• Jonathan Shaw

Halyconia: Home of the Spring Breeze | Bravely Default 2 | Sheet Music

Te calming opening village / city theme from Bravely Default 2, now with fully transcribed sheet music and full cover / recreation to test its accuracy.

If you're after the sheet music, score, XML or MIDI for Halcyonia Home of the Spring Breeze from Bravely Default II, you can find links here!

This includes individual part scores for:

  • Full Score

  • Soprano Recorder I

  • Soprano Recorder II

  • Mark tree

  • Shaker

  • Tambourine

  • Harp

  • Acoustic Guitar i

  • Acoustic Guitar II

  • Upright Bass

  • Accordion

  • Violin I

  • Violin II

  • Viola

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:

"Halcyonia, the first major city on our adventure.


We begin in the simplest of tonalities - C major - with an adorable little recorder melody accompanied by soft, happy stringed instruments and accordion sustain. Harmonically, we have a gradual downward descent, moving from C into B♭ (0:05), yet the recorder melody retains its C tonality. As a result, the track presents a Lydian sound due to the sharpened 4th interval that occurs when combining B♭ (B♭-D-F) with C (C-E-G); the B♭ against the E.


We step downward once more, with the bass sliding onto an A (0:08) to spell out an F major tonality in 1st inversion (A-C-F). Still, our recorder stands strong in its C major melody, creating added-note chords such as major 7ths (F-A-C-E) and 9ths (F-A-C-G).


To complete the opening phrase, the bass descends downward once more with a smooth chromatic tertiary progression from F into A♭ (A♭-C-E♭; 0:10). Now the recorder has no chance of remaining in C major without causing extreme dissonance. Thus, the recorder adjusts itself into A♭ through the presence of an E♭. But cheekily, it's final note returns to the sharper E-natural (atop a B♭ chord) to once more suggest a Lydian modality.


As the main section of the track begins (0:12), the melody swaps to an acoustic guitar, softly accompanied by another guitar, harp and some steady percussion. Harmonically, we have a very simple progression: C - G - Am, then Am - Em - F, then F - C - Dm - Am, and finally B♭ - Csus4 - C. Very familiar chords and nothing extreme (appropriate for a soft spring breeze). The melody continues outlining the Lydian sharpened 4ths (0:21), as well as 4-3 suspensions (0:16, 0:21 & 0:31), all of which resolve as expected down to the 3rd.


At 0:33, we get a partial of this phrase in the subdominant (F), but now with the recorder returning in the melodic role alongside some additional stringed accompaniment. The harmony also develops: F - C - Dm, then Dm - Am - B♭, then F - E♭ (getting quite extreme), followed by a partial Neapolitan shift (♭iib - V; E♭ - A) into A major with a short dominant pedal to prepare us for the next section.


We would expect this dominant chord to return to the tonic (V - I; A - D), but our expectations are diverted by an interrupted cadence (V - VI; A - B♭; 0:55), also with the sharpened Lydian 4th (E) for some extra brightness.


Now two recorders become present, as the harmony slips down again to A, but in its minor variation (0:57). From here, we begin a circle of 5ths progression (a favourite of Revo's neo-classical style) as we spiral from Am - D - Gm - C - F, and ending with a tertiary shift back to A major to allow a return to B♭ with another interrupted cadence (1:05).


The section concludes in F major (F-A-C; 1:13), so what can we do to return to the opening tonality of C? Simple, just jump up a tone (from F to G) and we instantly have our dominant chord of C (V = G). From there, a quick perfect cadence (V - I; G to C) and we're home, safe and sound. Sprinkle in a repeat of the opening material with some extra recorder call and response, and we're done. Boom, one city track ready to go.


Revo Drinking Game: Take a swig every time you hear wind chimes."

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© 2020 Jonathan Shaw