Tag Archives: theme

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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"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.

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 WizardCity Orchestra

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Intended for Musician and Non-Musician Alike

Wizard City, founded by Merle Ambrose, composed by Nelson Everhart, has an unexplainable joy located in the centre of the world that is uniquely magical. As we cross the line from magic to music, we will analyze through this guide the music that aids the story of the first world we step in. This is unique kind of guide- guided listening!

Music typically aids a story. A leitmotif is a form of musical aid when music is played to represent a specific character or theme. Famously used in Richard Wagner’s 15 hour Opera, The Ring Cycle (home of “The Ride of The Valkyries”). Leitmotifs often relate to each other in a musical way to present continuity in the aesthetic of what it represents.

“Main Theme”

One of the most iconic themes presented in Wizard City is located within The Commons. Throughout this article, a theme is defined as the main melody within a piece of music. I stress this, because we typically think of a theme as the piece as a whole.

This melody, notated above, is a descending major scale with some notes fluttering down faster than others in what is called sixteenth notes. We also have notes going back and forth between each other- a common characteristic in most of the Wizard City melodies. What is a major scale? It is commonly referred to as a collection of notes played in a specific order (Do Re Mi Fa So La Ti Do, if you are familiar with Solfege and/or The Sound of Music) that comes off as “happy” in tone.

We begin the melody on the English Horn, a relative to the oboe before being taken from the light and airy flute. Pizzicato strings snap along, giving a bouncy vibe. Please note, I only transcribed the underlying bassline and not the complete strings section. For simplicity’s sake, the example is written in concert pitch.

As we drive away from the complex aspects of music theory and orchestration, how does this make us feel? It makes us feel happy and relaxed. “The Commons” is for gathering with the community, and with the few instruments playing at any given time, it feels intimate and easy-going. The light atmosphere is perfect for a passing place to collect quests, or to simply walk on by.

“Theme 1”

Next, we have the original Ravenwood theme. The horn begins by ascending a dissonant Lydian arpeggio coming to a resolution within the next measure. After that, we repeat that same idea, but go down a whole tone scale, similar to how we went down a scale in The Commons theme. The music of Ravenwood is meant to be glorious and bestilling; to be standing before an ancient being as grand as Bartleby and to feel his serene vibe.

The strings respond to the horn, going back and forth between two notes in nearly the same rhythm the horn did, stating the theme as it develops. The Commons theme too, went back and forth between two notes in its melody, connecting these two melodies in a very subtle way.

“Theme 2”

We continue to explore Wizard City with Olde Town. The selection I picked from here begins at 00:27 seconds into the third track. This is the point we truly see the themes come together. The horn begins with a melodic shape that will develop into Theme 3’s main melody, then using that with a descending scale, similar to the whole tone scale used in Theme 1. There is then a key change that develops the first statement into A major, continuing onto a fragment similar to the main Commons theme.

After that climax, the strings (or clarinet in the rendition above) relax with a rhythmically slowed-down version of the Commons theme, developing its character. This is where our Wizard accepts the three streets questline and ventures forth, representing how they are becoming more at home with the world they magically were summoned to.

“Theme 3″

The orchestra ventures to Unicorn Way, the starting point of all trauma our wizards suffer. The clarinet soothingly hums out a happy, twinkling theme. 

It goes to and fro between thirds with passing tones in between, similar to the starting melody of Theme 2. But this specific melody develops until it begins to ascend. This is the first time we have purposely shaped the melody to ascend. This is the largest the melody has ascended, even from the beginning ascension of the Ravenwood Theme.

We go through a key change as the horn reaches the climax of the piece. The horn reaches a high Eb, the highest note used in the melody so far. Both of these show a deeper meaning that our Wizards will reach great lengths in their future. The future of our Wizard’s life is hinted that we will be expected to do great things during our time in Ravenwood, and the music encompasses that idea. 

After an instrumental interlude, we return to the classic Commons melody, but the ending has developed. Before it was five notes, now it is seven.

Thank you, Starlights, for venturing through my tour of The Wizard City 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. The Golem Tower, Wizard City Combat, and Wizard City Dreamworld Themes did not fit in with the above, so I have not included them in this presentation.