Genshin Impact is an open world and multiplayer RPG game, which takes place in the world of Teyvat, which is made up of 7 Nations. One of them is Liyue which is set like Ancient China and that is why for the recording of the music (composed by Yu-Peng Chen) the Shanghai Symphony Orchestra was hired.
During the battles in that area of the game, a theme is heard that not only connects us with the vertigo of the fight, but also maintains the atmosphere of the place, also using oriental instruments such as the Guzheng (古箏) and the Pipe (琵琶).
The introduction is basically a rhythmic movement in the A5 chord (A - E) and every few bars an ensemble is placed on the A minor pentatonic scale, although at the moment of harmonizing each note of this scale in 4 descending jousts the E minor pentatonic
A minor pentatonic = A - C - D - E - G - A
4 downward jousts = E - G - A - B - D - E = E minor pentatonic
This harmonization technique gives a lot of strength to the pentatonic melodies and does not mistreat the tonality since the minor pentatonic of E is within the old minor scale of A (A - B - C - D - E - F - G - A)
The first section of the work is supported by chords that are within the minor primary tonality (this means that there are no sounds outside the minor scale), always trying to maintain the presence of the notes A, D and E in the sequence of chords, this makes us obtain the following progression:
| To sus4 | Bm7 | Cadd9 | D add9 | x4
After this section comes a part where basically they are orchestral hits with an ensemble in the melody in A minor pentatonic.
Then comes a section that I love for how to harmonize the melody that is on a scale product of the fusion of both pentatonics of A and E (A - B - C - D - E -G -A), it is still understood that it is in Am but never uses 6th grade in melody. we have the antecedent phrase like this:
| F6 | Gm6 | Am (add11) | Bm7 | Dm7 | Em7 | Am | F # m7 (b5) |
It is interesting how the first 2 bars reflect a passing modulation to IVm (Dm) when using above all that Gm6 chord (G - Bb - D - E) since it contains the note Bb, but Am is quickly played so that the impact of that sound do not abuse the tonality. It is also included in Bm7 (B - D - F # - A) which gives the song a Doric flavor because of the F #. more as it is an antecedent phrase and should make the listener feel that the musical discourse continues this section ends with an F # m7 (b5), a chord that invites us to return to F6 and thus begin the consequent phrase:
| F6 | Bm7 - Bbmaj7 | Am add11 | Em7 - A7 | Dm7 | Em7 | Am |
In this section you do not feel the passing modulation but rather the Doric sensation of the Bm, but quickly routes it to Am using a chord from the Altered Sub Dominant category as a bridge (chords that are modified to lead us to key chords of the tonality) as is the Bbmaj7 (Bb - D - F - A) which, due to its structure, has a need to solve Am. It only remains to highlight that as it is a consequent phrase, it should make it feel like the musical discourse has ended and it does so with a cadence IVm - Vm - Im (Dm - Em - Am) that by not using the V7 (E7) chord, gives us that ancestral feeling that the work needs.
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Social Media Author: Pablo Bobadilla Rider
