VOH — Made in Abyss OST (Piano Cover) / Kevin Penkin скачать в хорошем качестве

VOH — Made in Abyss OST (Piano Cover) / Kevin Penkin

VOH continues to blow me away every time I listen to it. I have the utmost respect for Kevin Penkin's work, and that is why I was a little bit nervous to tackle this soundtrack — in part also because of how despite its sublime beauty I seriously fail to wrap my head around it. Nevertheless, I was so moved by VOH that I felt compelled to transcribe it for the piano (something no one else has been crazy enough to do, it seems; and understandably so!). Usually I take some creative liberties with the music, but here I adhered strictly to the structure of the original song because to do otherwise would be to undermine its genius. I hope you enjoy this arrangement. As usual, please feel free to contact me for the sheet music. Before I start work on arrangements I typically do a bit of "market research" on what other people have done with the music, but with VOH I was completely on my own, which was a bit daunting. I did study Busoni's transcription of the Bach Chaconne but honestly I don't know if it helped or even made a difference (other than the figuration from 5:52 onwards I guess). Two of the main difficulties I faced were i) capturing the haziness and even delirium of the original soundtrack (basically the vibe evoked by Tsukushi's art), and ii) adequately capturing the sense of scale. Regarding the haziness, here I let the pedal do a bit more work than I was used to. For example, when the melody comes in at 0:27 the pedal is held down all the way to 0:53, giving rise to a lot of overlapping harmonies and dissonances (especially when the minor 2nds and 9ths come out somehow). I thought this was a nice effect. Also, in the coda (starting at 6:27) I let the chromatic notes overlap with each other because why not. On sense of scale, unlike my previous arrangements I tried to keep a clear focus on the overall narrative. I focused on ensuring that the entire piece was essentially a long buildup to the massive climax that arrives at 5:44; when the majesty of the incomprehensible Abyss and its beautiful brutality finally reveals itself. I did a few things in service of this effect. For example, I paid more attention to the bassline, as it is upon which the music is built. For a very large part of the music, the bassline is largely static, moving very slowly. Stability still exists here. But when the foundation starts moving (at 5:09) — when the scary creatures at the bottom of the Abyss wake up — order begins to break. And when the creatures finally come alive in full force (5:44), chaos ensues at scale; finally the once sluggish bassline breaks into a full sprint. To capture the immense scale of the original soundtrack I ended up using lots of octaves and big octave jumps; this was quite annoying to play. In trying to prevent any false climaxes I tried to stay disciplined in how I used register, working with the lower part of the keyboard and avoiding pummeling high notes in general (this is a happy coincidence, considering the premise of Made in Abyss). When high notes come they are largely mentioned in passing. In general I stayed faithful to the important musical cues of the original soundtrack (melodies, countermelodies, and basslines, for instance), but for the life of me I could not figure out what the synthesiser was doing in the middle so I wrote my own transition section at 4:37. Unrelatedly, I think the contrapuntal writing 5:24 is quite successful, so I'm quite happy with that. I've written too much today. If you're still here, thank you for reading! See you soon. Original song: VOH Composer: Kevin Penkin Email: sealpiano07@gmail.com #VOH #madeinabyss #piano