Main Theme | Fire Emblem Engage | Sheet Music, MIDI & More!
Oh yes, embrace the corny! Enjoy this orchestral cover of the main opening theme to the recent Fire Emblem Engage, complete with sheet music, MIDI, XML and more!
If you're after the sheet music, score, XML or MIDI for Main Theme from Fire Emblem: Engage, you can find links here!
This includes individual part scores for:
Full Score
Piccolo
2 Flutes
Oboe
2 Clarinets in Bb
Bassoon
4 Horns in F
2 Trumpets in Bb
2 Trombones
Bass Trombone
Tuba
Timpani
Drum Kit
Bass Drum
Suspended Cymbal
Clash Cymbals
Tam-tam
Snare Drum
Mark tree
Glockenspiel
Xylophone
Marimba
Piano
Harp
Lead Vocals (optional)
SATB Choir
Violin I
Violin II
Viola
Violoncello
Contrabass
If you are one of my Patrons, you can now find the MIDI, XML, SIB files, as well as stems and multitracks I created for this transcription now available to download from your Patreon Google Drive folders!
Arranger's Note:
"Bit of a hectic one, this, as I had to rewrite it throughout the week as more of the OST was being released - so bear with me!
The track opens with an ostinato spiralling around a B Dorian scale (B-C♯-D-E-F♯-G♯-A-B), with the characteristic raised 6th present (the G♯). However, a G♮ also appears briefly (0:10), placing some doubt on this tonality. This is further blurred as additional notes are added to this ostinato (0:18), initially appearing triadic in nature, but also incorporating 7ths & 2nd intervals, further contributing to the uncertain tonality.
By 0:28, a high violin is added on a B, confirming some sort of tonal centre around the note B (but not offering us any detail as to the scale). This evidence comes moments later with the remaining string instruments being introduced and outlining B minor (B-D-F♯) and F♯ minor (F♯-A-C♯) triads, which suggests instead a B Aeolian mode (B-C♯-D-E-F♯-G-A-B).
With the entry of the orchestra (0:45), this is loosely confirmed with the presence of Gâ™®s prominently in the bass. And in typical Fire Emblem fashion, the bassline and resulting harmony are remarkably adventurous, leading to some surprisingly extreme clashes. The bassline progresses as follows:
G - B - E - C - A; seemingly quite simple.
All while a B minor triad is maintained in the instruments above, creating some crushing chords (e.g. with the C in the bass and a B minor triad above, we have C-B-D-F♯, creating not only the semitonal dissonance of the B-C, but also the devilishly unstable tritone interval of C-F♯). These extended harmonies have become a staple of Fire Emblem soundtracks, but the reason they do not sound so abrasive is due to their tertiary nature (E - C - A are all intervals of a 3rd - tertiary modulations - essentially just extending whatever triad chord is held above and re-colouring it).
This goes even further at 0:55 with the bass progressing a 3rd lower to F♮ while still maintaining that B minor triad above, creating an even greater dissonance (F♮-B-D-F♯). Yet, it is not particularly grating to the ear, largely because it is then resolved from a B minor triad to an F major 7th with the sharpened 4th added (F-A-B-C-E), which is a pretty standard resolution for such a dissonance.
By 1:00, we are thrust into the main theme. Funnily enough, we now divert from our tonal centre of B and instead progress to the dominant minor (F♯). They achieved such a progression by simply stepping up a semitone from the previous F major 7th chord (F-A-C-E). From here, we are harmonically very stable, following a common "i - VI - VII - v" progression ("F♯m - D - E - C♯m") with some added notes for extra spice (e.g. D major 7th = D-F♯-A-C♯). However, the teasing of Dorian returns at 1:10 with a surprise shift into B major (containing that sharpened 6th, which here is D♯).
This is repeated with some small developments at 1:11 where we then transition into D via a tertiary 3rd (B to D; 1:22). Here begins the bridge before the chorus. Surprisingly, we have a loose tertiary modulation here from F♯ minor to D minor (D-F-A; 1:32), which is unexpected, but remains functional due to its tertiary nature (e.g. the F♯ falls to F♮, the C♯ rises to D, thus maintaining smooth voice leading).
Tertiary modulations appear in abundance for the rest of the bridge (Eâ™ - C - Aâ™, followed by G to B) explaining how these pretty extreme progressions can sound so smooth. This leads us to the chorus / climax in E minor (E-G-B).
And I'm out of characters, so ... uh ... and they all lived happily ever after. The end."
