Da Yu Piano Score

[Malva Ferster]

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Hi everyone! My name is Masahiro Miyauchi, and I was a composer for Bayonetta Origins: Cereza and the Lost Demon. I mainly worked on the production of some level music and cutscene music, as well as many of the jingles you hear in the game.

But before we get into that, the release of the Bayonetta Origins: Cereza and the Lost Demon official soundtrack is getting closer! The 6-disc set contains 150 songs in total! Read more about each song in the booklet provided and immerse yourself in the music of Bayonetta Origins: Cereza and the Lost Demon!

As previously introduced in the Bayonetta Origins: The Concept behind the Music dev blog entry, our concept for the music was centered around delivering the delicate acoustic sound of a small ensemble, placing emphasis on the material feeling of the instruments themselves.

In line with our direction for the music, we treated the piano as the concept instrument for the game, as the piano is (probably) the most familiar acoustic instrument out there. We also chose to have the jingles mainly use piano, as we actively incorporated the use of the instrument into the music. That way we would be able to create a sense of unity in the overall sound.

The piano, which has been used extensively in the mainline Bayonetta games, already had an established presence as one of the musical instruments in the series, and we decided to continue this trend.

The main visual concept for the game was that of a picture book, and picture books are something familiar and easy to relate to as they are for children. If you were to think of a musical instrument that has been familiar to you since childhood, the piano would surely be at the top of the list.

I already mentioned that we used the piano in the past Bayonetta series. However, Bayonetta Origins tells a story of a much younger Cereza. In addition, we placed emphasis on achieving a delicate and acoustic sound of a small ensemble and accentuating the ballet motif. While talking with lead composer Aoba Nakanishi, I sensed that although piano has been a common element in the series, this time it needed to fulfill its role with a different feel sound-wise compared to the previous Bayonetta games.

To express the characteristics of Bayonetta Origins and further deepen the expression of the piano instrument that has been used in the previous Bayonetta games, I first went back to the following basic piano elements and explored areas that we wanted to bring out further.

The Bayonetta series has always incorporated jazz-style music (i.e., stylish chords, moody atmosphere, etc.) as one of its main musical characteristics. I thought that a sophisticated and somewhat chill sound, such as that found in the recent jazz scene, including neo-soul and modern jazz, would help express the slightly more fantasy-oriented atmosphere of Bayonetta Origins. I was secretly planning to expand on the creative expression of the music by incorporating the essence and techniques of the music itself wherever and whenever possible. Ultimately, my experiment demonstrated that jingles were the solution!

Since the jingles play instantaneously at specific moments in the game, I placed the importance on the scenes created by the way the sound resonated. So, without further ado, I would like to introduce the various jingles that appear in Bayonetta Origins. Oh! Along with piano sheet music made specially for this blog, of course!

If you have the means to play these, then I urge you to give it a go using the sheet music! We have a variety of pieces ranging from easy-to-play to some challenging ones and I consciously composed the pieces with an acoustic feel to allow people to play these with physical instruments.

This is a simple battle victory performance jingle. This jingle was assembled from the last fine-grained part of the jingle to make it sound connected to the regular battle victory jingle. To make the jingle sound more refreshing, I included instances of the musical interval called the fourth for a dignified sound.

This is a jingle for opening a treasure chest that can be obtained after defeating certain enemies. I wanted to give this jingle a twinkly feel, so I deepened the harmony by adding a few extra notes to each of the chords. These extra notes are called tension. The harmony hinges on the lowest note, and it also proceeds in a different way from the general chord progression, giving it that unique magical touch.

This jingle plays when you discover sanctuaries in various parts of the forest. The visual expression is as if a torch were being lit, so we created the jingle to give a sense of momentary accomplishment and afterglow.

I knew how to do this in the earlier versions of Musescore, but on Musescore 4, can someone please tell me how to make a particular section of a piano piece have 3 or 4 staves? I'm trying to create a passage like Rachmaninoff created in the attached photo.

To add staves to an existing instrument, use the Instruments panel in the left sidebar. Click the "expand" button on the instrument to show its staves, then the "Add staff" button. After adding the notes you want, right-click the staff and use staff/part properties to set "Hide when empty" to "Always" (same as previous versions).

In my 35+ years of writing music for piano, I've composed and arranged over 200 works for solo piano, most of them original. A fan who read my advice for pianists article asked if I'd write a similar article for beginning composers. So, I've put together these 12 tips for anyone who would like to compose music for the piano.

You don't have to come to the piano with an entire musical idea already in your head before you start composing. Just start with one simple melodic phrase. That melody will be the centerpiece for everything else in your composition. It's the foundation and the focal point of your piece. As you begin to compose, improvise on that melody and see where it naturally wants to take you. The musical place it leads you to is usually your 'hook', or what I'll refer to in this article as your chorus. Think of your chorus as your melodic destination.

As you develop your overall melody, think about the emotion or image you want your composition to convey. What is the message? Is it love? Faith? Winter? Water? Whatever your message is, keep it in the forefront of your mind as you compose. Doing so will influence the direction the composition takes. I find it helps to give the composition a name early in its development. Then the composition title becomes the 'goal' you're working toward, in a manner of speaking.

It is sometimes tempting to write a long introduction (something I'm guilty of) to 'set the mood' for your composition. Be careful with this. Remember, the melody is (typically) what makes or breaks your piece. It is also the device that holds the various elements of your composition together. Finally and most importantly, the melodic hook is what your listener will remember. So, get to the melodic point quickly, and don't linger too long on your introduction. People don't generally hum introductions to themselves - they hum melodies.

Some compositions are just 'mood' pieces. I have a few of these, which don't really have a melody so much as cool, ambient sense about them. There's nothing wrong with writing mood pieces, but be warned, you can only carry a 'mood' for so long before the listeners ear tires. Keep your mood pieces relatively short. Under 3 minutes is a good, general rule.

It's not uncommon to find that while you're developing a composition, you find yourself taken into an entirely new musical direction. The question to ask yourself is, does this 'new direction' belong with your original melody? Or, have you accidentally stumbled upon a new, second melody better suited for an entirely new work? A great number of my pieces originated as spin-offs of other compositions. So if you have a great melody and it takes you to a second great melody, consider whether you're might really be working on two different pieces and whether you need to split them apart so they can 'play' in their own separate worlds.

Once you have firmly established your melodic phrase and chorus, don't pound them into the ground. You might play your melody twice the same exact way, but by the third time you ought to be embellishing it so that even though it's the same melody, it sounds different. That might mean playing it in a different octave, adding more bass, more flair, or a slightly different rhythm. However you do it, enhance the melody throughout the piece. Don't let it grow stale or your beautiful melody will begin to grate on your listeners' ear.

Remember, you're telling a story with your music, so arrange your piece in such a way that it keeps moving in a particular direction. When you read a storybook to your kids before bedtime, you don't read page one, read page two, then go back to page one again, and then read page two, read page two, and read page two once more. Your kids would get really bored! With each new page, the story needs to advance toward the happy ending, in proper order. Do the same thing with your music. Every 'page' of your composition should develop your storyline a bit more, building to a gratifying conclusion.

Don't fret too much about making mistakes as you develop your work. Mistakes can lead to some very cool sounding chords. More than once I've played the wrong notes and then thought, "Hey, what a switch, that sounds cool!" Your "mistake" might end up being the very twist you need to add spice to your tune to catch the listener's ear. When I first start composing a piece, I make a LOT of mistakes. It's just part of the process. Music composition is like pottery. You start out with a dirty blob (an idea) and you mold it into something. The process isn't always pretty, but In the end, with persistence and skill, you may end up with something beautiful.

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