Stellar Blade - The Song of the Wanderer (Piano Arrangement)
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- Опубліковано 5 лют 2025
- Here is the third piano arrangement/cover on my channel! This time I've decided to do The Song of the Wanderer from Stellar Blade. This is an absolutely phenomenal piece of music, and I hope you guys will like it, too! Here is a link to the music:
• The Song of the Wanderer
Also, everyone loves free sheet music:
SHEET MUSIC COMING SOON
To everyone curious, the description will contain information on my intentions for the arrangement itself. If you're looking for the theory analysis (the kind of deep-dive into the technicalities of the music itself), it will be in the pinned comment!
So, copy+pasting from my previous piano arrangement's description... again lmao my main goals with my arrangements are pretty simple: arrange the piece in a way that it stands as a concert piece (for example, the great works by Beethoven, Chopin or even the medleys by @toshirokonno5343), stays true to the feeling of the original while allowing myself to take some creative liberties, and to be playable. This one is a bit on the easier side or at least in comparison to my other arrangements. The only real technical challenge is probably the arpeggios that appear later in the piece. Other than that, there isn't really any difficult technique needed to play this one!
I hope everyone enjoys!
Bandcamp:
ludwigvanlarx....
Substack (an archive of my theory analyses):
substack.com/@...
Gaming UA-cam channel:
/ @ludwigvangaming
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Original Composer: Mothervibes
Piano Arrangement: Ludwig van Larx
Level: Intermediate to Late-Intermediate
#stellarblade #stellarbladeps5
Music Theory Analysis:
So, I have two things to say before I begin my analysis: Stellar Blade has one of the best OSTs that I’ve heard in a while from a video game, and why is Mothervibes so cold haha. This is easily one of the most beautiful pieces of music that I’ve ever heard, and it lends itself very well to the piano. It almost sounds like improvised jazz in a way, which is very cool. I’d like to also add that there are quite a bit of different instruments playing in this piece: piano, vocals, bass, guitar, synths, etc., and it was a bit difficult to transcribe for solo piano. I feel like I was able to strike a good balance and maintain as much of the original material without having it sound incoherent on the piano, though haha. I’m also trying to improve the format of my analyses as much as possible, so I’ll be taking a bit of notes from Moonlapse lol
0:01 The piece begins in the key of D Major with a soft arpeggio descending the keyboard, which outlines a DM9 chord. This will essentially set the tone for the rest of the piece, which is also mostly calming/soothing. From here on out, I will be analyzing the piece in 4-bar phrases. If I switch up, I’ll be stating so beforehand.
0:06 GM9 - Gm6 - DM9 - Ab7#11
The very first phrase of the piece begins on the IV and then goes to the minor iv. The iv resolves to the tonic, which is a rather popular chord progression several different genres, which include pop, jazz and even classical music, use often. This is because the progression setups for rather perfect voice leading, and still maintains the strong plagal cadence. What’s a bit unusual, though (from my knowledge at least) is the move from the I to a major chord built on the b5. This gives us a really nice Locrian sound, and works perfectly given that in the next phrase, that Ab7#11 chord resolves back to the IV. In this way, that Ab7#11 chord also acts as a bII to the GM9 chord. Additionally, this kind of temporarily tonicizes the G because of the strong movement of the bII to the I. However, this doesn’t last very long.
0:18 GM9 - Gm6 - DM9 - C9
This phrase begins exactly how the previous one does, but there’s a bit of a difference. Instead of ending the phrase on Ab7#11, Mothervibes abandons the Locrian sound and instead directs us to G melodic minor by injecting a C9 chord into the last bar. This again creates strong movement to the next chord, which is GM9#11, because it would be an IV - I in the key of G Major. In addition to this, the idea of temporarily tonicizing G is further emphasized using the G melodic minor scale.
0:30 GM9#11 - F# b9b13/A# - Bm9 - Eadd# 4(13) [On beat three, the chord is over G# and then beat four it is over B].
These four bars are interesting. We begin on GM9#11, which is expected since that’s where we’ve been starting our phrases, but then we go from GM9#11 to F# b9b13/A#, which is this extremely colorful dominant b9 chord, which sets up a modulation to the key of B minor. The phrase then ends on another extremely colorful chord, Eadd# 4(13), which is our new IV and ends up going through all its inversions. I also want to note the A in the highest voice at this point, which to me is an accented passing tone.
0:41 F# m7b6/E - F# b9b13/A# - Bm9 / F# 13(no b7) [F# chord is on the last beat of this bar] - E9
So, this bar was a bit of a challenge to analyze. I do think that the F# m chord could be analyzed as something else, but to make a case as for why I analyzed this chord as such: going from E to F# makes sense because it’s an IV to V movement, although in this case the dominant is minor. I do, however, believe that minor dominant chords are common in this type of music, and to substantiate it a bit more, there is a chromatic alteration in the next bar turning this v into the same F# b9b13/A# chord from before. It creates a far more colorful sound and still makes sense on the technical side of things. Another slight issue is that analyzing it as F# 13(no b7) is kind of nonsensical because I believe extended chords require the 7th has to be present in the chord to be considered such. So, I think another possible way to look at that chord (if what I said is the case... I forget lol) is as F# add2(6).
Another challenge of analyzing this bar was beat four of the third bar because there is a G# and D# over F#, which then resolves to an E9. I’m not sure whether to analyze this as part of the B minor chord and break it down to a chromatic modulation to the key of E Major because in the next two bars, we do *sort* of go there… orrrr another possibility would be looking at this as a sort of chord retrogression (something that I’ve mentioned in my previous theory analyses) and look at it as a V - IV movement, which isn’t all too strange.
There may be more possibilities because I’m probably forgetting one key thing to really nail it down, but these are the two that I’ve come up with and I’ve decided to analyze it as the latter. I’d be interested in hearing everyone else’s thoughts!
0:54 E11 - A7 - DM9 - DM9
At this point, we have another modulation, but back to our initial key, D Major, by using E as the common chord (although in this case it’s major, not minor), and A as our pivot. Nothing too special in this bar, but we do get a nice accented non-chord tone on the A7 chord before it resolves to the E.
1:06 GM11 - Gm9/Bb - DM9 - DM9
Back in the key of D Major, the piece continues its fantastic use of the IV. This is very similar to what we’ve seen previously in the beginning of the piece, however the iv is no longer in root position, but this time appears in first inversion.
1:17 GM11 - Gm6(9)/Bb [last beat of this bar the chord appears over E] - DM9 - C13
We’ve seen this one before, but there is a slight difference! This is a repeat of the chord progression found at 0:18. This time, however, on the second bar of this phrase, the G minor chord appears over E. This sort of changes the quality of the sound and makes it sound more like a diminished ii chord instead of iv. In addition to this, we get even more of that melodic minor sound because of the inclusion of F, which is the b7 in the key of G minor.
Another change to the chord progression is instead of C9, we get C13, which adds even more color than originally was.
1:29 The IV - iv - I - I progression is continued from this point up until 1:54. This is an absolutely stunning section and is probably the part that sounds the most improvised. Lots of jumping around the keyboard, tight m2 harmonies, and gorgeous melodic work.
Analysis continued in second comment...
1:54 EbM13#11 - DM7 - EbM13#11 - DM7
Here we have a really magical section. These four bars feature a bit of a Phrygian sound by making use of the bII, and it moves from the bII to the I. Not much to say, but it’s fantastic.
2:06 Bb9#11 - FM7/A - Ab9 - G7sus4 - G7
Very cool stuff here. These 4-bars function almost as a chromatic modulation to the key of C minor. Starting it off, we have a chromatic walk down in the bass which lands us on Ab13, the bVI in the key of C minor. This then resolves to G7sus4 and then G7, which is pretty much as strong of a resolution as you can get because the bVI has pre-dominant function, and usually wants to resolve to the V, which it does.
2:18 AbM13#11 - Abm13 - EbM9 - EbM9
From the previous bar, the V7 resolves to Ab, which creates a deceptive cadence. This is then used as our common chord to perform another modulation, but this time to the key of Eb Major. Our pivot is Abm, which is the iv. From here, we’re going to see a lot of what we’ve seen pretty much the whole piece. Mothervibes does a fantastic job using this IV - iv - I - I chord progression almost as a motific device to create continuity, and if you notice, these four bars are exactly that, if you analyze it wholly in the key of Eb Major!
This section also features a gorgeous melody and broken chords aplenty, haha. Easily one of the most beautiful sections in the piece.
2:30 Is a repeat of 2:18, but there are some variations in the melodic content. I’ve also decided to take a bit of creative liberty and increase the energy in this part to create a sort of climax because after this section, the energy would have essentially stayed the same. To do this, I’ve just added arpeggios that are outlining the harmony of these four bars.
2:42 AbM9 - Gadd# 2b9b13/B - Cm11 - F9
A crazy phrase lol. This is actually similar to what we’ve seen earlier in the piece in the B minor section. We begin this phrase on the IV, which is typical for this piece, but then move to Gadd# 2b9b13, which is our V/V. The secondary dominant then resolves to its appropriate target, C minor (could also be C Major, just fyi lol). This temporarily tonicizes the C, and then Mothervibes gives us a Dorian sound (analyzed in the key of C minor) by throwing F9 into the mix. A very uplifting sound and very appropriate for the closing of the piece.
2:54 AbM9 - Abminmaj7(add6) - EbM7#11 - EbM7 - Eb13/Db
Absolutely love this part. This is again our IV - iv - I - I progression, but Mothervibes has switched it up on us a bit. We got a nice M7 over our iv, and in the second half of the last bar, has given us a bit of a dominant sound with that Eb13. We’d then expect that dominant Eb harmony to resolve to Ab Major, but it instead resolves to C minor (3:03). This works because Eb13/Db and C minor (really Cm13) share literally EVERYTHING in common… except for the Db, which is only a half-step away from C, and would provide great voice leading.
At this point, we’re nearing the end of the piece. At 3:06, Mothervibes gives us our last cadence, and a perfect authentic cadence at that (Bb13 - EbM9#11). Obviously a really great way to conclude the piece, and it does sound great!
That concludes the piece!
this analysis fucking rules!!!! i didnt think there was so much to unpack in a more... subdued song?? compared to like, everglow hahahaha :D keep up the amazing work
Love this song in game and you do it such justice. We need the warmth of the city next!
Thank you for sharing, this and flooded commercial sector are best ost from Stellar Blade to me. Wanderer is like a Jazz song for the cozy night ❤
Thank you! Many more to come from Stellar Blade!
Didn’t expect an upload from you today! And wow. I love this piano arrangement a lot! Truly some amazing stuff. And the effects alone make it much more enjoyable!
Thank you!
Amazing song, amazing transcriber, beautiful video, detailed and interesting theory breakdown. What more could we want. Thanks for your hard work and talent Ludwig! 💜
I agree this Stellar Blade mini-ost is one of the best I've heard EVER. I really should play the game soon haha. This song in particular really stands out to me so I'm really glad you decided to cover it. I will be learning it on my piano!
Thank you! I'm really glad that you like it. I had a ton of fun working on this one :)
You definitely need to play it! Should be discounted very soon too! Don't think they'll miss the chance for some more sales haha
hey there, have you finished the arrangement yet? this sounds beautiful
Have you arranged the sheet music yet?
I have begun arranging it, but have about half left to do. I’ll try to get it out by tomorrow!
Excuse me can i ask ya a question
Yeah go right ahead
@@LudwigVanLarx that lala person you know him right? I've been wondering what happened
@@DokkanSDBHCelebrationEnjoyerI think he became a bit too busy with school and then work to do anything music related, and then perhaps just lost interest in it.
@@LudwigVanLarx do you still have contacts with him or something