Відео

When Diancie fights against Yveltal in his movie, this sound would fit him

Wait.. THAT'S WHERE IT'S FROM??

Love this song in game and you do it such justice. We need the warmth of the city next!

The part starting from 0:20 is lovely !

hey there, have you finished the arrangement yet? this sounds beautiful

stand proud you have cooked

UB-???: pr1m4! 4rc3u5. its unknown what this thing even is but as far as everyone knows astreus gave some power to a random arceus... most arceus's are referred to as fragments or on of thousands of hands and arms... this is possibly the completed state. the TRUE being of reality. implications are... unneeded to think about given previously fighting UB-666: leviathan but one things for sure. you need to get a handle on this before astreus notices because... well hes likely already watching... beat this test of skill for the real thing but dont expect it to go without a fight. or if he isnt watching then its best to avoid doing so if unnessacary. either way. you have to beat this thing NOW hero.

UB-666: Leviathan, primal giratina. angel winged failure of astreus, UB-777: god. now reclaiming some of its banished power like that mew3 fragm- missingno. almost back to abyssal glory and biblicly accurate status. hurry before its too late hero.

I love how it resembles Greensleeves Henry VIII sung this song mourning his first love. Volcanion was created by AZ, mourning the loss of his Floette.

I want to be like you, compose beautiful things..., do you have a patreon to support you?

I wish for

Thank you for sharing, this and flooded commercial sector are best ost from Stellar Blade to me. Wanderer is like a Jazz song for the cozy night ❤

Pretty beautiful piece of art. ✨

0:57 1:18

Have you arranged the sheet music yet?

I remember when this theme was released around X&Y the good ol days I swear

Migthy theme 🙏

How in the world am I only finding this 10 years later??? This is so good!!!

This autoplayed while I was doing something and I literally thought it was a real song from a game, why these fan composers be going so hard with their songs?? 🤎

Hoopa be like : I CAN SUMMON ANYTHING !

Song name? artist name? I wanna stream it on soundcloud apple music or Spotify

Excuse me can i ask ya a question

This theme is still good in 2024 i used to like it when i was younger because of pokemon brick bronze but now im older i appreciate it for what it is great theme

Fits more of a another female antagonist

The best context for this battle : I'm firstly say to do this battle against themself and we play the rival at the end but i'm not satisfied that why I found a better idea. We fight the last Champion of the franchise, after this that the end of main pokemon game; we unlock this battle after finish the game at 99%. The champion is, of course,ASH KETCHUM ! The battle his hard, your team loose every time; you can't take it anymore, you're about to give up, when suddenly at 1:29 the fight stops and you see a cinematic of sacha standing, eyes closed, evolving from one generation to the next, and in the background we see 1 mil second of every single thing that made pokemon famous (creepypasta, games, characters, meme, banned episode, etc.). Sasha gradually gets closer and opens his eyes and all his versions do the same, and the fight goes on; and then you say to yourself that you can't stop there after all the nostalgia this franchise has given you, all the good times you've had watching every episode and playing every game, and you become more determined than ever to finish the fight so as to be at peace with the universe that cradled your childhood.

Hold up are those foxes fakemon?

Amazing song, amazing transcriber, beautiful video, detailed and interesting theory breakdown. What more could we want. Thanks for your hard work and talent Ludwig! 💜 I agree this Stellar Blade mini-ost is one of the best I've heard EVER. I really should play the game soon haha. This song in particular really stands out to me so I'm really glad you decided to cover it. I will be learning it on my piano!

Didn’t expect an upload from you today! And wow. I love this piano arrangement a lot! Truly some amazing stuff. And the effects alone make it much more enjoyable!

Music Theory Analysis: So, I have two things to say before I begin my analysis: Stellar Blade has one of the best OSTs that I’ve heard in a while from a video game, and why is Mothervibes so cold haha. This is easily one of the most beautiful pieces of music that I’ve ever heard, and it lends itself very well to the piano. It almost sounds like improvised jazz in a way, which is very cool. I’d like to also add that there are quite a bit of different instruments playing in this piece: piano, vocals, bass, guitar, synths, etc., and it was a bit difficult to transcribe for solo piano. I feel like I was able to strike a good balance and maintain as much of the original material without having it sound incoherent on the piano, though haha. I’m also trying to improve the format of my analyses as much as possible, so I’ll be taking a bit of notes from Moonlapse lol 0:01 The piece begins in the key of D Major with a soft arpeggio descending the keyboard, which outlines a DM9 chord. This will essentially set the tone for the rest of the piece, which is also mostly calming/soothing. From here on out, I will be analyzing the piece in 4-bar phrases. If I switch up, I’ll be stating so beforehand. 0:06 GM9 - Gm6 - DM9 - Ab7#11 The very first phrase of the piece begins on the IV and then goes to the minor iv. The iv resolves to the tonic, which is a rather popular chord progression several different genres, which include pop, jazz and even classical music, use often. This is because the progression setups for rather perfect voice leading, and still maintains the strong plagal cadence. What’s a bit unusual, though (from my knowledge at least) is the move from the I to a major chord built on the b5. This gives us a really nice Locrian sound, and works perfectly given that in the next phrase, that Ab7#11 chord resolves back to the IV. In this way, that Ab7#11 chord also acts as a bII to the GM9 chord. Additionally, this kind of temporarily tonicizes the G because of the strong movement of the bII to the I. However, this doesn’t last very long. 0:18 GM9 - Gm6 - DM9 - C9 This phrase begins exactly how the previous one does, but there’s a bit of a difference. Instead of ending the phrase on Ab7#11, Mothervibes abandons the Locrian sound and instead directs us to G melodic minor by injecting a C9 chord into the last bar. This again creates strong movement to the next chord, which is GM9#11, because it would be an IV - I in the key of G Major. In addition to this, the idea of temporarily tonicizing G is further emphasized using the G melodic minor scale. 0:30 GM9#11 - F# b9b13/A# - Bm9 - Eadd# 4(13) [On beat three, the chord is over G# and then beat four it is over B]. These four bars are interesting. We begin on GM9#11, which is expected since that’s where we’ve been starting our phrases, but then we go from GM9#11 to F# b9b13/A#, which is this extremely colorful dominant b9 chord, which sets up a modulation to the key of B minor. The phrase then ends on another extremely colorful chord, Eadd# 4(13), which is our new IV and ends up going through all its inversions. I also want to note the A in the highest voice at this point, which to me is an accented passing tone. 0:41 F# m7b6/E - F# b9b13/A# - Bm9 / F# 13(no b7) [F# chord is on the last beat of this bar] - E9 So, this bar was a bit of a challenge to analyze. I do think that the F# m chord could be analyzed as something else, but to make a case as for why I analyzed this chord as such: going from E to F# makes sense because it’s an IV to V movement, although in this case the dominant is minor. I do, however, believe that minor dominant chords are common in this type of music, and to substantiate it a bit more, there is a chromatic alteration in the next bar turning this v into the same F# b9b13/A# chord from before. It creates a far more colorful sound and still makes sense on the technical side of things. Another slight issue is that analyzing it as F# 13(no b7) is kind of nonsensical because I believe extended chords require the 7th has to be present in the chord to be considered such. So, I think another possible way to look at that chord (if what I said is the case... I forget lol) is as F# add2(6). Another challenge of analyzing this bar was beat four of the third bar because there is a G# and D# over F#, which then resolves to an E9. I’m not sure whether to analyze this as part of the B minor chord and break it down to a chromatic modulation to the key of E Major because in the next two bars, we do *sort* of go there… orrrr another possibility would be looking at this as a sort of chord retrogression (something that I’ve mentioned in my previous theory analyses) and look at it as a V - IV movement, which isn’t all too strange. There may be more possibilities because I’m probably forgetting one key thing to really nail it down, but these are the two that I’ve come up with and I’ve decided to analyze it as the latter. I’d be interested in hearing everyone else’s thoughts! 0:54 E11 - A7 - DM9 - DM9 At this point, we have another modulation, but back to our initial key, D Major, by using E as the common chord (although in this case it’s major, not minor), and A as our pivot. Nothing too special in this bar, but we do get a nice accented non-chord tone on the A7 chord before it resolves to the E. 1:06 GM11 - Gm9/Bb - DM9 - DM9 Back in the key of D Major, the piece continues its fantastic use of the IV. This is very similar to what we’ve seen previously in the beginning of the piece, however the iv is no longer in root position, but this time appears in first inversion. 1:17 GM11 - Gm6(9)/Bb [last beat of this bar the chord appears over E] - DM9 - C13 We’ve seen this one before, but there is a slight difference! This is a repeat of the chord progression found at 0:18. This time, however, on the second bar of this phrase, the G minor chord appears over E. This sort of changes the quality of the sound and makes it sound more like a diminished ii chord instead of iv. In addition to this, we get even more of that melodic minor sound because of the inclusion of F, which is the b7 in the key of G minor. Another change to the chord progression is instead of C9, we get C13, which adds even more color than originally was. 1:29 The IV - iv - I - I progression is continued from this point up until 1:54. This is an absolutely stunning section and is probably the part that sounds the most improvised. Lots of jumping around the keyboard, tight m2 harmonies, and gorgeous melodic work. Analysis continued in second comment...

This sounds perfect for a villainous champion, and at specific parts it sounds like you're realizing you have to win this, not just for Championhood, but the entire region/world, everyone would lose everything you have to win this, you have to end their reign once and for all.

That the best Champion theme I hear especially the sing part. 1:29 best part

Information: Defeat the Celestial Light and Save the Pokémon World!

Information: Defeat the Primal Darkness!

"I wish for"

Beautiful work Ludwig!!! I am so happy you covered this one, it's such a gorgeous track and I was very curious about some of those interesting harmonies I was hearing while listening. Can't wait to play this on my piano. It will be exciting if you do more! (I really need to play the game lol but I've listened to the Mini OST on Spotify like 1000x now). And nice theory analysis 💜

I love the dynamics of the piano. It sounds great! I should definitely take a listen to the original. Congratulations on your arrangement. Without having heard the original piece, I can definitely say that it very well stands on its own!

Omg ur back ❤

Theory Analysis: So, this piece actually isn't too complex. The entire piece is filled with harmonies that are quite common in music that most of us are used to. In the key of Bb minor, it mostly consists of bVI - bVII - i chord progressions or some variation of it, and Oliver Good DOES add variations to this. But what makes this piece unique is that Oliver has dressed these harmonies heavily in a variety of non-chord tones and extensions that creates a seriously beautiful soundscape for us to enjoy, and this lends itself very nicely to the piano. When stripped of the percussive elements, synths, and big bass, it almost sounds like a solo jazz piano piece. 0:01 The piece opens on a low Bb, the tonic of our key. In the original track, it actually is a bunch of sound design, but we have to improvise here haha. To do this, all I've really down is taken that Bb and have it span several octaves to fill out what would have been the synth. Our first actual harmony appears at 0:05, and is this super lush Bbm9 chord that lasts up until 0:14, and ends on a high F. This will conclude a very short introduction to the piece. 0:16 This part is interesting. Here we have the same Bbm9 harmony from the intro, but this time it is being broken up and alternating between different notes in the harmony... I guess this is the best way that I can explain what is happening. At 0:19, the harmony does finally begin to change, and we get is this gorgeous Gbmaj13#11. From 0:16 to 0:39, the piece goes between these two harmonies. Normally in theory, movements of a third are considered particularly weak and don't result in much progress. This motion is functionally there to prolong the tonic without necessarily using the tonic over and over again. It works perfectly fine here, and is even better due to the extensions! From 0:28 to 0:39, there are additions to this figure to build up to what is coming. Oliver introduces a guitar that arpeggiates specific notes from the harmony, and also introduces two violins playing a duet. 0:39 Enter the vocalist. From this point up until about 0:50, it's mostly the same harmony or at least some version of it. The piece is alternating between Bbm9 and Gbmaj13#11 up until 0:49 where we have Ab13 joining the mix. This is pretty much your standard i - bVI - bVII chord progression that you'll come across in a plethora of music. 0:50 to 1:02 is a bit of a change to the harmony, and we get a surprising-albeit very short-circles progression, which is a progression that is extremely common in Classical music, and maybe even some jazz. It essentially involves moving from one note a fifth away to another note a fifth away (for example, in the key of Bb minor going from Bb to Eb to Ab, and so on), which is why it's called the 'Circle of Fifths' or shortened to just 'circles'. The circles progression is cut short at the bVII chord, and resolves straight to the V chord. The harmony is as follows: Bbm9 - Ebm13 - Ab7 - Fsus4/C - F. 1:02 to 1:13 is actually a repeat of the previous segment, but there is a bit of a difference. The melody has a variation and instead of the Ab7 chord in the last bar of the second phrase (1:12), we get a really nice what I'd call Cbadd2#4, which is our bII. This is a simple case of modal mixture where the composer is borrowing from Bb Phrygian, and of course works very well because of the half-step movement between the Cb and Bb. I'd also like to note at the same point in the piece, there is a bit of a flourish that gets us up in octave in the pianos register. The reason for this is that the original has the duetting violins make a return, and to keep them in a similar octave as the original, I needed the main melody to be transposed up an octave. In addition to this, the left hand begins to pick up and play arpeggios that span several octaves. So in order to avoid clashing notes, I needed the melody to go up an octave. 1:13 Sees the return of our circles progression, which is cut short once again, but in a different way. He makes use of the i - iv - bVII again, but instead of ending on Ab7 (which is now Ab7add13) and moving to the dominant, he resolves to III; continuing the circles progression. A more in depth analysis of the chords: Bbm11 - Ebm7 - Ab7add13 - Db13. Ending this phrase on the III chord makes even more sense as we continue. 1:24 is the climax of the piece, and also brings back our bVI - bVII ~ progression. What's neat about the very first chord of this phrase, Gb9, is that it is a direct continuation of the circle progression from the previous phrase! It does end there, but it's a neat little transition to the climax of the piece. Continuing on, Oliver does something interesting here, and it's something that a lot of Japanese composers use. Instead of ending his bVI - bVII progression on the minor tonic, Oliver moves from bVII to I! An unexpected major chord, but absolutely welcomed addition. This second case of a little bit of modal mixture borrowing from Bb Ionian adds a really vibrant and bright tone to the piece, and makes it sound all the more triumphant sounding. After this I chord, he moves back to the bVI. 1:36 is virtually the same in spirit, but it is a variation of what came previously. Instead of opting to go back to the bVI chord, he instead gives us Ebm7 or iv7. Now, an interesting little tidbit... I'm 100% confident in asserting that this was NOT the intentions of the composer lol, but these little things I like to take a look at as well. If we analyze the previous 6-bars from the Ebm7 chord (1:30 - 1:36) as being in the key of Ebm instead of Bbm, it's almost as if Oliver is doing a sort of "chord retrogression"-which is just a fancy way of saying a chord progression that is moving in the reverse-and looking at it in this way gives the BbM chord a bit more of a functional purpose, as opposed to just merely being a fascinating color. A typical chord progression you'll likely come across is i - iv - V, and if you analyze this passage in the key of Ebm, that's exactly what you'd get. Staying in the key of Ebm, if you reverse this chord progression, you'd get V - iv - i, which is exactly what's happening in the piece. Again, this is the biggest of stretches and the farthest of reaches lmfao, but the BbM chord beings to make even more sense as the V/iv in the original key (Bbm), and strictly as the V in the key of Ebm. I want to stress again... I'm 100% positive that not what the intentions were of the composer, but noticing things like that is interesting, and makes for REALLY cool effect when you employ similar things in your own music. Try writing your chord progressions backwards and see what you get! But anyways haha, the rest of the chords for this phrase (1:36 - 1:47) are as follows: Ebm7 - Fm - Fmb6 (b6 comes on the bar after the Fm) - Gb9 - Ab - Bbm9. 1:47 The climax is great and all, but this next part has to be my absolute favorite part of the piece. The textures begin to thin out, and along with a soothing piano, sparse vocals are also introduced. In terms of the harmony, it is again a bit more of what we've already heard, but again, with a completely different sound. I'll be analyzing it 8-bars at a time. 1:47 - 1:58 is as follows: GbM7 - Ab - Bbm9 - Ab13. This is a simple, but effective variation on the chord progressions that have come before, and again, with the soothing piano makes it super smooth to listen to. 1:58 - 2:09 is as follows: GbM7 - Ab - Bbm9 - Ebm9 - Fmb9. At first, I hesitated to analyze the Gb in the melody as actually apart of the harmony and not a passing non-chord tone. But to me, it's essential to its silky, smooth sound. So, I called it Fmb9 and not simply Fm lol. This is also a variation on the previous 8-bars, which it achieves by replacing the Ab13 with the Ebm9 and Fmb9. This not only keeps the piece interesting, but also cleanly gets us back to the next chord, Gb9. 2:09 - 2:21 is as follows: Gb9 - Ab - Bbm11 - Bbm11 - Ab. I know I sound like a broken record, but this again is a variation on the previous progression; replacing the Ebm9 - Fmb9 with a prolonged Bbm11 - Ab, and this makes sense when we move onto what the Ab resolves to. 2:21 - 2:32 is as follows: Ebm11 - Ab - GbM7#11 - Ab - Bbm9. I'll stop repeating myself haha, but this is another variation on the previous progressions. 2:32 - 2:43 The soothing section concludes with a sort of... "codetta"??? A very short ending to what I'd call the end of the piece because after this short section, the piece repeats with some variations and additions that I'll go over shortly. The harmony is as follows: Bbm9/C - Gb13/Db - Bbm11 - Gb. This section is actually a variation on the harmony from the beginning of the piece, but in different inversions! 2:43 - 4:02 is a repeat of 0:28 - 1:47, but Oliver adds some variations to a few things. These variations are mostly melodic, though. So, I'm not going to go through and analyze the repeat. However, after 4:02 is some new material. 3:40 - 4:02 is a repeat of 1:24 to 1:47. At 4:22, it is again a repeat of the climax, but the original melody is omitted, and replaced with a different melody... a sort of echo to previous melodic material found in the piece. Also, the vocalist (in the original piece) hits a REALLY nice high Bb leading into the repeat of the climax. In my arrangement, I also add a bit of variation not only leading into the climax, but also some small embellishments to add to the intensity. 4:25 to the end is the beginning of the piece (0:16 - 0:22), but the second bar of each harmony stops abruptly. This occurs for 4-bars, and then it plays the entire thing as written from the beginning of the piece until the end of the piece with very little changes. There is an occasional Ab in the bass that leads to the Bb, but nothing more. That concludes the piece!

Me omw to soft reset for hours for a shiny Diancie in Brick Bronze

最高。ああ、もっと早くこの曲と出会いたかった

This is literally the piano on fire meme I love this

Iteła region legenderies be like

The evil legendery that lives at the klauris region be like

This is awesome! Klauris region rival Dennis be like

Klauris region elite 4 be like

Klaurisian gym leaders be like

Japanic region champion be like Also this is amazing!

Incredibly fitting to make it sound like church organ music, considering that you're fighting Pokemon's equivalent to Satan, it's like a rallying cry for all of God's followers, or Arceus in this case.

とても懐かしくて素晴らしい音楽。 Translate: Very nostalgic and wonderful music.

What happened to your original gym leader them from about 12 years ago? The one you did as a colab with ssjsonic21? I can't find it.