![]() ![]() In the sliding part at the start, the song loops until you enter the tunnel. Starts on F, B♭, then loops through D, C, F, E♭ and G♭. When you light the jellyfish path, it will trigger a soundtrack mostly in B. Will finish on D♭ in the music when you hit the cutscene before the first manta trapped in darkness. Will finish on G once the background music has finished. If you've traveled from Prairie Social Space & Butterfly Fields, the background music will still play. Will use your key from where you last were. Will finish on D♭ after background music is finished. If you've just opened Sky, it will use the key from the loading screens, i.e. Will use the key from where you last were. Note that an area which has no background music will not set your key to a new one. This avoided subconscious player discomfort caused by discord between music and sound effect. Ritsu: The tone of many sound effects are pitch shifted in real-time according to the music key. Which technical detail are you most proud of? In an interview with FMOD, the Sky sound designer mentioned this technical detail. The Upper or Lower (the Graveyard) Swamps in Golden Wasteland.Some places that give you the C major key include: These include Music Sheets 1, 2, 3, HH3, HH4, and others. The majority of music sheets are in C major. If you are familiar with the game locations of the tracks and have access to the OST, that page may also be helpful. The Original Sound Track (OST) page does include the in-game keys for some tracks. Where to find all 12 major scales - Sky- Children of the Light ![]() If you prefer a video, here's a guide to help: Infographic by Clement#8978 on Discord (posted with permission) Here is an infographic summarising this section, made by Clement#8978 on Discord. ![]() However, these are not the only places that support a specific key of your choice, though notably the most convenient. Below, you'll find suggested locations for specific keys. Often, you'll have to wait a while for the music to quiet down before starting your practice/performance session. There are some theoretical exceptions to this of course, but then again, there always are.Currently, you can only get specific keys by going to certain areas that have the right notes in their background music. In this respect, the general rule that you use for writing scales can also be applied to modulating to different keys: use sharps to get to a "sharp" key, use flats to get to a "flat" key. That is why they are called "accidentals" - because they reflect a harmonic or notational intent of a composer that isn't possible with the current key signature. Unless you're reading atonal or serial music, notes with accidentals largely have some sort of harmonic function attached to them. That said, the use of accidentals with respect to a key change are greatly affected by what the intended harmonic function is. Expressing E major as Fb major would be both unnecessary and is technically impossible as it would constitute 8 flats for the key signature including double flats which aren't used often, except for special circumstances. Putting a scale of flats in E major would be very confusing and unwieldy as E major contains four sharps and musicians are much more accustomed to reading sharps in keys where sharps naturally occur such as E, A, or B major for example. To answer your question broadly, you should always use what is going to read easiest for the performer.
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