NoOneLaysHere's melodies
Full name of the game is "Aselia the Eternal -The Spirit of Eternity Sword-" (a.k.a. "Eien no Aselia -The Spirit of Eternity Sword-"). Title screen theme. Since this could mostly fit on a musicbox with 15 notes, I took the opportunity to do so. Notes below C4 are removed.
Original by NicolArmarfi. No transposition (, which is why I uploaded this variant). (With Grand Illusions 30 F scale. i.e. "Melody type" selected in editor is "Grand Illusions 30 (F scale)".)
Original by NicolArmarfi. Transposed by a major third.
Tempo should be 170. Transposed an augmented fourth. L.H. omitted.
Transposed a major seventh. L.H. raised 2 octaves. Switches from 4/4 to 3/4 after the initial section.
Original by NicolArmarfi Transposed by a minor third. L.H raised an octave for some sections. Instances of notes changing to fit in: (15x)G♯3->G♯4 (after transposing).
Original by NicolArmarfi Arranged by Mirrormn Note: -pair of triplets (approximated here) near the middle; -ritardando at the end (not followed here). Transposed by a perfect fifth. L.H. raised by an octave (L.H. notes sometimes overlap R.H's). Three instances of notes changing to fit in: (2x)E♭4->G♭4 & G6->G5 (after transposing). (There's a 2-beat measure near the middle if you're wondering why the white/grey stripes invert in the editor.)
Transcribed onto a 30-note music-box, and transposed such that B becomes D, E becomes G,etc.. Two notes, C♯4 and C♯6, are omitted (after transposition). Near the end, it shifts to 3/4. The last bit at the end is raised by an octave. I'm having a small issue with the L.H. part. I most likely won't be uploading a version with both parts playing together as is any time soon.
Transcribed onto a 60-note music-box. There are supposed to be some arpeggios, but I decided not to play them (i.e., those notes are played all at once here, instead of having them be quickly played one after the other). Actual tempo differs slightly from the one played here (seems to be in-between 111bpm and 112bpm). This follows more closely to 海老福's arrangement than the original (both are very similar, anyhow). I don't actually have a 60-note music-box to play this physically, but I just love hearing this on a music-box (even though it's probably just a midi). An unusual piece to transcribe, considering I've only done pieces whose range can fit on a 30-note music-box. Although I could just raise/lower the pitch of each section to fit, I rather listen to this one without doing that.
Transcribed onto a 30-note music-box. There are some groups of three 24th notes. Those are too quick, and are instead played as 16th notes with the first of the notes by itself, while the second and third are together. (Basically, an approximation.) This happens ten times. The L.H. part is raised two octaves. Because of this, it plays next to the R.H., and sounds a bit messy as a result.
Transcribed onto a 30-note music-box. There are some groups of three 24th notes. Those are too quick, and are instead played as 16th notes with the first of the notes by itself, while the second and third are together. (Basically, an approximation.) This happens ten times.
Transcribed onto a 30-note music-box, and transposed such that G becomes F, B becomes A, etc.. There's a triplet at the beginning (it's supposed to play the first three notes in an eight note worth of time) and right before the middle section. Individual parts of the song each have their pitch raised/lowered in octaves variously to fit in. It sounds a bit messy from how I transposed the parts.
Transcribed onto a 30-note music-box. The melody is supposed to be more of a swing than the approximation I made. It's something to keep in mind when punching in the holes. Some of the arpeggios were inverted due to have the notes be in the playable range, so it sounds a bit off. The tempo may not be right.
Transcribed onto a 30-note music-box. Individual parts of the song each have their pitch raised/lowered in octaves variously to fit in. Some notes were omitted. The notes are at times too close and become dissonant. The trills play at half speed.
Transcribed onto a 30-note music-box, and transposed such that F becomes D, C becomes A, etc.. Individual parts of the song each have their pitch raised/lowered in octaves variously to fit, in addition to a few notes that are too high pitch after this change (e.g. C♯6/D♭6 lowered to C♯5/D♭5, G2 raised to G3, etc.). Technically more of an arrangement, despite quite following the original, since it's intended to end and not loop at the end, among other things. * At the end, there's a ritardando. If playing with a physical music-box, slow the piece down gradually until at half tempo at the end (starts at the second out of the three 4-eight-notes-then-rest chain at the end). I was about to discard to this version and re-do it by transposing it to another key. In the end, I instead discarded that version and went along with this one. I accidentally uploaded/published that other one in an unfinished state (I meant to save it), but I quickly deleted it soon after.
Transcribed and transposed onto a 30-note music-box. I'm not aware of this song having an English title. Some G6 were too high pitched to play, so they are instead played as D6. The final note is also a G6, but it is instead played with G5 and D6 at once. Unfortunately, the way I have the L.H. play sounds horrid (dissonant) when raised two octaves, playing next to the R.H.. So it is unlikely that I upload both parts playing together as it is.
Transcribed onto a 30-note music-box, and transposed such that E becomes G, B becomes D, etc.. The two groups of four ascending eighth notes should be played about 10% slower than the rest (at 130 bpm instead of 148 bpm). I've made a small tweak to better follow the original, which is to continue the original motif at the end. The L.H. plays two octaves higher.
Transcribed onto a 30-note music-box, and transposed such that E becomes G, B becomes D, etc.. The two groups of four ascending eighth notes should be played about 10% slower than the rest (at 130 bpm instead of 148 bpm). I've made a small tweak to better follow the original, which is to continue the original motif at the end.
Transcribed onto a 30-note music-box, and transposed such that D becomes E, and A becomes B, etc.. The L.H. plays two octaves higher. The actual tempo should be 184. Instead, it's played at 92 bpm with half distance between beats. The actual time signature switches between 5/4 to 3/4. Displaying at 3/4 has the 3/4 sections be shown off by a quarter note, so instead I select the 4/4 rhythm, so as to have the beginning of each measure align a fifth or a third of the time (depending on the playing time signature). (This only matters when punching the holes in, if at all.) There are some G6 notes that can't be played. They are instead played as B♭5/A♯5. For the L.H., the E♭4/D♯4 notes can't be played. Instead, G4 will be played for those notes. This unfortunately changes the pattern the L.H. plays by quite a bit.
Transcribed onto a 30-note music-box, and transposed such that D becomes E, and A becomes B, etc.. The actual tempo should be 184. Instead, it's played at 92 bpm with half distance between beats. The actual time signature switches between 5/4 to 3/4. Displaying at 3/4 has the 3/4 sections be shown off by a quarter note, so instead I select the 4/4 rhythm, so as to have the beginning of each measure align a fifth or a third of the time (depending on the playing time signature). (This only matters when punching the holes in, if at all.) There are some G6 notes that can't be played. They are instead played as B♭5/A♯5.
Transcribed onto a 30-note music-box, and transposed such that F becomes G and D becomes E, etc.. The 8 glissando-like notes (the ones at the end of the fast section) have been raised by an octave relative to the rest. The L.H. part is raised by two octaves. Because of this, it sounds somewhat messy. Many notes would not fit if it is only raised by a single octave (those with sharps/flats).
Transcribed onto a 30-note music-box, and transposed such that F becomes G and D becomes E, etc.. The 8 glissando-like notes (the ones at the end of the fast section) have been raised by an octave relative to the rest.
Transcribed onto a 30-notes music-box, and transposed, such that B becomes E, G becomes C, etc.. This transcription follows more closely to an arrangement by akikiki than the original. The notes played with the L.H. are raised by an octave. The last note for the L.H. part is raised instead by two octaves (, else it'd be a G1 instead of G3). Another exception is in the area where the stripe (the "measure") is numbered as 123 to 138 (where length is approx. 977 to 1104), inclusive. In this area, the L.H. is not raised by an octave, i.e. it plays at the original relative pitch to the R.H., by the arrangement. There's a lot of staccatos throughout the arrangement, but the nature of a music-box (or a simple one at least) prevents the ability to properly perform staccatos. * At the end, there's a ritardando. If playing with a physical music-box, slow the piece down gradually until at half tempo at the end, the last five measures (technically seven, but the last two measures are empty–those two are omitted here)—for reference, the R.H. near the end is playing whole notes.
Transcribed a piano arrangement onto a 30-note music-box, and transposed it so that G becomes B, and C becomes E, etc.. The L.H. part is too low pitched, so its pitch has been raised by two octaves. As a consequence, many of the notes overlap. Due to restrictions in the range of playable notes, the five E♭4/D♯4 notes (after being transposed) near the very end cannot be played. They are instead replaced with B3. The lowest notes the L.H. plays in the 3/4-time section have been raised by another octave (3rd in total). Those notes are E♭4/D♯4, F4 and G4 (into E♭5/D♯5, F5 and G5). The E♭4/D♯4 doesn't exist as a playable note on the music-box, which is precisely the reason why the notes were raised by another octave. The song switches mid-way into 3/4-time, then back to 4/4-time. That being the case, the rhythm may not match with the grey/white stripes when printed. ** Two triplets (6 notes total) are supposed to be played near "measure" 41 (where the length is approx. 325), but aren't played correctly here. A fix could be to triple the tempo and stretch the notes accordingly to play at the same perceived tempo, and then fit in the triplets. However, that would overly lengthen the paper (when/if printed). So instead, I propose to manually fix the notes into triplets by using a ruler/doing by eye, when punching the holes for a physical music-box. They are located in the 3/4-time section, when the R.H. plays different notes than the rest of the section. In the meantime, they will be approximated to sound like triplets.
Transcribed a piano arrangement onto a 30-note music-box, and transposed it so that G becomes B, and C becomes E, etc.. The L.H. part is too low pitched, so its pitch has been raised by two octaves. As a consequence, many of the notes overlap. Due to restrictions in the range of playable notes, the five E♭4/D♯4 notes (after being transposed) [played by R.H.] near the very end cannot be played. They are instead replaced with B3. The twenty-seven E♭4/D♯4 notes [played by L.H.] in the 3/4-time section are replaced with D4. It sounds dissonant, but the other note choices sound just as bad. Perhaps the problem could be alleviated by raising the lowest L.H. notes in that section by another octave. The song switches mid-way into 3/4-time, then back to 4/4-time. That being the case, the rhythm may not match with the grey/white stripes when printed. ** Two triplets (6 notes total) are supposed to be played near "measure" 41 (where the length is approx. 325), but aren't played correctly here. A fix could be to triple the tempo and stretch the notes accordingly to play at the same perceived tempo, and then fit in the triplets. However, that would overly lengthen the paper (when/if printed). So instead, I propose to manually fix the notes into triplets by using a ruler/doing by eye, when punching the holes for a physical music-box. They are located in the 3/4-time section, when the R.H. plays different notes than the rest of the section. In the meantime, they will be approximated to sound like triplets.
Transcribed a piano arrangement onto a 30-note music-box, and transposed it so that G becomes B, and C becomes E, etc.. Due to restrictions in the range of playable notes, the five E♭4/D♯4 notes (after being transposed) near the very end cannot be played. They are instead replaced with B3. The song switches mid-way into 3/4-time, then back to 4/4-time. That being the case, the rhythm may not match with the grey/white stripes when printed. ** Two triplets (6 notes total) are supposed to be played near "measure" 41 (where the length is approx. 325), but aren't played correctly here. A fix could be to triple the tempo and stretch the notes accordingly to play at the same perceived tempo, and then fit in the triplets. However, that would overly lengthen the paper (when/if printed). So instead, I propose to manually fix the notes into triplets by using a ruler/doing by eye, when punching the holes for a physical music-box. They are located in the 3/4-time section, when the R.H. plays different notes than the rest of the section. In the meantime, they will be approximated to sound like triplets. Technically a work in progress, since the L.H. part has yet to be added. Some parts near the beginning may seem lacking due to how some of the rhythm is supposed to be played with the L.H..
Transcribed onto a 30-notes music-box, and transposed, such that B becomes E, G becomes C, etc.. This transcription follows more closely to an arrangement by akikiki than the original. There's a lot of staccatos throughout the arrangement, but the nature of a music-box (or a simple one at least) prevents the ability to properly perform staccatos. * At the end, there's a ritardando. If playing with a physical music-box, slow the piece down gradually until at half tempo at the end (last five measures—for reference, the R.H. near the end is playing whole notes). Only the melody part is transcribed.
Transcribed Sarabande from BWV1010 onto a 30-notes music-box, and transposed ,such that G becomes E, C becomes A, etc.. The song is also played in the visual novel Katawa Shoujo. This transcription follows more closely to the latter than the original. Due to restrictions concerning the playable range of the 30-notes musicbox, a single note could not be played (the C♯6 is instead played as a D6, after transposing). By doubling the distance between beats and doubling the tempo too, the trill can be made to play twice quicker. However, since the trill only contains 24 notes instead of 27 (actually 28, but the last one is silent), it is still slightly slower than the one present in Katawa Shoujo.
Transcribed Sarabande from BWV1010 onto a 30-notes music-box, and transposed, such that G becomes E, C becomes A, etc.. The song is also played in the visual novel Katawa Shoujo. This transcription follows more closely to the latter than the original. Due to restrictions concerning the playable range of the 30-notes musicbox, a single note could not be played (the C♯6 is instead played as a D6, after transposing). Also, because the intervals between beats is so large, the trill could not be played as fast as needed. This version is kept for sake of having a more compact one than the faster trill variation (in terms of printing-onto-paper).
Transcribed onto a music-box, and is slightly modified. This has the L.H. is transposed one octave above itself (i.e. B3 turns into B4, C4 into C5, etc.) [L.H.->Left Hand, R.H.->Right Hand. As used for a pianist.]. This allows the L.H. to play E♭/D♯ when it otherwise cannot. The middle section thus doesn't have moments without notes being played. For the rest, on multiple occasions it overlaps the R.H., so the melody is a bit drowned.
