediately jumping back up to forte. The bass interrupts, mimicking the bass clarinet adding to the atmosphere. The suspended cymbal rolls into the glissando of the high, shrill strings.

Afterward, we enter a new section. The harp strokes away at the strings as the violins play pizzicato, replicating the texture and giving harmony. The cymbal rolls before the cellos take over, playing an ostinato of a chord progression. The quick notes and low tone add tension. Tanglewood Way has been taken over by the forest and we are at the heart of the world’s trouble.

The flute plays the bass clarinet solo from before, accompanied by the arpeggios of the harp. This develops the idea by placing this melody on a texture we are used to, but now at the same time. The horns add-in, with the glockenspiel adding texture on the resolving chords. This segues into the glockenspiel’s mysterious solo that ends the piece.

Thank you, Starlights, for venturing through my tour of The Wysterian Honour Band. Have a wonderful evening.

Disclaimer:

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated.

The Marleybone Philharmonic

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Intended for The Musician and Non-Musician Alike

Welcome, one and all, to tonight’s program. Performed by the one and only, Royal Marleybone Philharmonic Orchestra. We have a lovely selection prepared for you tonight: the four original Marleybone themes, as well as a few surprise delights from the Pirate101 edition of Marleybone. From Albion to Cheddarberg, only the finest musicians from all around Marleybone will play for you tonight. Special composer, Nelson Everhart, will conduct the ensemble tonight.

https://www.youtube.com/watch?v=FEu5rLXdhGc

“Main Theme“

From the very first downbeat of the piece, we are entranced with the mood set. The clarinet plays the melody accompanied by the fluttering harp and chiming bells, adding a unique timbre to a proper magical Victorian era, Marleybone. The strings come out of nowhere, crescendoing into the main melody and taking over the pre-established sound of the ensemble.

A waltz begins from the climactic intrada. The melody is passed from the clarinet to the horns as the harpsichord adds to the timbre and keeps the timing of the piece. The call and response from the instruments switch faster, building tension to which 00:39 seconds in, the cymbals crash as the clarinet takes over once again. The horns keep the time, building on the atmosphere of the piece, giving the clarinet a more noble sound.

The theme passes again to the strings and then to the trumpets, building upon itself until a great resolution at time stamp 01:12. The strings maintain the melody as the chimes strike the most it has in the piece. The chimes are giving strength to the overall sound, adding light counterpoint in its differing rhythm with the strings.

In a serene moment, the Celesta adds to the sound of the ensemble, suspending the overall mysterious tone. The harps flutter and chimes strike again, mirroring the established sound from before. The mood shifts brightly as the horns begin the melody upon the cymbal crash. Wonderfully enchanting, I could see Mary Poppins fly down from the heavens.

https://www.youtube.com/watch?v=vmApo5QCH48

“Theme 1“

With a strong strike on the bass drum and chimes, the piece begins. The Celesta keeps time as the piano adds flourishments before the cello begins the melody. We have kept the same waltz style as before – a common attribute to the tracks of Marleybone. 

00:52 seconds in, a bell-tree plays, marking the start of a new mood and a key change to Ab harmonic minor. We are more solemn than before, relying on the higher woodwinds and strings to carry the melody rather than the hardier instruments. The chimes accent the melody’s downbeats. After this, the tuba fanfares in a climax at 00:57 seconds, with the higher instruments from before crescendoing in. Ending in high intensity, the last two measures, as written above, shift into Ab melodic minor.

We then enter a new section that includes a unique modal counterpoint between the flute and the bassoon. A motif from before, the bell-tree again marks a new mood. The flute continues playing the same melody as before, but now alongside the violin. The pizzicato strings continue the light waltz pattern, providing an upbeat vibe that the melody floats over.

Next, we crescendo into the most notable climax of the piece at timestamp 1:22. A classic V I chord progression brings us excitingly into the first melody on the violins. The celesta keeps time again, bringing back elements of what we’ve heard before to give the continuity.

Finally, we feel the piece giving its all before the final close. Time stamp 1:42 marks the point the low brass can give a good blow, giving the piece a nice touch of color. The melody plays over this, emoting triumph. The celesta comes in, adding a touch of mystery before the winds and strings arpeggiate to rejuvenate back to the top.

https://www.youtube.com/watch?v=eitnO5KYQmA

“Theme 2“

Rather familiar, this is nearly the same as the music played within the tower of Golem Court. Played on the Scotland Yard rooftop, the theme hints at what is to come. Swarming with golems, Katzenstein’s lab connects us back to our prior experiences. Regina Flametalon assigns us to go back and forth to each tier of the tower for a new golem part, establishing them as important in our minds.

Meowiarity eventually breaks out with Malistaire, who, in the tutorial, was inside the Golem Tower when we first met him. This is a clever leitmotif. Using a musical theme to connect characters to places, it is foreshadowed Malistaire will make an appearance at this part of the game when we hear this theme played.

At 00:49 seconds, the strings slow into harmonious counterpoint as the chimes strike, adding onto a common timbre displayed throughout the Wizard101 tracks of Marleybone. The woodwinds join in, fluttering between their notes, rocking back and forth to add to the layers of orchestral texture.

At time stamp 01:09, there is a modal interchange that adds brightness, taking us out of our current calming minor key, adding excitement, and resolves into a mysterious minor section, changing the mood.

The melody becomes more stately as before, reminding us of the beginning of this track. The rhythm begins to syncopate with the tempo, defining the pulse in a way unique to the other tracks. The melody from before plays again, but now in an upbeat tone and Major key. It too syncopates along the rhythm, adding odd accents on off-beats.

https://www.youtube.com/watch?v=ENfpLKyntx8

“Theme 3“

We feel the tension the moment the strings glissando downward. The mystery beckons us forward with the ostinato in the harp. The flute dances eerily like a fiend in the shadows. This is a unique theme, as it is the only one of the original Marleybone themes that aren’t a waltz. We hear this melody pass to the cellos as it develops the material, ornamenting it with the violin glissandos. This continues until the strings and flute enter counterpoint with each other.

At 00:33 seconds, the beat pulses in the background as the theme is placed on a violin, changing the mood. We are driven forward until the climax point at 0:40 seconds, bringing back our familiar melody from the previous tracks.

The chimes join in, adding continuity to the dynamic timbre from the other tracks.

The mood drastically changes again, 00:52 seconds in, changing the pulse from quarter notes to eighth notes. This causes the tone to be upbeat, although its use in a minor chord causes this bittersweet emotion, where it’s dark and joyous at the same time.

The march continues onward, layering the woodwinds on top with the main melody. We next mix up this emotion as the orchestration spirals deep through the ensemble, leading us into an unstable development section where the meter changes back into a waltz feeling at time stamp 1:11. There is heavy counterpoint between the strings and woodwinds; each playing their melody the moment they have the chance.

We calm down as the cello takes over the melody, slowing down into true majesty. The woodwinds add in, adding a high-pitched color before we settle into the horns. We are taken back to the main melody in the same Mary Poppins style from the “Main Theme” track. The brass come in heavy, preparing for a final close, leaving with a big final hit, representing our close on the Marleybone story.

“Sewers”

This piece alone gives Marleybone such great depth. In Wizard101, we are only exposed to the aristocratic life, where people’s greatest worry is the Policeman’s ball, whereas, in Pirate101, we get to see Marleybone as a whole society. From Marleybone’s navy to the orphans that run the streets, our wizard’s head is up on the rooftops.

So much lies beneath the rooftops of this world that this piece begins to scratches the surface of. It isn’t as posh nor elegant as the others, but the syncopated percussion and the deep and swift bassoon gives us character and the feeling of tension. There is danger out there and making it out alive is a part of life.

We are met with this repetitive figure as the main melody of this piece. The overall essence of this piece is unique in its own right. Unlike the previous tracks, it does not feel orchestral, and it does not organically flow. The repetition is dark and soothing in a dark way. If you were to play this sheet music, you would find it sounds out-of-tune. This entire piece did not fit to a single key of the twelve. This is an absolutely unique feature of this piece, considering most synthetic compositions are in-tune.

To be human is to feel. We feel grief, failure, and remorse, but also joy and melancholy. There is no more specific way to feel emotion than through music. Words can often be vague, but music is something we all feel, even when we can’t describe it.

https://www.youtube.com/watch?v=YsFcuYd84yY

“The Isle of The Dogs“

Second to the Aquila Journey and Cool Ranch Santo Pollo themes, this track is within my top 3 favorite tracks across both games. We begin with a timpani strike, followed by a silent ostinato in the upper strings, setting the tempo and meter of what’s to come. Arpeggios from the flute, harp, and cello ornament to the texture, giving us a taste of the layers the piece offers. The oboe hints at the main melody before the flute and harp continue. The oboe plays again, leading us to a new section 00:16 seconds in.

The chords uniquely progress in a modal tonality until a climax 00:40 seconds in. In a waltz style, the tambourine strikes on beat two and three, reflecting the original tracks.

The bassoon takes the main melody, giving a romanticized European texture we can associate with Tchaikovsky’s Dance of The Sugar Plum Fairy or works by Danny Elfman, such as The Nightmare Before Christmas. The lower reed’s focus perfectly associates with the dark and magical mood Marleybone so excellently presents.

At time stamp 1:06, we introduce new musical content. The three beats we were comfortable with now divides into three again, clearly dividing our waltz into 9/8. We can still hear the lower instruments pulsing away in the bass line of our waltz, keeping time.

The lower voices take over the melody, giving our arpeggios of awe and wonder to darkness. We climax by the time stamp 1:39. We hear the same melody as before, but now in the choir and woodwinds. This is the most magical point of the piece, as we recapitulate the various goings-on. The woodwinds flutter the 9/8 arpeggios above the main melody as the lower voice sustain chords, thickening the texture. We diminuendo until the piece begins again.

Thank you, Starlights, for venturing through my tour of The Royal Marleybone Philharmonic Orchestra. Have a wonderful night.

Disclaimer:

Please note: I transcribed the music from the original/classic mode music scrolls. Not all of my transcriptions are 100% accurate, but they are close and the rhythm is properly notated.