C
chronacolyte
Guest
[youtube]http://www.youtube.com/watch?v=k3At82O-zQw[/youtube]
The famed theme from Puella Magi Madoka Magica, arranged for a real, hand-cranked, gears 'n' punch-card music box. By me, of course!
This was an interesting challenge to work with. The music box has a range of just two octaves in A-flat major, which would ordinarily discourage the implementation of any minor-key music. Fortunately, Kajiura's music favors the natural minor, meaning that for the most part, it avoids accidentals and uses the same notes as the major key. Therefore it was just a matter of patience and wrapping around the right octaves to get this tune committed to paper.
Yes, those are two sheets taped together to make the score. I wanted to include the repeat in the beginning, as I feel that it is critical to the song's form. My favorite part was making the little arpeggio rolls--so fun to see and hear the results of deviations from the gridlines, and it'd be a shame to not use the signature music box stroke.
I know some of the octave swaps and wrapping in the accompaniment are strange, but I stand by the decisions I made as good solutions given the limitations of the form. Anyway, I would love to hear your comments and thoughts.
The famed theme from Puella Magi Madoka Magica, arranged for a real, hand-cranked, gears 'n' punch-card music box. By me, of course!
This was an interesting challenge to work with. The music box has a range of just two octaves in A-flat major, which would ordinarily discourage the implementation of any minor-key music. Fortunately, Kajiura's music favors the natural minor, meaning that for the most part, it avoids accidentals and uses the same notes as the major key. Therefore it was just a matter of patience and wrapping around the right octaves to get this tune committed to paper.
Yes, those are two sheets taped together to make the score. I wanted to include the repeat in the beginning, as I feel that it is critical to the song's form. My favorite part was making the little arpeggio rolls--so fun to see and hear the results of deviations from the gridlines, and it'd be a shame to not use the signature music box stroke.
I know some of the octave swaps and wrapping in the accompaniment are strange, but I stand by the decisions I made as good solutions given the limitations of the form. Anyway, I would love to hear your comments and thoughts.
