The Darkmoor Philharmonic

Posted on February 2, 2019March 7, 2019 by Peyton Lionheart

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.

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

Posted on January 14, 2019July 1, 2021 by Peyton Lionheart

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.

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

Posted on January 13, 2019July 1, 2021 by Peyton Lionheart

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.

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

How to Create a Portal Hub

Posted on January 5, 2019September 20, 2019 by Peyton Lionheart

Dedicating one of your castles to store the portals to your other houses can be a laborious task, especially deciding you want to begin a project like this. If you’re not sure what I mean by a “portal hub,” I am referring to a castle that is the central hub to teleport to your other homes. Successfully completing a project like this is a big accomplishment for any decorator, for your friends to tour your amazingly decorated houses and simply teleport to the next once they’re done.

The Math

Before we begin, there is a lot of math to be done. For this guide, I will be doing the most complex option of how we can interpret this project (and very much so the most impressive!).

Open your list of houses and count all of the houses you want included in this project. I want my Balance House, my Storm House, my Death house, and my Midday Estate included in this project, plus my dorm. My Storm House will be the Hub, and my Dorm will teleport the visitor to the hub. Once the person gets to the hub, there will be several portals they can enter. This is described in the main flow chart. The Marleybone and Darkmoor houses will not be a part of this tutorial.

This means we will need one teleporter for the Dorm, three for the hub, and three more to put in the houses. Therefore, all together, we will need seven portals. We need two for every house we have, plus one for the dorm.

The Portal Plan

Next, we need to figure out the route these portals are going to take. The flow chart to the left makes it look easier than it feels when actually doing it.

We must set up three portals to go back to the dorm, the dorm portal to go to the hub, and the three hub portals to go to the houses. Remember, when you click on a portal without the mark in the corner of its box in the decorating menu, it means you need to select the location it will teleport to first. If it does indicate a point has been selected, you may proceed to place it.

An Example

To the right is one possible combination a visitor may take. After teleporting to you in your dorm room, they go through the portal in the Storm House hub, and then the Midday Estate. When they decide to leave the Midday Estate, they will go back to the Dorm Room and begin again to see the other houses.

This visual shows where the portals are going to. The violet portal heads to the Storm House. This is color association. By using violet, it is a hint without needing to use a sign where they are about to go.

This works rarely. Most of the time, we need to put a sign nearby, or in the portal to show where people are going.

An extraordinary example of Paige Moonshade’s Portal Hub. Find her Wizard’s Watchtower on the castle tours!

It is always amazing to see houses on the tours that are connected together. Seeing portals linked together like this makes the house feels that its a part of something much larger, and is a product of greater quality. In projects like these, the more houses you have, the more work it will take to maintain it, but there’s a bigger pay off. In the image to the left, it looks amazing to see the portals of every single house in the game linked up together.

Thank you, Starlights, I wish you the best in your Portal Hub creations! Please remember to email your lovely interpretations of this guide to us at [email protected] because we would love to see them. If you have any issues following along with this guide, please get in touch with me in the comments below or on the Ravenwood Academy Discord!

The Dragon Titan Army Band

Posted on January 4, 2019January 10, 2019 by Peyton Lionheart

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

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.

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.

Winter Fishing

Posted on December 29, 2018December 3, 2021 by Erin EagleCaller

Every 3 months the seasonal fish change.

From December to March, the winter fish are swimming in the spiral!

Cold Cod

Ice School | Rank 1 | Seasonal/Regular | 1600 XP

Small Fry: <10
Whopper: >40

Yuletoy Fish

Myth School | Rank 1 | Seasonal/Regular | 1400 XP

Small Fry: <15
Whopper: >45

Mistletoe Angler

Life School | Rank 1 | Seasonal/Regular | 1400 XP

Small Fry: <15
Whopper: >45

Locations

These 3 fish all have the same locations:

Wizard City:

Garden of Hesperides
The Commons

Krokotopia:

The Oasis

Zafaria:

Baobab Crossroads

MooShu:

Jade Palace

Avalon:

Caliburn

Grizzleheim:

Northguard

Housing Items:

All the Castles and Houses

How to Catch them - Best Locations - Spells

Cold Cod: The Oasis is the only Ice school fish in the pond that season. Use Reveal Fish School or Winnor Ice Fish/Lesser Frost Lure or Minor Frost Lure.

YuleToy Fish: Use Reveal Fish School or Winnor Life fish/Lesser Fable Lure or Minor Fable Lure.

The Commons: There is only one Myth school fish in the pond that season.

Mistletoe Angler:

The Commons: There is only one Life school fish in the pond that season.

Use Reveal Fish School or Winnor Life fish/Lesser Vitality Lure or Minor Vitality Lure.

Tips: If you don’t have the spell ‘Summon Fish’, go into the pond, scare away all the fishes and wait 15 minutes before attracting new fishes. That will save most of your energy. Don’t forget that each player has their own fish in the pond, meaning other wizards can not scare away your fish.

Used In These Recipes: Make your own music with the crafting recipe from Eudora Tangletree in Old Town. You can listen to the music player which is a house item! You can select different music for outside or inside the house.

The music items with fishes ingredients are:

Carol of the Bells Theme

Deck the Halls Theme

Jingle Bells Theme

I wish you all the best catching the seasonal fish, and Merry Christmas!

Crafting101 – Zafaria

Posted on December 27, 2018May 8, 2019 by Peyton Lionheart

Welcome back to Crafting101, young Wizard! Congratulations on achieving your Grandmaster Artisan Badge. You are now well on your way to becoming a Legendary Crafter. The Zafaria crafting quest is unlike any other crafting quest. You cannot complete this quest by teleporting to a friend to access the trainer early as you could with the others. You must complete the quest “To Market, To Market,” before being able to collect his quest.

Koyate Ghostmane

After completing ‘To Market, To Market,” Koyate Ghostmane will have the quest for you. You can find him near the large hollow log in Baobab Market. He is the first lion you see when you enter the area. Once you talk to him, you get the quest “Drum a Little Drum.” This quest requires you to craft two Spirit Caller Drums. The recipe for the Spirit Caller Drums will automatically go into your recipe book.

You will notice that you need Conga Drums for the Spirit Caller Drums recipe. These will also need to be crafted. Gearwise sells the Conga Drum recipe for 4,755 gold. You can find him in Survey Camp, Celestia.

The Recipes

There are many reagents required to craft both of these drums. Below is a list of all the reagents you will need in order to craft them.

Conga Drum

You need two Conga Drums to make the two Spirit Caller Drums. In previous worlds, we crafted two items twice. Now we will learn how to craft items that are an ingredient in other recipes. This is an essential tool if you plan to craft a house, such as The Wyrd or The Treetop Getaway.

Legion Shield

The Spirit Caller Drums need 8 Legion Shield treasure cards between them. These have a chance of being harvested from White Tiger Lillies or Missile Toe plants. If you’re lucky, you may find this Treasure Card in the Bazaar. It’s price ranges from 540 gold to 1013 gold.

You can farm Winter Skulls in Nordrilund and Nastrond for a chance at this treasure card. These places are in Wintertusk, Grizzleheim.

Giant

Our Conga Drum recipe requires four Giant treasure cards. The easiest place to find this treasure card is from the Archivist in Celestia. You can also harvest Giant from Sunion plants.

Dromel Merchant, Lost & Found, and the Treasure Chest all have this item as one of their daily rewards. Avery Templeton’s treasure card recipe is listed below under ‘Transmute Recipes.’

Amethyst

The bright violet accent in the Conga Drums requires 2 Amethysts. Amethysts aren’t found in the Spiral. Buy them from vendors like Al Saf’wan or Campbell Hodgson for 15 gold per gem. Harvesting plants such as the Fortune Cookie Tree, Ivy League, and Snap Dragon can also give you this card.

Perfect Onyx

The Spirit Caller Drum recipe requires 4 Perfect Onyx. Noxolo Fasttrack and other reagent vendors sell them for 100 gold each. Noxolo lives within the large hollow log in Baobob Market, Zafaria. Additionally, Perfect Onyx may harvest from Ivy League and Maelstrom Snap Dragons.

Crystal Vial

The Conga Drums recipe needs 2 Crystal Vials. It is a pricey reagent when bought from a vendor or the Bazaar. The vendors in Wysteria, Mooshu, and Dragonspyre sell them for 330 gold.

Buying them from the Bazaar can cost between 165 to 1650 gold each. Their cost depends on how many are available. Harvesting Pink Dandelion can also get you some of these vials.

Pristine Vial

Four Pristine Vials are in the Spirit Caller Drum recipe. Pristine Vials are either bought or harvested. Archytas sells these for 500 gold each. Also, if you grow the Maelstrom Snap Dragon, you will have a chance at harvesting this item.

Black Pearl

There are 28 Black Pearls in our Spirit Caller Drum recipe. Black Pearls are a challenging reagent to find. It can be a rare harvest from Black Lotus or regular Pearl. You can also buy Black Pearl from Diego for 175 arena tickets. The Bazaar has them available for 188 – 1875 gold each.

A few gardening options are: Alligator Pear Tree, Deadly Fly Trap, King Parsley, and Ultra Tiger Lily. The transmute Recipe is listed below.

Golden Pearl

The gold accent in the Spirit Caller Drums calls for 16 Golden Pearls. These are a rare harvest from pearls found in many underwater places in the Spiral. This includes Stormriven Hall, The Grotto, The Portico and Waterworks in Crab Alley.

This reagent can be harvested from Maelstrom Snap Dragon, Evil Magma Peas, Deadly Helephant Ears, and Fickle Pickles. The Gorilla, Minotaur, Magic Eggs, and Dragonfly all have this item as one of their daily rewards. The transmute recipe is listed below.

Sunstone

18 Sunstones are required for our Spirit Caller Drum recipe. These are a rare harvest from sandstone.

Sunstone is harvestable from Maelstrom Snap Dragon, Evil Magma Peas, Fickle Pickle, and Deadly Helephant Ears. The transmute recipe is listed below.

Aether

12 Aether will be required in order to complete both sets of drums. This is a rare harvest from Kelp and Shells. You may harvest this reagent from Deadly Helephant Ears, Evil Magma Peas, Fickle Pickle, King Parsley, and Maelstrom Snap Dragon.

You also might get this reagent from housing rewards. This includes The Dragonfly Ride, Dromel Merchant, Giant Gorilla and the Horn of Plenty. If you have arena tickets, Diego sells Aether for 200 tickets each. The transmute recipe is listed below.

Shell

16 Shells are in our Conga Drum recipe. This reagent is common in Celestia. Shells can be found in places such as Base Camp, Stormriven, District of the Stars and The Grotto. They’re also in Wizard City’s own sunken Triton Avenue, Crab Alley.

You may be lucky enough to harvest this reagent from Fickle Pickles and Maelstorm Snap Dragons. The transmute recipe is below.

Fossil

24 Fossils are required to craft our Conga Drums. This is a rare harvest from Stone Blocks. They can be found in places like Stone Town and Waterfront, Zafaria. Buying this reagent from the Bazaar can range from 100-1000 gold each. The transmute recipe is listed below.

Scales

The Conga Drum recipe requires 8 scales. You might harvest this reagent from Maelstrom Snap Dragons. Additionally, there is a chance to receive this item from The Magic Eggs housing reward instance. This reagent goes for 400-4000 gold in the Bazaar. You can find the transmute recipe below.

Transmute recipes

The Black Pearl Transmute Recipe is available from Toshio in Mooshu – Jade Palace. Selling for 400 gold. You will need 15 Black Lotus.

Giant

Giant is available from Avery Templeton in Base Camp, Celestia. You can buy it for 150 gold. The recipe requires 1 Peridot, 5 Pearl, and 3 Black Lotus for each Giant treasure card.

Black Pearl

The Black Pearl transmute recipe is available from Toshio in the Jade Palace, Mooshu. It sells for 400 gold. You will need 15 Black Lotus per pearl.