The Wildlands | Octopath Traveler II | Sheet Music, MIDI & More!
A special arrangement today; a double-whammy of The Wildlands (Day & Night) from Octopath Traveler II, with guest singer Nemo Fairlight.
Check out Nemo's other work! ➤ https://www.youtube.com/@nemofairlight
If you're after the sheet music, score, XML or MIDI for The Wildlands (Day) // The Wildlands (Night) from Octopath Traveler 2, you can find links here!
This includes individual part scores for:
Full Score
3 Flutes
2 Panpipes
Alto Recorder
Trumpet in Bb
Suspended Cymbal
Piano
3 Acoustic Guitars (or Bouzoukis)
Choir & Soloists
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:
It is an incredible feat how Nishiki can create ecstatic beauty from such minimal material.
Here, we open with a simple D minor arpeggio (D-F-A), with the piano continuing with similar arpeggios throughout the track. Accompanying this are occasional vocal "Huh's" and a vocal solo soaring on top.
Starting in D minor, we fall down a tone to C major (0:07), then follow a plagal cadence (chord IV to I; C major to G minor) into G minor (G-Bâ™-D) which then falls similarly down a tone into F major (F-A-C). This is very simple stuff, but Nishiki adds interest by staggering the placement of these chords. Instead of setting one chord per bar, he shifts to the 2nd chord half-way through a bar and then holds it (at a ratio of 1:3 rather than 2:2). This small structural decision creates so much more interest in the material.
Similar structural attention occurs throughout the entire track, with a quick shift to a 2/4 time signature at 0:13 as we shift down a further tone into Eâ™ major with an added 7th (Eâ™-G-Bâ™-D). As this continues, Nishiki teases the Dorian mode with a shift from G minor into C major (a major version of chord IV in a minor key is a characteristic trait of Dorian).
But we started in D minor! So how do we return to D minor from C major? Well, if you've read any of these past analyses, you'll know about the little trick of "tertiary modulations" (jumping to a chord a 3rd away), which is precisely what Nishiki does here going from C major to A major (a minor 3rd away) which leads us seamlessly back into D minor via a perfect cadence (chord V to I; A to Dm).
From here (0:25), the material repeats with additional sustained choir. But when this section ends (0:42), instead of using the tertiary modulation again, Nishiki simply jumps from C major to D minor. This is also very functional as an "interrupted cadence" (chord V to VI; C to Dm). From here (0:42), we get a brief circle of 5ths (Dm - Gm - C - F - Bâ™; note how they all fall down a 5th, or up a 4th).
This harmony continues for largely the rest of the track, with a short return to the opening harmonies at 1:29. And then we progress into the (Day) version of the track, which harmonically is nearly identical.
Instead, the difference here is an instrumental one; a guitar ostinato with panpipe melody introduce the material. Strings are then added (2:10), followed by the interesting (but successful) choice of solo trumpet (2:24), and later on a guitar / bouzouki playing with the tremolo technique (3:02) for that fast fluttering sound.
Finally, to tail off the medley, I added a short conclusive ending combining material from both (Night) and (Day) versions, with one final tease of the Dorian mode (Gm - C - Gm) during the final plagal cadence.
