[PS4] Bloodborne - "Cleric Beast" by Renaud Bergeron

[Zeta]

Submission Information:
Series: Other
Game: Bloodborne
Console: PlayStation 4
Title: Cleric Beast
Instrumentation Solo Piano
Arranger: Renaud Bergeron

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[Khunjund]

[Bloop]

-I think it'd make more sense to write m1, 3, 5 and 7 in 3/4 rather than 6/8, because of the quarter note rhythm. You could then write the tempo mark in quarter notes too and write a metric modulation 8th = 8th at m9, if you want.
-Also, for m2-4-6-8.
-m9-16: Maybe you could add staccatos in the R.H.? Also, you could add octaves below the L.H. to imitate the darker string sound and ambiance.
-m17-24 and 41-48: The R.H. beaming should reflect the 6/8 time signature, so 3+3 instead of 2+2+2. Also, the L.H. in m18 has a loose 8th at beat 6 that should be attached to the beam before.
-m22: Was there a specific reason you didn't include the lower octave G# on beat 3 in the R.H.? For m46 you could consider adding the top D# back in, since it is there in the choir.
-m24 and 48: R.H. melody should be A-A-B-B-B-C#
-m25-32: The choir in the original sounds way "creepier" (probably because there's a part of the choir that's singing deliberately off-key or because they use wide vibratos). Either way, a suggestion I could give is adding a L.H. part that plays the lower two pitches a half step down at piano or pianissimo, to add some more of that unsettling ambiance. Try it out and see if you like it ^^
-m33-40: Same thing about the beaming but in the L.H., should be 3+3 8ths instead of 2+2+2. You could also add in the staccatos to the R.H. here if you did so in m9-16.
-m36: I hear the choir go to D# in beat 4.5 too.
-Sony Computer Entertainment should be added as publisher to the copyright info

[Khunjund]

Done except

-Sony Computer Entertainment should be added as publisher to the copyright info

Last time I submitted this sheet, I had Sony Computer Entertainment as my copyright, and someone told me it should be FromSoftware instead. Which is it?

[Bloop]

Last time I submitted this sheet, I had Sony Computer Entertainment as my copyright, and someone told me it should be FromSoftware instead. Which is it?

Both, actually! When the developer (in this case FromSoftware) is different from the publisher (in this case Sony), we credit both in the copyright info.

There's just one thing left for the rhythmic notation:

Also, the L.H. in m18 has a loose 8th at beat 6 that should be attached to the beam before.

Lastly, it seems I cut off my own feedback about m2/4/6/8, but I think I wanted give a suggestion about writing the long notes as fermatas in 3/4 time, rather than a counted out 4/4 bar, since I don't think they fit precisely in 4/4 in the original (they seem a bit longer). Up to you though!

[Khunjund]

Done. I didn't remake the MIDI file, because finale playback likes to put a lot of ritenuto before the dotted half notes with fermatas, which doesn't sound great, and I don't particularly care to mess around with playback options or invisible tempo marks just for that.

[Bloop]

That sounds alright ^^ You still have the loose 8th note at the end of the L.H. of m18, but I'll approve nonetheless so another updater can take a look.

[Static]

Don't have much to say on this one

• As Bloop said, make sure you beam m18 LH
• m28/31 RH: I hear the D#s here as C#s
• Some of the dynamics could be better aligned, like the mf in m25 and the cresc. in m47.
• The intro, or something approximating it, might be cool to include but I definitely see why you opted not to. Consider it though.

[Khunjund]

Changes have been made.

[Kricketune54]

I think I previously checked this when it was submitted well over a year ago initially, but let's see if we can get this up on site for this cycle:

Notes
• m17-24 LH top layer - this figure (both beat 1 and beat 2) should be just like the one in the RH from m13-16 - the last note is not an 8th, but two 16ths. Just like before, E, and F# 16th's instead of an 8th note E
• m12 RH the last 8th note you have in this measure is actually two sixteenths, the current E, followed by a C#
• m16 RH second note note hearing the G# in this cluster
• m20 couple things: The lower layer LH notes are C#'s not Dn, and I think the RH middle pitches should be C#'s as well here
• m25-26, m29-30 LH maybe you could add a bottom note, for example at m25 a G# below the B#. It sounds like there is one there, and this would be easily reachable.
• m27 the D# sounds more like a Dn to me
• m37 LH first quarter note is 8th note length, followed by anotehr C# 8th note.
• m41-47 LH same feedback as m17-24 applies here
• m44 same feedback as m20 (for both hands)

[Kricketune54]

Bumping for arranger, are you still around to work on this? I don't have too much more to look through, and would rather square this away before diving deeper with your other Bloodborne sub

[Khunjund]

I think I previously checked this when it was submitted well over a year ago initially, but let's see if we can get this up on site for this cycle:

Notes
• m17-24 LH top layer - this figure (both beat 1 and beat 2) should be just like the one in the RH from m13-16 - the last note is not an 8th, but two 16ths. Just like before, E, and F# 16th's instead of an 8th note E

Done.

• m12 RH the last 8th note you have in this measure is actually two sixteenths, the current E, followed by a C#

I'm pretty sure this isn't the case. There's a percussion accent that follows a 16th-and-two-32nds rhythm here, but the strings seem to end on an 8th.

• m16 RH second note note hearing the G# in this cluster

Done.

• m20 couple things: The lower layer LH notes are C#'s not Dn, and I think the RH middle pitches should be C#'s as well here

• m44 same feedback as m20 (for both hands)

This makes no sense to me. Not only am I quite certain I'm hearing a D natural, but the entire piece revolves around the bass ostinato C#, B#, D#, Dn; why would it be different for this one measure? Measures 20 and 44 also follow the same line as measures 7–8, and it's clear that the latter measures have a Dn as the bass, not C#.

• m25-26, m29-30 LH maybe you could add a bottom note, for example at m25 a G# below the B#. It sounds like there is one there, and this would be easily reachable.

I don't really see the point in tripling the G (it's not like it adds to the harmony), so keeping this section with only four "voices" just makes it more streamlined and makes the increase in density in mm. 31–32 stand out more.

• m27 the D# sounds more like a Dn to me

That chord sounds to me like it has a smoother, half diminished sound; if it were a Dmaj7/C# chord, it would have a much more striking sound, I think.

• m37 LH first quarter note is 8th note length, followed by anotehr C# 8th note.

It seems to me as though the main singing line has a quarter note, but there are some half whispered back vocals for effect that follow an 8th note pattern.

• m41-47 LH same feedback as m17-24 applies here

Done.

[Kricketune54]

I'm pretty sure this isn't the case. There's a percussion accent that follows a 16th-and-two-32nds rhythm here, but the strings seem to end on an 8th.

Relistening I agree with you - you could replicate this in the LH if you want

This makes no sense to me. Not only am I quite certain I'm hearing a D natural, but the entire piece revolves around the bass ostinato C#, B#, D#, Dn; why would it be different for this one measure? Measures 20 and 44 also follow the same line as measures 7–8, and it's clear that the latter measures have a Dn as the bass, not C#.

I relistened in both places, and still hearing C# for this low pitch - I would suggest pitching this track up in Audacity or a similar tool because this is quite clear when doing so. I think after listening to m44 though, the middle RH pitch should be D# as opposed to the earlier recommended C#.

I don't really see the point in tripling the G (it's not like it adds to the harmony), so keeping this section with only four "voices" just makes it more streamlined and makes the increase in density in mm. 31–32 stand out more.

I agree with you good to keep as is.

That chord sounds to me like it has a smoother, half diminished sound; if it were a Dmaj7/C# chord, it would have a much more striking sound, I think.

Relistened, agree with you on this one as well. These choral voices can be quite hard to make out lol.

It seems to me as though the main singing line has a quarter note, but there are some half whispered back vocals for effect that follow an 8th note pattern.

Yeah you're right, if it was a reoccurring thing I'd suggest adding it in for the measures it happens but since it's not it it's a minor detail that you don't have to include.

I really don't have anything else to add, just confirm if you can hear what I am for m20 and m44. I don't really know how to explain it in terms of song structure, sorry, but this is what I'm hearing and it's very clear when pitching up

[Khunjund]

You were right; it was a C# in mm. 20 and 44. (I maintain that this makes no sense from a structural standpoint, but it is what it is.)

Changes have been made.

[Kricketune54]

Awesome, good to see this one accepted, nice job