Main Theme (Elden Ring) | Sheet Music, MIDI & More!
A full orchestral arrangement of the Main Theme or Main Menu Theme from Elden Ring, complete with licensed sheet music and individual part scores for orchestra.
Includes instrumental parts for:
2 Clarinets in Bb
Crash Cymbals / Piatti
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"We commence with remarkably sparse orchestration (0:03); a single bass drum strike signals the entry of a lone harp playing chords low in its register, creating a muddy, gritty texture. This harp oscillates between the tonic (here, A minor - A-C-E) and the subdominant (chord IV; here, D minor - D-F-A), before an armada of chromatic glissandi strings begin to swarm the space (0:16).
This leads to a brief disruption of the time signature (removing 2 beats out of the established 4-beat measures) as we are thrust into the main theme (0:22). This theme begins largely chordal, built nearly entirely on triads that then drop a tone to form a gospel chord (e.g. A-C-E turning into G-B-D with an A in the bass; A-G-B-D = a gospel chord) alongside a steady, heavy drum pattern.
This descends harmonically to the submediant (chord VI; here, F major) where the triad oscillation continues again (now F-A-C-E to F-G-B-D). Then we climb into G with a suspended 4-3 chord (G-C-D to G-B-D) with the 3rd already present, creating a harsh semitonal clash of the B+C which is quickly resolved. Finally, this drops to E minor (a tertiary modulation) to form a minor 7th chord (E-G-B-D).
This material is loosely repeated (0:34), now with added choir and woodwind flourishes. Here, however, the harmony develops slightly: at 0:41, rather than ascending to G, we fall from F into C major (a plagal cadence). This forms a gorgeous major 7th dissonance (C-E-G-B) that is but fleetingly visited as the bass jumps up to 1st inversion (E-G-C) to act as the dominant note of A minor (E) for a smooth return back to A.
When the material repeats again (0:47), we now have a proper melody on top; here, in the brass. Accompanying this is a tasty string ostinato that is doubled in the winds to create a fleeting flurry of notes. There is little development here, aside from a loose hemiola appearing at 0:58 (where the compound pulse of 123-123 briefly returns to a straight pulse of 12-12-12, or vice versa).
With the next repeat (1:00), I added a countermelody in the horns, alongside other developments such as expanded woodwinds which were otherwise absent. For the final statement (1:13), the string ostinato returns, and the piccolo joins the fray, while the harmony slowly ascends up a scale (loosely) for dramatic effect.
Finally, the orchestra drops out, leaving the choir exposed for their moment of glory (1:25). From the original, I suspect they speak gibberish Latin ("Ah" & "Cre"), but I'd suggest singing something a bit more relevant (perhaps "El-den" or even the proper Latin; "Cre-do"). This leads to a final orchestral hit that slowly diminishes with the fading cellos and basses."