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#1
As you guys know I'm both a remixer and a major Kingdom Hearts fan. I'm curious if anyone could give me tips on how to do harmonies Yoko Shimomura style like in Kingdom Hearts games. This means a lot to me but I want to keep my own individual style as well. I'll provide some examples.

"Dismiss"
https://www.youtube.com/watch?v=A8UJVaXUzGo


"Forze Dell Oscurita"
https://www.youtube.com/watch?v=gAwndQzZILU

"Vector to the Heavens"
https://www.youtube.com/watch?v=AwK5nmzNMJc\

"Xehanort The Early Years"
https://www.youtube.com/watch?v=UTCnlaNcpzo

"Hunter of the Dark"
https://www.youtube.com/watch?v=hLZBbmj9wD0

I think that's enough examples. Any help?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#2
Yes. It's tonal, and there aren't 10,000 basslines
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#3
I know but I'm asking for tips on how to harmonize in a similar way. Are there any harmonic or musical similarities in the posted songs?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#4
i accidentally managed to hit play on each one at the same time and it was crazy
it's all just coming back
it's all coming back

it's all coming back to me
#5
Just learn theory (harmonic analysis, a lot of ear training) and you'll be able to analyze all of these yourself. If you really want to be able to write stuff like this, you'll do it, no matter how much it sucks. Harmony/voice leading/counterpoint, maybe a little orchestration(at least some basic string writing), etc.

Even if I thoroughly analyzed one tune for you, you wouldn't get that much out of it. You need to learn to do it yourself.

And like Jet Penguin said, there's only 1 bass line in each of the songs at any given time
Last edited by Elintasokas at May 3, 2015,
#6
I was asking for harmonic and melodic similarities in the songs above (it would give me some insight to Yoko Shimomura's style). I'm trying to apply this in my own music and remixes. I also didn't want any "Do it yourself" answers but ended up getting them anyway.
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#7
^ Well, can you figure it out yourself? Figure out the chords. Figure out the melodies. Do they sound similar to you? Find a reason what makes them sound similar. (It may not have to do with the harmony or melody - it may have to do with the instrumentation or arrangement, it may have to do with the rhythm, it may have to do with the song structure...)

If you want to compose in this style, it's just better to figure it out yourself. At least do some of it yourself. We can help if you get stuck. But we are not going to do all the work. We may not have time, and also, it's a lot more beneficial for you if you figure most of it out yourself.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#8
^This. Big advice here.

Also Joel, I played them all at once, and you're right, it's crazy
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#9
it's the tune when you find the super secret terrible most powerful you gon die boss :upto: good luck to anyone that makes it that far lol
it's all just coming back
it's all coming back

it's all coming back to me
#10
Quote by RonaldPoe
I was asking for harmonic and melodic similarities in the songs above (it would give me some insight to Yoko Shimomura's style). I'm trying to apply this in my own music and remixes. I also didn't want any "Do it yourself" answers but ended up getting them anyway.


The fact is, like a lot of guitarists, you've got this ridiculous, overly simplified view of music. 'How do I sound like this' 'How does this work'. It's not like that. You clearly can't read music, can't analyse music and, because of this (controversial opinion time), you can't actually play music. If you can't analyse the music to understand what is going on, then you have no hope of actually applying it to your music.
#12
Quote by CelestialGuitar
The fact is, like a lot of guitarists, you've got this ridiculous, overly simplified view of music. 'How do I sound like this' 'How does this work'. It's not like that. You clearly can't read music, can't analyse music and, because of this (controversial opinion time), you can't actually play music. If you can't analyse the music to understand what is going on, then you have no hope of actually applying it to your music.

lol

like seriously, lol
it's all just coming back
it's all coming back

it's all coming back to me
#13
Quote by CelestialGuitar
The fact is, like a lot of guitarists, you've got this ridiculous, overly simplified view of music. 'How do I sound like this' 'How does this work'. It's not like that. You clearly can't read music, can't analyse music and, because of this (controversial opinion time), you can't actually play music. If you can't analyse the music to understand what is going on, then you have no hope of actually applying it to your music.

smh
#15
well yeah but his whole post is basically "you can't do theory you can't compose".

I mean look at this bit
You clearly can't read music, can't analyse music and, ... you can't actually play music

that is the biggest pile of crap I've seen regarding theory and music.
it's all just coming back
it's all coming back

it's all coming back to me
#16
I thought it was the best answer.
Gear:
Dean RC7X (Bareknuckle Coldsweat pickups)
Ibanez Rg2570Z (Bareknuckle Juggernaughts)
Schecter KM-6
Schecter Hellraiser Hybrid 7 String
Engl Powerball II
Orange PPC412
Line 6 Pod HD500X
#17
It's true that I can't read music (I use tab myself for guitar parts and melodies) but I can write sheet music using Musescore (I use my brain to convert ideas from tab to sheet). I have another question, what good is music theory if you can't apply it? That seems to be my problem and even when I have the melody right in front of me (both tabbed and able to be repeated on guitar), I get little progress in analysis. I'm getting tired of all these heavily sarcastic responses I keep getting (especially of the "do it yourself" variety).

I'm asking about similarities in these KH compositions and how I can apply this in my own music. I'm working on a custom theme for Saix/Isa from the games (he doesn't have one yet).
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#18
Our responses are all sarcastic because you can't get good if you don't put in the work.
#19
Quote by RonaldPoe

I'm asking about similarities in these KH compositions and how I can apply this in my own music. I'm working on a custom theme for Saix/Isa from the games (he doesn't have one yet).

You think they sound similar. Figure out why. Is it the rhythm? Is it the melody? Is it the harmony? Is it the structure? Is it the instrumentation? Just figure it out, it's really not that hard. Try to find answers to these questions first. If there's something you don't understand, then ask advice. First figure something out yourself.

How can you apply it to your own music? Well, first you want to know what you want to apply to your own music. But seriously, you are the one who writes the songs. We can't write songs for you. You decide which parts of the songs you like.

How to apply music theory? You really need to start with the basics. You need to understand the sound, not just the theoretic side. So for example when learning about keys, intervals, chords, scales, whatever, listen to the sound.

Your original question was about harmony and if there are similarities between the songs. I would suggest figuring out the chords used in the songs. Try to find the key. Do that by listening. What is the home chord? That's your key. Remember that there may be key changes.

Do the same with other songs. Figure out how the chords are related to the key.


But you may want to start with something more simple. I think the problem with you is that you are trying to run before you can walk.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Last edited by MaggaraMarine at May 9, 2015,
#20
Quote by RonaldPoe
these heavily sarcastic responses I keep getting (especially of the "do it yourself" variety).
yet).

The only one who can do it IS YOU! If I did it, so can you. Never had a single music lesson in my entire life.

There are things that just don't come to you unless you put in the effort. You need to dig in and start learning. Yes, you will be confused and annoyed a lot, but that's part of the process.
Last edited by Elintasokas at May 9, 2015,
#21
No offense but you guys aren't really helping. If I could do this myself I wouldn't have made this thread or a lot of my others. I'm asking for similiarities between these themes, not all these sarcastic and unhelpful comments. Sorry if I'm sounding rude but this is beginning to be a problem here.

Also here's that theme/motif for Saix I was talking about. I know it's repetitious and needs more variation but I think it's a fitting motif and can be expanded on. Also I usually get compliments on my music when I show it to people outside this forum and enjoy making it.

https://soundcloud.com/dark-ronald-poe/man-on-the-moon-demo
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#22
^ How many bass lines does it have? I think this is even more dissonant than usually.

You make threads asking us what kind of similarities these songs have, yet you keep slamming bass lines on top of each other just like before. We've told you to stop that if you've willing to emulate this kind of a style. So, until you stop putting 200 bass lines simultaneously, I won't even try to give you any advice, because it's obviously a massive waste of time.
Last edited by Elintasokas at May 14, 2015,
#23
^Semi-this.

You can't just jump into Stravinky-ing. You gotta crawl before you can walk.

Golden's right, our responses aren't necessarily sarcastic. It's just that you gotta buckle down and train, we can't just thrust the correct answers upon you.

The reason you can't do it yourself is because you aren't there yet and it's over your head. Start at the beginning.

Write the SIMPLEST most inane thing possible and go from there.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#24
Funny thing is this is simple by my standards (only one bassline, a main melody, and a single counter-melody on strings). I admit the bassline is slightly chaotic but the rest is pretty straightfoward. I've tried writing simple diatonic stuff and adding my flairs to it (an example is "Incan Walk") but the midi (the one containing the melody) is long lost (my main computer broke). Got any tips for writing something simple yet exciting/boss battle-like? Also I'm just asking for the main similiarities in KH songs.

I've learned how to construct chords and know a lot of theory but nothing changes. In fact, my attempt to add chords to a piece made it straight up ugly. Why is that?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
Last edited by RonaldPoe at May 14, 2015,
#25
If you know "how to construct chords and a lot of theory", just figure out what chords the songs you posted use. I think it's that simple.

How do you learn to write songs? I don't know, you just have to do it. It's all about getting ideas. You can get ideas by listening to music and analyzing it.

Why did your piece with chords sound ugly? Maybe it wasn't because of the chords. Maybe it was because the melody wasn't good. You can't make a bad melody good by adding chords. Maybe because you don't want to analyze music, you can't get inspired by something, because you don't know what's happening in the music. If you want to compose a good melody, start listening to melodies and figure out what's happening in them. Does it have lots of jumps or is it mostly just scales up and down? Is there a "climax" somewhere? What kind of rhythms does it use? Pay attention to phrases. A good melody is not just notes after notes. It needs rests.

Maybe try singing a melody. Singable melodies are always good, because they sound natural.


You really need to start with the basics. You have learned some theoretic concepts without actually understanding them (because you don't know what to do with them and can't figure out what's happening). Learn about keys first. Learn what chords are in major and minor keys (chord functions) and listen to how they sound. Start listening to music and just figure out the chord progressions used. Using a keyboard may help.


But really, as I have said many times, if you want to figure out what's happening in the songs you posted, just do it. Your question was about harmony, so figure out the chords first. Start with that. Figure out the key and the chords.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
#26
With that one, I played both melodies on guitar and they sounded pretty good. What could I be doing wrong and better yet am I doing anything wrong (people tell me my music's good but you guys make me wonder). What can I do to make my music more boss-like? How can I make a good RPG field theme? Should I just post a new thread for this?

Also the song I harmonized was a piano midi "Oath to Order" (Zelda: Majora's Mask) and I tried a simple vamp and counter-melody. Like I said the chordal vamp made the melody sound much worse, messier, and uglier than when I used 6 or 7 basslines and the same counter-melody. Why is that? My process is collecting licks of my own (usually from improv or transcription of remixes and songs) and piecing them into something that flows and sounds good/decent.

I know I ask a lot of questions but I'm a curious person. I can't find this information anywhere nor can I do it myself. That's why I ask here. ...
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
Last edited by RonaldPoe at May 14, 2015,
#27
Read Maggara's Post. Find The Chords. For The Love Of Bach Find The Chords.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#28
Quote by Jet Penguin
For The Love Of Bach Find The Chords.

Omg, this line totally made my day.
#29
Hi Ronald, I am literally 1000 kms from my pc, I believe I understand what you are asking for, yeah there are a few similarities between the tunes, and will post a reply here (with a few examples) for you when I get back in about a week... tbc
#30
Ronald,

I took a listen to the first part of the first song, about 12-15 seconds worth.

You have a bass line ascending through the first 4 notes of D minor, repeating

You have a static oblique motion in 3's on the octave, and you have singing starting on the 3rd of Dm (F) and ascending through the rest of the scale.

What you might want to do is start with the bass line and analyze the rest of the voices in respect to that bass line and see what functions they are suggesting. For example when the bass changes, what chords or scale seem to fit the profile. I just did 12 seconds using this approach.

What's "different"? I couldn't tell you man, nothing ground breaking here from the few seconds I put into it, but obviously I am not going to make it my project or work. I mean, just start at the bass, and thoroughly outline the changes. Transcribe. One voice at a time, and see what it tells you.

I did this same thing the other night and worked out the Game of Thrones theme and the chords, on my beater guitar while the show was starting.

Best,

Sean
Last edited by Sean0913 at May 15, 2015,
#31
Sean, thanks for your help. Is the song you analyzed there "Man on The Moon" (I wrote that one all by myself and meant for it to be a motif) or one of the KH boss themes? Are you saying it's based on a Dm arpgeggio or the notes (D E F G). Yoko Shimomura (composer of Kingdom Hearts and the Mario and Luigi Saga) is my hero and one of my biggest influences.

To Tonibet, could you list some of those songs?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#33
Quote by RonaldPoe
Sean, thanks for your help. Is the song you analyzed there "Man on The Moon" (I wrote that one all by myself and meant for it to be a motif) or one of the KH boss themes? Are you saying it's based on a Dm arpgeggio or the notes (D E F G). Yoko Shimomura (composer of Kingdom Hearts and the Mario and Luigi Saga) is my hero and one of my biggest influences.

To Tonibet, could you list some of those songs?


No, it was "Dismiss". The first YouTube clip.

Sorry if my point was confusing. I'm saying it's 1 2 b3 and 4 - off of D as the root, which fit the first 4 notes of a D minor scale. They don't fit Phrygian or Locrian, and I doubt it's in Dorian, but since I didn't analyse it to the point where I could determine if there's a b6 or not, I defer to you on that call.

Best,

Sean
#34
I'm planning on learning fingerstyle and arranging that way. I'm thinking about "Dream On" (Dio Cover) and "Paint it Black" (original). Anyway I'm writing a Saix boss theme. Sean, I was hoping you were talking about my piece but it's okay.

Tonibet, when are you returning with those tips and stuff?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#36
^

You figure out the chords yet, Ron?
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#37
JetPengiun, you know the answer to that question. Of course I haven't (I still have trouble getting even simple chords to sound nice in the mix and resort to bizarre counterpoint). A girl (who was an electronic music fan) at my Auntie's apartment pool compared my music to "Beats Antique" (an unusual electronic music group who are actually really good) and you compared me to Stravinsky. Wonder what that means ...

Also when will Tonibet return with those tips?
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#39
^Ron, you misunderstand me.

I'm asking you to transcribe the chord progression to those KH songs. Figure out what the chords they use are, not use your own chord stuff.

Also what Duane said big time.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#40
Quote by RonaldPoe
Tonibet, when are you returning with those tips and stuff?

Hey Ron, sorry about late response, oh the calamity (IRL)...

As you know... unlike others here, I don't really know a lot of theory (ie: counterpoint, Roman Numeral Analysis etc... I mean I couldn't trust my own word on it), so maybe others might be able to correct/advance on my takes where I'm wrong?

But FWIW: here is my take on a few of the tunes you posted at the beginning of this thread:

Okay First one: Dismiss (Terra Xehanort).
   Dismiss (Terra Xehanort).
1. 2. 3."ah" etc... 4.
e|------------------------|---------------|----|-------------|----------------------5--|-------6-----||
B|-------------------(5)--|---------------| |-------------|--6---6---5---8---6------|--8----8-----||
G|--------------(6)-------|-7---7--7---7--|(x2)|-7--7--7--7--|-(7)---------------------|-(7)---7-----||
D|-------------------(7)--|-7-------------|(x2)|-7-----------|-(7)---------------------|-(8)---8-----||
A|----(7)-(8)-(5)---------|---------------|(x2)|-------------|-(5)---------------------|-(7)---------||
E|------------------------|---------------|----|-------------|--*---*---*---*---*---*--|-------------||
: : : : : : ::
e|------------------------|---------------|----|-------------|-------------------------|-------------||
B|-10---------------------|---------------| |-------------|-------------------------|-------------||
G|-7----------------------|---------------| |-------------|-------------------------|-------------||
D|-7----------------------|---------------| |-------------|-------------------------|-------------||
A|-5----------------------|-5---8--7h8h10-|(x2)|-5--8--7--4--|-*(5-8-7-10)*(4)*-etc...-|--7-10-8-10--||
E|------------------------|---------------|----|----------9--|------------(9)----------|-------------||
:< D(5) - A/D >:< D (Harmonic) Minor >:< Edim >::


5. "ah" "ah" "6." 7.
e|-8--6--------(13)-------(8)-|-(9)-------------|-(6)----------------||
B|-9--8--9---8--9---8---------|--9--------------|--6-----------------||
G|-------10--9--10--9--10--9--|-(10)-*8*--6--5--|-(6)----------------||
D|---------------------11--10-|-(11)--10--8--7--|-(8)----------------||
A|----------------------------|--11-------------|--8-----------------||
E|-*--------------------------|--9--------------|--6-----------------||
: : : ::
e|----------------------------|-----------------|--------------------||
B|---9------------------------|-(6)-------------|--------------------||
G|---10-----------------------|-(6)-------------|--------------------||
D|---10-----------------------|-(6)-------------|--------------------||
A|-*(8-11-10h11h13)*etc...----|--4-----6h7h8-etc|--------------------||
E|-------------(12)-----------|-----4-----------|--6--6--8h9h11-etc--||
:< F (Harmonic) Minor >:< Db >:< Bbm >::


8. The Choir singing bit... 9.
e|-8-9--6----6-8-4----4---6----3---4----1---3----4----*6*-|-13-----------------------------------------||
B|-9-11-8----8-9-6----6---8----5---6----2---5----6----*8*-|-13-----------------------------------------||
G|-------------------(5)-(3)--(6)-(3)--(5)-(6)--(9)--(10)-|-10-----------------------------------------||
D|-------------------(6)-(5)--(8)-(5)--(6)-(8)--(10)-(11)-|-10-----------------------------------------||
A|--------------------------------------------------------|--------------------------------------------||
E|--------------------------------------------------------|--------------------------------------------||
: : ::
e|--------------------------------------------------------|--------------------------------------------||
B|--------------------------------------------------------|--------------------------------------------||
G|--------------------------------------------------------|--------------------------------------------||
D|--------------------------------------------------------|--------------------------------------------||
A|--------------------------------------------------------|--------------------------------------------||
E|-*(1-4-3h4h6)*etc...------------------------------------|-1-4-3h4h6--1-4-3h4h6--1-4-3h4h6--1-4-3h4h6-||
:< F (Harmonic) Minor >:< F Minor >::


10. Then D Harmonic Minor: Basically the theme just repeats

11. Then D Minor Piano (Harmonic - Listen for the added chromatics): Dm-Edim-Dm-A7

12. Back to D Harm.(Dm-Gm-G#dim-Am-A#-Gm-Dm(sus2) - (A#-Gm-Dm)

13. Then the quiet bit right (w/Violin) in the middle of the song: in Dm (also as the ending)
View the Violin as a melody, which could've been anything? Which is why I didn't include it

Try this first? *Then this?
e|--------------------------------|---------------------------------||
B|-10---8---6---5---3---2---3---5-|-10---8---6---5---3---2---5---8--||
G|--------------------------------|-10---9---7---6---3---2---3---6--||
D|----0---0---0---0---0---0---0---|----0---0---0---0---0---0---0----||
A|--------------------------------|---------------------------------||
E|--------------------------------|---------------------------------||
*(Tertian harmony? - see also 5. and 8. above)

14. Then the whole thing kinda repeats itself (why not, sounds cool to me).

Second One: Forze dell'Oscurita (No Heart Boss Theme)
   Forze dell'Oscurita (No Heart Boss Theme)
1. 2.Bm G Em F#7
e|-------------------------------------------|-7---(9)---10---(9)---12---(10)--9---||
B|---12-11---10------------------------------|-7---(8)---12---(11)--12---(12)--11--||
G|--------------12-9-11-----------------11-9-|-7---(9)---12---(9)---12---(9)---9---||
D|-9-------9------------9-11-12-9-11-12------|-------------------------------------||
A|-------------------------------------------|-------------------------------------||
E|-------------------------------------------|-------------------------------------||
:< B Minor (Natural/Harmonic) >:< B Harmonic Minor >::
(1. Notice this riff virtually repeats itself throughout song)

3. 4. *(w/dim keyboard arpeggio run) **(Bm6add9 keyboard run)
e|---------------------------------|-10---------------10--*--(16)-(13)-(10)-(7)----------------||
B|---------------------------------|-12--11--10--9----12-----(15)-(12)-(9)--(6)----(5)--7--**--||
G|---------------------------------|-11----11--11-----13-----(16)-(13)-(10)-(7)----(6)--7------||
D|-------------5-4-----------------|-----------------------------------------------(8)--9------||
A|---5-9---4-7-----7-4---5-2-----5-|-----------------------------------------------------------||
E|-7-----6-------------6-----2-6---|-----------------------------------------------------------||
:< Bm F#7 Bm F#7>:<B minor(w/chrom'):< Gbdim >C#dim) Bm >::


Similar concept in C#m: (4.w/descending chromatics)

5.
e|--------------------------(16)-(13)-(10)-(7)---------------||
B|-7--7-6-------------------(15)-(12)-(9-)-(6)------8----7---||
G|--------6--7---6----------(16)-(13)-(10)-(7)----7----------||
D|-----------------9-8--9-6---------------------9------------||
A|-----------------------------------------------------------||
E|-----------------------------------------------------------||
:< Bm G#dim G? F# >::


A repeat of the start:


Key Change to Cm (see 6. below for melody)
6.
e|-----------------------------------||
B|-8---9--6---8---6------------------||
G|-8---10-7---8---7-----5--7--8---12-||
D|----------------------5--6--10--12-||
A|-----------------------------------||
E|-----------------------------------||

Down to Bbm/A#m (Same sorta thing? A#m-C#-A#m)

Back to Cm... etc

Then Em:

and Back to Cm (with the violin melody) Cm-Bb-G#-Bb etc...

Finishing with Bm opening theme.
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