


Song of DEMETER (Hellsing Ultimate)-Hayato Matsuo
피아노, 피아노 61키
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연주영상
난이도: 보통
2 페이지
주요 정보
- 악기 2
- 피아노피아노 61키
- 페이지
- 2
- 난이도
- 보통
- 악보 종류
- 2단
- 편성
- 솔로
- 가사 유무
- 포함
- 코드 유무
- 포함
- 악기
- 피아노, 피아노 61키
- 페이지
- 2
- 난이도
- 보통
- 악보 종류
- 2단
- 편성
- 솔로
- 가사 유무
- 포함
- 코드 유무
- 포함
"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.