How to arrange in “classical style”

Today, I’ll present you my most unusual transcription I’ve ever made: The Opening of Mirai Nikki transcribed in classical-style.

This transcription is in several points of view special, because

-a third of the entire transcription is completely “original material”, to give the transcription a more “complete” and classical-like feeling.

-it is reasonably difficult, technical skills is a must to play this

-is the longest transcription I’ve ever written, (8 pages long)

-I’ve made over 150 edits in the last few days, until I was 100% satisfied with the transcription, so this transcription took the longest time for me to finish

-= Download the sheet and midi mere =-

[Kuusou Mesorogiwi pdf + midi]      (difficulty: insane)

Warning, the following section, is an incredibly long musical analysis of my transcription, which will bore 99% of you readers, but there is a small chance that some people might actually find it interesting. Oh, and some basic musical knowledge wouldn’t be bad, either.

So, if you have already listened to my transcription, you would probably ask yourself, “what the…? Why are you adding so much original stuff at the beginning?”

Well, I actually wanted to experiment a little bit with my transcribing technique, so I decided to try something new and adding a “original segment” at the beginning of the transcription instead at the end.

I will explain now how the “original segment”, was developed in the past few days, which is over 26 bars long.

Lets have a look at the first theme the Opening introduces to us:

The beginning of the OP sounds like a choral to me (or in layman’s terms: it’s sung by a choir) and I really liked the grandiose sound. (I’m a fan of vocal works)

Pity it’s only four bars long, before the guitar riffs suddenly kicks in and interrupting this small introduction.

So I decided to expand the first theme by writing a baroque-esque prelude.

Of course I am not just adding stuff randomly, instead, I use a lot of musical material which are already provided in the first theme.

For example, the first part of my “original segment” begins right after the first theme:

  1. bar 5-6, right after the first theme

It’s basically a variation of the first theme: notice the same harmoniy in the left hand.

The variation is a more speed up version of the first theme, with fast sixteenth-notes on the right hand. This is also a foreshadowing to the later themes (see 2.)

It contains the same notes, it even has a similar rhythm

Additionally, I introduced a new motif, a kind of “downward movement”, it was at first introduced in the first theme:

then it makes appearances in bar 6-7 in the right hand:

followed by the left hand in bar 8:

and then again in the right hand in bar 9 -14

I recently play a lot of Bach, and I noticed he uses a lot of circle progression in his piano works. So I just used the same method to develop the music. To be precisely, I’ve used the circle progression three times. One at the beginning (in quarter notes)…

…one in the middle part (only the left hand is shown to save space)

…and finally one in the latter part:

Before the barock-esque part leads the wild octaves, I want to add a a proper finale of the first theme, so I took the melody which appears at the end of the first theme:

… and made a fugato with this small motif. In order to achieve a monumental feeling, I’ve added a lot of octaves and huge chords in the right hand, which almost covers the entire upper half of the keyboard.

The bridge before the fierce octaves kicks in is also made from a small motif at the beginning of the first theme

Last but not least, I’ve added a Liszt parody in the transcription: Those freaking insane octaves in bar 24-28 are almost the same as the beginning of Liszt Piano concerto No.1. To give the “original segment” a proper end, (the equivalent to the sudden guitar riffs in the original opening), I decided to end it with a bang, and what could possibly fit better than a virtuosic Liszt piano concerto introduction? And coincidentally, the liszt piano concerto is in the same key, as the OP itself (it’s actually in E-flat major but it still fits)

The original piano score in Liszt piano concerto no.1
The slightly modified Parody in the transcription

Well, that’s all I have to say for now. Maybe there are more hidden motifs I’ve forgot to show you, but I think you readers are already tired of this, so I guess I’ll just stop now.

By the way, I’ve been using these “hidden motifs” from time to time in my older transcriptions too.

I thought you might be interested.

23 thoughts on “How to arrange in “classical style”

  1. I am starting to see the possibility for me to transcribe. I recognized a certain Beethoven motif in this piece at about 1:04 the scale downward is very similar to a few cadenzas I’ve heard. I played one in particular in the first movement of”Pathetique”. I suppose that my playing ability needs to increase a little bit to where I can play all of your transcriptions not just some. I think that starting simple is my best bet and so I will probably start with a simple piece and transcribe it with my touch.

    • i feel your pain. i have always wanted to play one of animnez’s songs but the chords were just to big and it wouldnt sound right if i changed them a bit

  2. I think you gave a lil bit shock in the end. I expect more than that. but well this sounds good. I hear a lil bit bumble bee there and especially I love those triplet octaves. Keep it up. good idea! ^^

  3. If you take a look at Kyle Landry he adds his own rudiments to the piece which really sounds good I’m just putting it out there because I want to know how would you change the piece like Kyle did, and maybe what he’s doing.
    Take a look at no game no life arrangement of Kyle Landry and yes, that was his own intro that he added himself


  4. Hi, im a grade 6 classical guitarist and just recently bought a piano. Im an absolute beginner in piano and i do know how to sight read pretty well. Any suggestion on which song to start first? from your arrangement .

  5. Pingback: Frequently Asked Questions (FAQ) | Animenz Piano sheets

  6. Pingback: FAQ | Animenz Piano sheets

  7. Just wow… Before reading this i actually thought this beginning part was in the original song (i thought it was just cut out from the tv-sized op). The beginning is my favourite part of the song, you know. My respect for you, Animenz!

  8. wow, i cant say anything than wow, maybe i am too young for wanting to transcribe an anime song hehe…. practicing your song was hard animenz but still its worthed 🙂

  9. I’m surprised you’ve put that much thoughts in your work although I was aware that you’re a professional musician (student). I’ve been playing the piano for 13 years (with teacher) and since last year I’ve listened all your transcriptions. Learning your pieces is fun despite it takes a lot of time and frustrates me if it doesn’t sound perfectly on my non-Steinway. Although my studies in physics take a lot of time, I keep rehearsing a lot.
    Still I’m kind of sad: Learning sheets is no further problem but playing by ear or improvise is quite hard for me. You’re descriptions (musicial analysis) were quite interesting and helped me to understand you’re technique a lot better. I’d be quite thankful for another one…s 😉
    Thx for your hard work and masterpieces.

  10. Pingback: Kuusou Mesorogiwi - Mirai Nikki OP 1 [piano] [Animenz Piano Sheets] - PIANO PARTAGE

  11. That was actually very interesting, thankyou. It was also useful for a music task where I have to analyse the differences between an original and an interpretation/cover of a song of my choice. So thankyou XD

  12. I really love the way Animenz uses the Soft Pedal in some songs ! I found it while looping insanely Unravel for further discoveries :)) and that moment the piano keys move to the right at 4 times (0:31 – 0:42 – 2:27 – 3:51) I wonder what the signal is and when you should use that pedal in some sections because it also happens in Hikaru Nara and many many pieces and that looks SUPER COOOOOL XD ! I also curious if Animenz uses the Sostenuto or not ? because it’s hard to recognize by looking deeply at the back of the piano @@
    But the main question is how should I use the Soft Pedal in your transcriptions ? Please teach me this technique 😀

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s