


Song of DEMETER (Hellsing OVA)-松尾 早人
ピアノ, ピアノ61鍵盤
オーディオファイル提供
演奏動画
難易度: 中級
2 ページ数
主要情報
- 楽器 2
- ピアノピアノ61鍵盤
- ページ数
- 2
- 難易度
- 中級
- 楽譜の種類
- 2段楽譜
- 編成
- ソロ
- 歌詞有無
- 有り
- コード有無
- 有り
- 楽器
- ピアノ, ピアノ61鍵盤
- ページ数
- 2
- 難易度
- 中級
- 楽譜の種類
- 2段楽譜
- 編成
- ソロ
- 歌詞有無
- 有り
- コード有無
- 有り
"Song of DEMETER" is the opening track of the first official album for the Hellsing Ultimate OST (released under the title Black Dog for the Hellsing OVA anime series, as it's known in Japan). In the anime, however, it is used as the ending theme for episode five, following the London bombing.
This haunting choral piece features original Latin lyrics written by Mami Hamada (best known for the much more famous Gradus Vita) and was composed by Hayato Matsuo. It has the character of a somber yet peaceful requiem, using the Dorian mode to strike a unique balance between minor and major tonalities.
The arrangement was transcribed entirely by ear and written by me. It opens with powerful octaves to match the grandeur of the original chorale. From there, I preserved as much harmonic density as possible using rich block chords, aiming to reflect the layered texture of the choir. In the verse, I incorporated into the left hand the harp-like arpeggios from the original track to add a sense of forward motion—something the piece benefits from.
I would place this arrangement at an early-intermediate level, though of course that depends on your experience. It demands clarity in voicing—without strong emphasis on key melodic notes, the texture can quickly become muddy.
"Song of DEMETER" is the opening track of the first official album for the Hellsing Ultimate OST (released under the title Black Dog for the Hellsing OVA anime series, as it's known in Japan). In the anime, however, it is used as the ending theme for episode five, following the London bombing.
This haunting choral piece features original Latin lyrics written by Mami Hamada (best known for the much more famous Gradus Vita) and was composed by Hayato Matsuo. It has the character of a somber yet peaceful requiem, using the Dorian mode to strike a unique balance between minor and major tonalities.
The arrangement was transcribed entirely by ear and written by me. It opens with powerful octaves to match the grandeur of the original chorale. From there, I preserved as much harmonic density as possible using rich block chords, aiming to reflect the layered texture of the choir. In the verse, I incorporated into the left hand the harp-like arpeggios from the original track to add a sense of forward motion—something the piece benefits from.
I would place this arrangement at an early-intermediate level, though of course that depends on your experience. It demands clarity in voicing—without strong emphasis on key melodic notes, the texture can quickly become muddy.