Deer Of Healing

We start this cue with introducing some synthesizers in contrast to the rest of the score, which is mostly played with an ordinary orchestra. This is a completely new location, so a new timbre is needed. As Ashitaka walks around, an ominous chord progression (Csus2(b5) - C(b5) - Csus2(#5) - Caug) emerges. This progression stays exclusively in the C whole tone scale, which is the exact scale that the Great Forest Spirit Theme uses. Yet, after this loop, it always rises one whole tone up, until we reach the root note G#. As Ashitaka thinks that the wolf tribe was here, we get a little hint of the Wolf Tribe Theme in high violin. During this section, we can hear the synth harp, signature instrument of the Great Forest Spirit Theme, improvising a bit in the C whole tone scale. Suddenly, a subtle D diminished chord, played with clarinets, breaks the whole tone scale. But, as Ashitaka sights something in the far distance, all of the notes that are contained in a C whole tone scale are being played at once with a big C in the bass. Over that, tubular bells are playing a C whole tone scale based melody over and over again (C - G# - A# - F#). We see the reaction shot of Ashitaka and the exact same musical line repeats, but only with a G whole tone scale. The Great Forest Spirit reveals itself for the first time as a deer and one single C on the synth harp stops the music.

But not for long. The arm of Ashitaka suddenly twists and turns in weird ways, because of the demon. The score returns to a more orchestral texture and whole tone scale runs play in flutes over the Demon Theme in clarinet. His arm calms down and a C whole tone scale is being played by the harp, which switches to the synth harp as we see the Great Forest Spirit moving on. Ashitaka stands up again and the Ashitaka Theme plays under a C whole tone scale. The camera shows us a shot of the forest, which is quiet again and a Csus2(#5) chord, played with synthesizers, can be heard one last time.

Ashitaka is back on track and the Ashitaka Theme plays again under C whole tone runs. As Kohroku thinks his arm is not broken anymore, the Kohroku Theme plays for comedic effect, ending the cue.