Genshin Impact is a free to play open world multiplayer RPG game set in the world of Teyvat. In the Liyue Nation (a place that is inspired by China, both in its landscapes, costumes and tradition), we are going to come across a town called Qingce. Place where we will listen to a melody that represents our trip through this area of the game.
The melody almost entirely uses the G major pentatonic, which is typical of many ancient cultures and is characterized by being made up of 5 (Penta) notes and not having semitones in its structure:
G - A - B - D - E
But in contrast to the simple and beautiful of the melody, the harmony is very well designed to give variety to the work. The first section is harmonized as follows:
| G6 | % | Em | % | C | % | Cm | G | x2 | Dm - G7 |
The most striking thing here is the modal exchange of the IVm (Cm) that comes from the key of G minor, this being the only moment where the melody leaves the G major pentatonic to use the C minor melodic scale (C - D - Eb - F - G - A - B - C). This catches my attention as it emphasizes the presence of the chord playing the Eb in the melody, something that will not happen in the next section, which will be characterized by using the base scale and creating new atmospheres with the chords:
| Cmaj7 | % | Bm7 | % | Am | Dsus | G6 | F / G - - D ° 7 |
| A / C # | CmMaj7 | Bm7 | Bm7 (b5) - E7sus4 | Am | Dsus4 | Abmaj7 | G |
The second section begins with the IVmaj7 (Cmaj7) and this is announced by the use of the secondary dominant of the IV (G7) at the end of the first section. continuing the first phrase with chords of the primary key (Bm7 - Am - Dsus - G6). More as the melody will start its next phrase (which is normally similar or equal to the first phrase), it is decided to make the harmony more interesting by adding the following changes.
Instead of Cmaj7, it is decided to place A / C # that could be considered as a color chord that approaches Cmaj7 descendingly, but instead of falling into it, change the third to the remaining chord with CmMaj7. then he uses the Bm7 which is a necessary aural rest because it coincides with the harmonization of the first phrase, then to prepare the entry of Am he uses his secondary dominant (E7sus4) preceded by the second cadential Bm (b5). I note that Harmonically any dominant chord can be replaced by a 7sus4 and that the second cadential that prepares it can be either m7 or m7 (b5).
Finally, instead of directly using the G6 chord to conclude the work, he surprises us with a deceptive cadence, addressing the bIImaj7 (AbMaj7), which, due to the structure of this chord, desperately invites us to address G.
Truly a great piece composed by Yu-Peng Chen, and which was recorded by the Shanghai Symphony Orchestra.
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Social Media Author: Pablo Bobadilla Rider
