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Ascending the snowy mountain at the center of the Sinnoh region, you trip on a large, oblong object buried in the snow. Bending down to examine the object, your eyes widen as you realize what you've come across as you turn to your friend and say "is that.... an EWI (electric wind instrument)?"
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I am so happy to be presenting you guys with this video today. Like, unbelievably happy! My original arrangement of the Mt. Coronet theme was completed nearly 5 years ago, uploaded on August 1st 2015. I was originally challenged by Sab Irene to arrange this song, and I took her up on it, finishing the original video in just a couple of days! This song was one of the most challenging I songs I had ever arranged, and to this day, it’s grown to be one of my favorite arrangements I’ve ever produced! I’ve wanted to play it with a live band for so long, and putting it together with the Sinnoh Fusion Ensemble was a bit difficult, but so rewarding!
This song isn’t easy at all. There are quite a few time signature changes, and a lot of really intricate and specific parts for each instrument. It took quite a few rehearsals to nail everything down quite how I liked it, but we got there in the end! The “chorus” that comes in at right around 1:15 is one of my favorite things I’ve ever arranged! The Dbma7 | Gmi7/D | Eb6 | C7/E chord progression there is one of my favorite chord progressions, as it’s very nicely voice-led, and it’s come to represent Sinnoh as a whole to me! I ended up using this chord progression in other tunes as an allusion to the Mt. Coronet theme (you’ll see these “other tunes” later!)
One of my biggest victories while arranging this song was figuring out that I could use the EWI to replace the synth bass part in the original at the 1:34 mark. I knew that EWI would be a great fit for the opening melody lines unison with the piano, so I planned to use it, going back and forth between it and the sax throughout the tune, but I hadn’t considered how effective the low range of the EWI would be at getting that sick synth bass sound. It’s also just quite surprising seeing a relatively small instrument generating such a deep low and big sound like that, but it makes sense! In the end, it’s a synthesizer. There’s also an added piano cadenza at about 3:17 to match the rubato piano arpeggio section in the original song, which I always felt a little bit bad about skipping over, very happy with the texture created by the violin harmonics and the wind chimes in the background!
Of course, I’ve got to mention the Lingus bit at 3:36. People at the live shows laugh every time they hear that, haha, I sort of meant it as a joke originally! The song / arrangement is definitely inspired quite a bit by Lingus (horn soli at the end of the song, half time dubstep beat in the drums, etc), so I thought it’d be funny to reference that one specific bit as a more specific jab!
I really hope you enjoy this remastering of my old arrangement of this tune!
Electric Violin - Emily Gelineau
Trumpet - Lachie Day
Trumpet - Richard Stanmeyer
Tenor Saxophone - Carlos Eiene
Tenor Saxophone - Trace Zacur
Trombone - Auden Durant
Electric Guitar - Spiro Dussias
Piano (Solo) - Yoko Suzuki
Rhodes, Synth - Jonathan Huber
Electric Bass - Alan “Speedy” Peralta
Drumset - Francis Peña
Percussion - Ricky Matute
Recording Engineer - Joel Edinberg
Mixing & Mastering - Carlos Eiene
Videography - Peter Gillette, Jen Bongarzone, Frank Muniz, Madeline Motyczka
Video Editing - Carlos Eiene
♫ "Mt. Coronet" from "Pokémon Diamond & Pearl" composed by Go Ichinose
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