DARK SOULS 3 - Dancer of the Boreal Valley on Piano

[@moonlapsepiano]

Theory Breakdown As I mentioned in the description, I have felt constrained by the 5000 word limit up there, so am moving the music theory analysis down here to a comment! It can be tempting sometimes to describe difficult-to-process and non-functional tracks like this as 'a bunch of whole tone scales' or 'note soup'. Or to say that the composer didn't really know what exactly what they were doing, and just wrote what their ear wanted to hear, and it's so random that it's not worth looking deeply in to. I disagree - whether or not it was composed by 'feel' or 'intentional theory application' does not matter - we can analyze the result and try to put it in our toolbelts regardless! Despite not adhering to functional harmony chord progressions/movement, we can analyze the intervals that were chosen in relation to C# and think of them as colors. We can use the modes (dorian, phrygian, harmonic minor, lydian dominant, etc) as a reference point for how different combinations of intervals will sound, emotionally. This gets more interesting when multiple colors are combined together. Especially when large chunks of the song can be argued to be over a single pedal tone like phase 1 here, in C#, this style of analysis works very well. The C# in this song is also heard in the very high registers in addition to low, further bolstering our reference point. We can also observe the the voice leading and inner motion that are used, such as upwards/downards opposing motion. There is also a fair amount of chromaticism going on. Kitamura often writes long sections over a single root pedal tone, so I have had to apply a similar mindset to other tracks as well as this one in order to try and find a cohesive takeaway. Kitamura begins by introducing an ambiguous C# tonality. At first we only get the root and fifth, C# and G#. As phase 1 progresses, more and more intervals or 'colors' and introduced. The first colors we get are the b7 and b9, B and D. Without the precense of a minor or major third, this leaves what 'scale' we are taking from to be a bit of a mystery. Phrygian, phrygian dominant, locrian, locrian natural 6 and a few others. Either way, the b9 is generally heard as a darker or more dissonant sound. The b7 appears pretty ambiguous because it sounds very different depending on the third that is used (tense dominant over major third due to the tritone relationship, chilled-out minor seventh over minor third due to the perfect fifth relationship). The next tone we get, loud and clear, is the natural 6th, A#. While this can sound very pretty over a major triad, or a haunting minor 6 sound over a minor triad, we still don't have a third in relation to C#. Also, whiel a major sixth is often seen as a brighter sound, our ears have already been acclimated to the dark b9 D multiple times already. It's pretty weird to have a major sixth with a b9. As dominant chord extensions, this is an unusual combo. They are pulling in different directions. To be overly simplified for a moment, the A# is 'happier' while the D is more 'evil'. I believe this unlikely combination of colors is what really begins to cement this track as unsettling and alien - our ears aren't sure what vibe this is. This combination of tones can be found in the C# half-whole diminished scale, a very unresolved and tense sounding mode - major sixth with b9 does not occur in any of our familiar minor or harmonic minor modes. In a somewhat more accessible manner, it also appears in the Dorian b2 mode (amazing and awesome mode) which is a more 'esoteric' mode from the melodic minor scale. The second mode of melodic minor to be precise. This mode is more commonly used in jazz music and definitely has an 'outside' sound in most cases. This backing track exemplifies how this mode sounds - it's very fun to practice improvising over: kzbin.info/www/bejne/fZbPhGmQqLWEqc0. In fact I have to stop writing and jam over it on my guitar for about 20 minutes now. Okay I'm back. We will need to leave the modal analysis on the back burner for the next section, because it becomes a lot more about chromaticism and colors. We get the minor sixth A, via a chromatic slide down from the previous major sixth A#. Now that we have both sixths in the equation, it becomes hard try and relate this to a modal sound. This chord changes essentially slides B and A down to A# and G#. What an interesting way to combine whole tone concepts with chromaticism! During the course this change, four chromatic notes are hit, G# through B, even further diluting any attempt at modal analysis. Kitamura uses whole tone intervals as the primary voicing here, but in an unconventional manner. Our minor 7th and minor 6th become our major 6th and perfect fifth. This is just so weird and fantastic. The ambiguity and unsettling nature of this motion is remarkable. Having BOTH of our sixths in the color palatte (each usually having quite a different mood from one another), with our ears still remembering that dark b9 D from earlier, paints a very uneasy picture. Next up we get even more colors and parallel whole tone movements. The high string moves from minor 6th A to perfect 5th G#. At the same time in an inner voice, we get flat 5th G moving to perfect 4th F#. (G4 and A5) to (F#4 and G#5) - see, this whole step relationship is preserved in the voicing, despite even having an octave of extra distance between them! Perhaps it's better noted as a 9th relationship. Both the G and F# are totally new colors in the piece, but their introduction is smoother since Kitamura is repeating this 'parallel whole tones moving down a half step' thing from earlier in the song. All of this weird ambiguity is mixed with the reintroduction of the evil b9 D note, ensuring that this ambiguity is of a dark nature and not just confusing or trippy. As we have seen countless times, the flat 5 really brings that funky, twisted vibe to a piece. The perfect 4th is a bit less of a striking and commanding color, However, it is not usually played right after the b5! In fact, the b5 can also be viewed as a 'sharp fourth' or #11. From that viewpoint, we have both a natural 11 and #11 within a few seconds. This is a similar to concept to earlier when Kitamura played both the major and minor 6th in the same segment. In most music we hear, these tones are chosen one or the other, but not both. Also note we STILL have not heard a third being introduced in relation to C#, a very foreign concept in more 'normal' functional harmony based pieces. Finally we get our third F. It is 'slid down' to from the F# perfect fourth of the previous phrase. This has created a beautiful chromatic slide-down from G, to F#, to F. Spoiler alert - it slides down again to E. That means we also got BOTH OUR MINOR AND MAJOR THIRD in the same phrase. Essentially, choosing both variations of each of our intervals has become a motivic element of this piece of music. Our ears have a really hard time processing this type of sound because we are so used to hearing chords with either a minor third OR major third, and knowing what that means, and where those chords are pulling to. Here we just have a chaotic and maddening mix of intervals that don't 'belong' together in most functional harmony-based Western music, and a devastating slippery slope chromatic slidedown to make the confusion more intense. So we have a few takeaways already if we want to get that 'Dancer' sound. 1. The abscence of the third can contribute to a feeling of ambiguity or modal indecisiveness. 2. To further destabilize our harmonic footing, we can combine intervals that are often picked instead of one another, like using both minor and major 6th or both #11 and natural 11. 3. The b9 helps anchor our newly-created ambiguity and instability in a sense of darkness and unease. 4. We can utilize 'light' dissonance with whole tone or 9th intervals to enhance the dreamlike state and create tension, without being too in-your-face like half-step dissonance. 5. Using chromatic inner motion, we can create satisfying voice leading as we paint our fever dream with strange combinations of intervals. To further complicate things, Kitamura even uses D# right after the D, so we have both the b9 and the natural 9. So she has basically done it with almost every single interval, except the seventh. We got flat and natural 2nd, minor and major 3rd, 11 and #11, minor 6 and major 6, all played adjacent to each other! Like I said before, one could look at this and just chalk it up to 'random chromaticism.' But in my opinion it is very helpful for learning the music theory of pieces like this to examine the precise motion of the tones, which ones are used together, and how each color really does relate to the home key of C#. Using modal analysis to help us think about what a tone 'sounds like emotionally', we can ensure that we use our happier ones together with our darker ones to create the ambiguous, tense, and unnerving feeling that Dancer of the Boreal Valley exudes. Phase 2 is not that different conceptually from phase 1, it even keeps C# as the home key. It focuses a bit more on the b5 to add that scary funkiness and uses more Aeolean tones in the high strings than phase 1, like the minor 6th and minor 7th. This is giving it a bit more of a 'conventionally' dark flair compared to phase 1, which is more atonal. I think this can reflect the more aggressive and less mysterious behavior of the boss during this phase. Either way, there is still plenty of the uneasy and non-functional harmony from phase 1 throughout phase 2, despite it being a bit more easy for our ears to latch onto. Let me know if you'd like to discuss this further, or have any questions! Thank you so much for reading this and being a part of my channel 💜

[@mt2r-music]

Great arragement as always. I don’t know much about music theory but I always appreciate how complex and interesting soulsborne music is written. Yuka Kitamura and all the others are geniuses.

[@moonlapsepiano]

@@mt2r-music thank you 💜 they are geniuses, I very much agree

[@kenlikescarbs]

This is so helpful. Thank you so much!

[@SimonAsh666]

Such a thorough and impressive analysis. I wish I could comment about it in depth, but I'm really not versed in music theory at all. Still, I managed to grasp the main point of the breakdown, which is the ambiguity brought up by a tasteful, careful dissonance paired with an unexpected harmony engaged by dubious modes. I'm a firm believer that one works towards a theme even when not necessarily aware of it, so I am in full agreement with the idea that, whether or not Kitamura composed the original piece with the theory in mind or not, it doesn't matter. One engages theory even when they can't "name" it, which is why it's perfectly possible to break down the theory of tracks where the composer might not have actively pursued any. Many composers use their feelings and wishes for the track as guidance, and leave the theory on a background. Which is, of course, a perfectly viable and valid method of composing (and I'm also like this), but the fact that the theory can be studied in these cases indicates that there are many ways to employ it and reach for it when it comes to the process of composing. At the same time that theory is technical, it's also creative and lively, and it's almost like the means for which the living, breathing organism that is music gets to exist. Therefore, we can reach it through a technical standpoint, but also from a loose and experimental method, too. All in all, this made me very interested in Kitamura's work. I certainly haven't listened to the soundtrack of soulsborne games as much as I should, and I must separate some time to do so whenever possible. Thank you for this transcription and breakdown. I'll be very attentive to your content from now on

[@moonlapsepiano]

@@SimonAsh666 thank you for reading, I am happy to hear your thoughts. Glad to have you supporting my channel! I totally agree with you in regard to both technical theory and experimental/from-the-heart approaches being valuable compositional tools. My personal favorite way to do composing is to try and have an organic human expression by improvising within the confines of a limiting music theory concept (like staying in a concrete chord progression). This combines both approaches so I can try to achieve a particular mood from my toolkit but without sounding robotic/unnatural. You should certainly listen to more of Kitamura’s works, she is absolutely amazing. And she employs a wide range of interesting and uncommon theory ideas that make her sound unique.

[@grt2779]

a little bit insane how long it took for this to get a piano cover, glad its here at all lol

[@moonlapsepiano]

@@grt2779 I agree! It's such a classic. Thanks for watching 💜

[@Trilasent]

My god why doesn't this have more views? This is amazing! This fits her perfectly!

[@moonlapsepiano]

thank you!!! 💜

[@Trilasent]

@@moonlapsepianoI I played it on top of the original OST to see how it was paced compared to the original, and it's even perfectly timed! You really outdid yourself with this!

[@moonlapsepiano]

@@Trilasent Thank you for noticing!! Yes I try very hard to be as accurate as possible in regard to both the harmony and the tempo 💜

[@AqareCover]

Great arrangement man!^^ This game really had the best soundtrack in the series in my opinion

[@moonlapsepiano]

Thanks Aqare, it means a lot! 💜 I agree that DS3 is the best FromSoftware soundtrack, I always find myself coming back to listen to it. Probably won’t be my last DS3 arrangement lol

[@dyroth]

HE DID IT FIRST RIGHT HERE, this is so beautiful to listen to, amazing job as always!!

[@moonlapsepiano]

Thank you as always Dyroth! And I appreciate your help getting it across the finish line🤘

[@weaselbeee]

omg ive been waiting for literal years for someone to cover this song! tysm

[@moonlapsepiano]

Me too!!! I was tired of waiting haha. Thank you so much Weaselbee 💜

[@LudwigVanLarx]

Very well done! Such an ethereal and almost delicate piece when arranged for piano!

[@moonlapsepiano]

Thanks Ludwig! 💜 Yeah it’s on the softer side and I tried to put the piano in a small cathedral space like the boss fight is

[@Antihero-mu4bb]

Wow this piece is so cool thanks moonlapse!

[@moonlapsepiano]

thank you Antihero! 💜 I’m glad you liked it

[@Theuraim]

Great arrangement!! One of my favorites songs of dark souls 3

[@moonlapsepiano]

Thank you! It’s also one of my faves💜

[@SimonAsh666]

It's so fascinating to me how meditative these tracks sound when transcribed to the piano. The idea of "silence between the notes" is employed very often in the soundtrack of these games. It's intimidating, even, because so much of one's skill is required to make these intervals sound compelling, yet, here, they always do. Your transcriptions are very lively, and I want to take a moment to read your breakdown of their respective original tracks as well

[@moonlapsepiano]

Thanks Simon! I appreciate that and I’m glad you liked it 💜 It’s true, this one especially feels very meditative due how much space there is in the arrangement. Let me know what you think of the music theory breakdowns!

[@SaimoodPianoVersions]

Man, you're awesome. Making this track on piano so detailed... it's very difficult. Great job.✌️

[@moonlapsepiano]

Thank you Sai!! 💜 It was a tough one, especially to get the softness right and some of the weirder inner voices that are hard to hear. But it had to be done, this song is so iconic!

[@SaimoodPianoVersions]

@@moonlapsepiano yea, sounds crazy! Thank you for making it ✌️☺️

[@ondrejmrazek8209]

Spot on! Subscribed :)

[@moonlapsepiano]

Thank you Ondrej! I appreciate that 💜

[@queenvictoriann]

YOU COVERED THIS PIECE?? Dude, you are incredible. This song is so dissonant, I didn’t think anyone would ever attempt it. It sounds amazing too!! Also, thank you so much for that music theory snippet. I have wanted to know what’s going on in this track for so long, especially after hearing it was apparently in 7/8? It’s fascinating. Bravo!

[@moonlapsepiano]

Queen Victoria your comments are always so nice and motivating!! 💜 Thank you, I really appreciate it. It was a bit tougher to arrange due to the weirdness and dissonance but it had to be done! I’m glad you enjoyed the theory breakdown too. My interpretation of the time signatures can be seen in the sheets - it has parts in 3/4,7/4,9/4, but I think it is subject to discussion as one of my friends already disputed my 9/4 idea lol. With nearly no drums it can be harder to tell

[@queenvictoriann]

@@moonlapsepiano Happy to share my support! :D Yeah, it’s so fun to talk about this song in particular. I showed your analysis to my brother, who is a composer immersed in the trailer music world, but he loves music theory. We’re already talking about it over the keyboard and debating the time signature 😂 I was wrong, I had actually heard it was 6/8, my bad. My brother likes your suggestions, but yes he’s already debating the 9/4 too, haha. It’s funny watching him obsess over the theory and test everything out. I barely understand this stuff myself, but I’m trying to grasp it. Either way, I love the discussion and analysis this song provokes, just as a die hard fan. You guys are encouraging my appreciation for sure.

[@moonlapsepiano]

@@queenvictoriann Haha glad to hear you two are discussing it, it is quite a fun topic. I chose 9/4 for the intro because each chord is made of long drawn out notes as one consistent idea, and dividing it into three 3/4’s felt less in tune with the long drawn out chords, it just felt right to count 9 until the pace picks up a bit. However, I could be wrong of course. Sounds like your brother is an awesome composer! Regarding the theory stuff I am happy to engage with any questions you may have 💜

[@queenvictoriann]

@@moonlapsepiano Ahh, interesting! Ok, my brother appreciated that reasoning, haha. You guys are both great musicians, and we enjoyed playing the song according to this breakdown. I’ll definitely reach out if I have anymore questions, thank you! 🖤

[@commissarmethyst]

Amazing. It always felt like one of the most striking themes in DS3, and I use fromsoft music as inpiration for my own music writing as a hobby. Plus, I also maintain a playlist with all the soulsborne piano arrangements for the same reason, and your stuff represents the less arranged ones. Is there a chance to see the DS3 firelink, as there are no tutorials for that one?

[@moonlapsepiano]

Thank you! 💜 I am honored to be included in your playlist. I did not realize DS3 firelink wasn’t covered yet, I will look into it and see if it feels doable, I love that song so much. And also the second version it changes to is awesome

[@commissarmethyst]

@@moonlapsepiano I believe Secret Betrayal (the second firelink theme betraying linking the flame) already has a piano arrangement by someone, but the regular one doesn't.

[@mydude_]

I love your arrangements. You are one of the best souls boss music arrangers. Please keep up the good work ^^ Oh also if you have the time could you look at this unused ds3 ost? Originally yorm was called halleck and this was his ost. Its a shame that the ost was never used and just remains in the files. Imo it's one of the best songs by kitamura kzbin.info/www/bejne/p33FZqWGhb2jmbs Ps: the quality isn't the best but there are the 2 phases uploaded separately and those are good

[@moonlapsepiano]

Thanks My Dude!! I really appreciate that 💜 I love the unused DS3 ost, especially Crimson Bat. It is definitely a shame these didn’t get used. I haven’t heard Halleck in a while though, thanks for the rec!

[@mydude_]

@@moonlapsepiano oh definitely crimson bat ost is really good as well so is the area theme of lothric castle and for the dark soul ect. All these unused ost are amazing fr but halleck's theme just hits diffrently, it has so much emotion in it idk how to explain it 😆 Yw for the rec :)) Its a shame that these unused osts Dont have any sheets or covers, it's like they are forgotten :/ Annywayyyyy keep making these arrangements please, we love them ^^

[@moonlapsepiano]

@@mydude_ Yeah damn that Halleck track is so incredible. I wouldn’t rule out covering a unused ost, but the thing is that almost nobody would know what it is hahah… but it could happen!

[@mydude_]

@@moonlapsepiano I know sadly that is a thing.... It really does suck tho hence the ost is so incredible. Oh well... I hope that one day someone makes an arrangment for it. When that happens i will definetly learn it on my piano :))