Uploaded September 2018 | Updated September 2026, 2 weeks ago
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A full transcription I've created of this favored theme from Bravely Default, alongside a recording I created to test its accuracy.
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➤ Analysis:
Colloquially known as the "Tiz & Agnès Theme", this lovely little theme more or less uses the same melodic material throughout in C# minor, with a little development section at 1:10 modulating to the relative major (E major).
As is typical of Revo, there is an extensive use of wind chimes/orchestral bell trees to mark a transition at the end of a phrase (seen here at 0:00, 0:45, and 1:36). It is only appropriate, then, that there is a fun drinking game; take a shot every time you hear the wind chimes in a Revo piece!
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The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
Feel free to check out "Feroyn's Flute" - an excellent free recorder sample library that I've used for this transcription: vstbuzz.com/freebies/feroyns-flute
★Game: Bravely Default
★Developer: Silicon Studio
★Publisher: Nintendo/Square Enix
★Composer(s): Revo and Linked Horizon
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries, Feroyn's Flute
★Tags: Bravely Default, Bravely, Default, Bravely Default OST, Bravely Default Soundtrack, Revo, Bravely Default Beneath The Hollow Moon, Hollow Moon, Tiz, Agnes, Tiz and Agnes
#BravelyDefault
#BeneathTheHollowMoon
#SheetMusic
🎵 Sheet Music & Parts ➤ musicnotes.com/l/9z9PS
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
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🎵 Apple Music / iTunes ➤ bit.ly/TandAApple
A full transcription I've created of this favored theme from Bravely Default, alongside a recording I created to test its accuracy.
--------------------
➤ Analysis:
Colloquially known as the "Tiz & Agnès Theme", this lovely little theme more or less uses the same melodic material throughout in C# minor, with a little development section at 1:10 modulating to the relative major (E major).
As is typical of Revo, there is an extensive use of wind chimes/orchestral bell trees to mark a transition at the end of a phrase (seen here at 0:00, 0:45, and 1:36). It is only appropriate, then, that there is a fun drinking game; take a shot every time you hear the wind chimes in a Revo piece!
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
Feel free to check out "Feroyn's Flute" - an excellent free recorder sample library that I've used for this transcription: vstbuzz.com/freebies/feroyns-flute
★Game: Bravely Default
★Developer: Silicon Studio
★Publisher: Nintendo/Square Enix
★Composer(s): Revo and Linked Horizon
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries, Feroyn's Flute
★Tags: Bravely Default, Bravely, Default, Bravely Default OST, Bravely Default Soundtrack, Revo, Bravely Default Beneath The Hollow Moon, Hollow Moon, Tiz, Agnes, Tiz and Agnes
#BravelyDefault
#BeneathTheHollowMoon
#SheetMusic
![Mars Lighthouse | Orchestral Cover
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Mars Lighthouse, the 4th and final lighthouse from Golden Sun, now for orchestra.
➤ Analysis:
Mercury, Venus, Jupiter, and now Mars. Weve spent days on this quest as both protagonist and antagonist; journeying far to the north to save Weyard from crumbling away; to find our final objective nearly ready to topple off the edge of the world into the darkness below, dooming Weyard forever ... it is quite the climax. How can we convey this severity?
We open with a single swift melody racing ahead in unison (0:03), swirling up and down in an E Aeolian fashion (E-F#-G-A-B-C-D) as if complementing the gusts of wind that aggressively blow from the approaching abyss. This opening passage is quickly repeated (0:09), now with even more unison in 4 octaves, stretching out to 5 octaves by the end of the phrase (0:13).
From here, we jump instantly into F# Aeolian (0:16; F#-G#-A-B-C#-D-E), led by a fleeting panpipe melody sitting atop a syncopated bass ostinato. But time is of the essence, and so we quickly shift via a tertiary modulation into A Aeolian (0:22; A-B-C-D-E-F-G) for 4 measures, giving us the ability to drop back to our tonic of E via a plagal cadence (0:28; IV - I; here, A - E).
At 0:29, the opening rapid material returns in multiple octaves with a new panpipe melody sitting atop and chromatically descending stopped horn (0:34). By 0:36, this expands outward to 5 octaves, now also with the brass joining in the race with an abundance of dovetailing.
By 0:43, we shift to an exotic E major Phrygian scale (E-F-G#-A-B-C-D), utilizing the Hijaz tetrachord (E-F-G#-A) in a fantastically dissonant fashion (note the juicy crunch of E-F-G#). To complement this, we receive a syncopated bouncy bass ostinato, as well as a challenging piccolo trumpet melody soaring high above the dissonant chaos below. The piccolo and flute appear to take over the material that is too high for even a piccolo trumpet (0:52), as the ensemble then plummets far into the abyss that awaits the lighthouse (0:54).
Time is running out, as we step up once more to F# minor (0:56) with an earnest arpeggio that ascends urgently upward through F# minor - G diminished - G# minor - A minor. To enhance this severity, trombones rise and fall in their dynamics, and a ticking temple block runs amok. This material is expanded in 3rds and 6ths at 1:03 with additional counterpoint from a piccolo trumpet.
As we near the end, we reach one of the most dissonant passages in the entire soundtrack. We have managed to climb up to a dominant pedal (note the B in the bass instruments - the dominant - or 5th - of E) and watch from atop the lighthouse towards the growing abyss far below as the wind continues to spiral around.
But why is this part dissonant? Well, atop our dominant pedal we have chromatically descending triads starting with B minor (B-D-F#). With each new triad, we get a harsh clash against the dominant pedal (e.g. the next triad - Bb-Db-F - has a semitonal clash against B). But thats no all - the violins also go insane with a seemingly random flurry of swirling notes.
This dissonance is exacerbated at 1:16 as the violin material is doubled a tritone below (the most extreme Western interval) while the triad descent and dominant pedal continue, creating a suspenseful clash of sound that descends chaotically and urgently off the edge of the world.
As the chaos ends, our dominant pedal is allowed to enact its primary function, and we can now loop back to our tonic of E with no problem (1:22).
One hell of a final dungeon theme!
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Sampleism.
★Game: Golden Sun: The Lost Age
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Sampleism
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Mars Lighthouse
#GoldenSun
#Orchestra
#MarsLighthouse Mars Lighthouse | Orchestral Cover](https://i.ytimg.com/vi/muUvAFd3Bxg/mqdefault.jpg)

![Ankohl Ruins | Orchestral Cover
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The exotic and foreign ruins of the Ankohl Ruins from Golden Sun, now for ethnic and orchestral instruments.
➤ Analysis:
One of the trident towers, alongside Tundaria Tower (https://youtu.be/2u0n2mjfkm0) and the Shrine of the Sea God (https://youtu.be/4MnBJcj4Msg), the Ankohl Ruins is a dungeon containing one piece of the 3-part trident used to defeat Poseidon.
Where Tundaria Tower was themed around ice and Shrine of the Sea God around water, the Ankohl Ruins are themed around Earth, in particular, sand. The ruins themselves are based off the real-world Angkor Ruins, Cambodia - notably the ruins of Bayon which themselves are famous for their numerous large stone faces (faces of which similarly appear in the Ankohl Ruins here).
Due to this close relation to a world location (sick rhyme, I know), I tried to orchestrate as closely to the culture of Cambodia as I had access to. That includes numerous mallet instruments (Byeon, Katana, Pamade, etc.) as well as gongs and their close neighbour, gamelan. But to keep this orchestration as a ... you know ... orchestration, all of these parts are alternatively playable on more familiar Western instruments (xylophone, marimba, vibraphone, tubular bell, etc.), which is what I have scored here, with optional exotic percussion if available doubling at free will. Plus the usual string ensemble helps retain that orchestral aesthetic.
To analyse the track, we open in an exotic pentatonic tonality (also a great rhyme) - only using 5 notes; E, G, A, B & D. For further interest, this is pitted against a simple polymeter of 3/4 & 6/8 (two time signatures playing at once), creating the duality of simple and compound time.
As we grow to our 2nd section (0:23), we break out of our pentatonic tonality and progress into a loose E Aeolian mode (E-F#-G-A-B-C-D) - the modality of which helps to convey the atmosphere of an ancient culture due to its old heritage. To play with this idea of modality, I slipped in the occasional Dorian note to enhance this exotic modal flair (C#; 0:37 in violins).
Melodically, we remain very simple in Aeolian, though with some parallel 4ths and 5ths adding to the ancient aesthetic due to their association with drones and plainchant. Harmonically, we also remain simple - pivoting between an E & D root note.
By 0:43, we shift back into pentatonicism (E, G, A, B, D) as the mallet percussion takes over the melodic role. At 0:53, this is complemented by the rest of the ensemble in a final 4-measure phrase of Aeolian modality before we loop.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Ankohl Ruins
#GoldenSun
#Orchestra
#AnkohlRuins Ankohl Ruins | Orchestral Cover](https://i.ytimg.com/vi/od72FD4wXYw/mqdefault.jpg)

![Garoh (Golden Sun) | TandA x VVGO
Featuring 30 musicians and in collaboration with the Virtual Video Game Orchestra (VVGO) for their 2022 Summer Mixtape, please enjoy our virtual performance of Golden Suns Garoh.
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
Check out our previous live project Wintery Imil, featuring 40 performers!
➤ https://youtu.be/EFO9rAg5KvI
Want to hear the full mixtape or participate in future projects? Come and join the VVGO Discord - all skill levels welcome! :D
➤ https://discord.gg/mt8EZdsrc6
➤ https://vvgo.org/
Check out the VVGO YouTube page for the full Summer Mixtape, plus our other Golden Sun project, featuring over 450 submissions!
➤ https://www.youtube.com/c/VirtualVideoGameOrchestra
★ A massive thanks to ★
My co-host, Neshirys, for assisting in organizing the whole thing, in addition to creating the gorgeous artwork and graphics used in the video. Do please check out their other work and support them on Ko-fi!
➤ https://linktr.ee/Neshirys
➤ https://ko-fi.com/neshirys
The video wizard, Jordy de Lat, for never being satisfied with 100% and always going for 200%, creating phenomenal videos and graphic design. Do please check out their incredible work!
➤ https://www.youtube.com/c/Sector8
➤ https://www.artstation.com/cloudjor
VVGO and their executive directors for creating such a wonderfully collaborative environment of fellow musicians that share a love of video game music!
➤ https://vvgo.org/
Also a huge thank you to my patrons for supporting this channel and this project:
➤ 泽正 孙
➤ 新宇 劉
➤ Alaska
➤ Alex B
➤ Anders Viktor Kvile
➤ Andrew Wilson
➤ Aurore Louviaux
➤ The Carlos V
➤ Carrie Wood
➤ Christopher Peterson
➤ Dan
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➤ Elie Hess
➤ Elliot McAuley
➤ Ernest
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➤ Hydros
➤ Ivan Salcedo
➤ Jahudiel Helí
➤ James Alegria
➤ Jared Le Doux
➤ Jeremy Goh
➤ Joker
➤ Kurihara Hiroki
➤ Matthew Buscemi
➤ Mesmerist
➤ Michael Holmes
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➤ Music Scores
➤ Platix Zhan
➤ POPTART
➤ Qing Luo
➤ Raúl Sangonzalo
➤ Relaxmoods.com
➤ Rémy Goux
➤ Saderb
➤ SageNine Music
➤ Schreiber
➤ Sclax
➤ SDanckaert
➤ Sean Endress
➤ Sharmander
➤ Shindonghyuk
➤ SkyguyLP
➤ Solomon Krygier-Paine
➤ Stanley Muzylowski
➤ Timon Kalis
➤ ViolinGamer
➤ Zach Ernst
Garoh from Golden Sun
Composed by Motoi Sakuraba
Arranged by Jonathan Shaw
Project Hosts
➤ Jonathan Shaw
➤ Neshirys
Audio Editor ➤ Jonathan Shaw
Video Editor ➤ Jordy de Lat
Illustrator ➤ Neshirys
Graphic Designer ➤ Nella Siedlińska
VVGO Executive Directors
➤ Finny Jacob Zeleny
➤ Grace Fiacco
➤ Jackson Argo
➤ Jose Daniel Ruiz
➤ Justin Levine
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Garoh, A Full Moon in Garoh
#GoldenSun
#VVGO
#Garoh Garoh (Golden Sun) | TandA x VVGO](https://i.ytimg.com/vi/p6huYT3SYdc/mqdefault.jpg)


![The Golden Sun Rises | Orchestral Cover (#GoldenSun20)
🌞 Happy Golden Sunday! 🌞
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August 1st 2021 marks 20 years after the release of the first Golden Sun game, and what better track to celebrate with than the glorious ending credits music, The Golden Sun Rises.
With thanks to Artificialraven for their Golden Sun footage:
https://youtu.be/PLHfXKEhTr0
➤ Analysis:
Weve finally made it - the long and epic quest to save Weyard has finally come to its conclusion. And for a special treat, Sakuraba gives us one of his most triumphant fanfares to date. The material itself is remarkably simple, but simplicity often leads to fantastic music (less is more, as they say).
We open in C minor (C-E♭-G) - a sad tonality, yes, but the harmonic journey we take afterwards is what evokes our feeling of triumph and victory. We fall down to the 7th (0:07; B♭-D-F), and once more to the 6th (0:09; A♭-C-E♭) with some wonderful contrary motion (two parts either moving away or towards one another) in the brass and bass to spell out a victorious major 7th chord (A♭-C-E♭-G). This chord quickly climbs back to B♭ before dropping down (unusually) to the dominant minor (0:11; G-B♭-D).
This harmonic journey is accompanied by a wondrous brass fanfare in octave unison, all the while the strings provide a countermelody, and the winds and mallets offer the iconic Sakuraba arpeggios.
Continuing onward, we step upward to A♭ and progress back to our tonic of C minor (0:15), where the winds and strings ascend and descend up and down. We then progress to F minor (the subdominant; F-A♭-C), back to the dominant minor (G-B♭-D), and rest safe and sound in our tonic, C minor.
This 8-bar phrase is then repeated, now with even more fanfare and grandeur provided by additional string unisons, wind melodic support, and choir.
By 0:37, we get a brief development section. We modulate into the subdominant (F minor), but interestingly with a minor 9th added-note chord (F-A♭-C-E♭-G). This chord resolves inward via contrary motion, creating a gorgeous minor 7th (G-B♭-D-F) which quickly takes us back to C minor. But we quickly fall back to F minor (0:41) and commence an upward ascent (F - G - A♭ - B♭). This ascension could very well be a signifier for the rising of the Golden Sun - or, at the least, it holds the emotional power to convey as such.
This 4-bar phrase is repeated once more (0:45), now with additional forces as we climb towards the final climax (0:53). I consider this next 8-bar phrase to be the most glorious of the entire Golden Sun OST.
We start in the tonic (C minor). The bass steps down to B♭ while the melody remains on the 3rd (E♭) creating an absolutely magical suspended 4th chord (B♭-E♭-F) which resolves as we would expect to B♭ major (B♭-D-F). Then we get some contrary motion as the bass steps down to A♭ while the melody climbs back up to E♭, creating an exhilarating opportunity for a major 7th chord (A♭-C-E♭-G) which resolves inward via even more contrary motion to B♭, before finally dropping down to the dominant minor, G minor.
For the final 4-bars (1:01), we climb upward to A♭, B♭ and reach our tonic of C minor, before one final journey into F minor, G minor and back to C minor.
For a track that only explores 5 chords, there is a significant power here that few other ending tracks have been able to achieve. The use of simple harmonies decorated with contrary motion and added-note chords creates an unforgettable fanfare that I shall look forward to hearing one day when I finish playing through Golden Sun HD on the Switch.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, The Golden Sun Rises, Credits Theme
#GoldenSun
#NintendoPls The Golden Sun Rises | Orchestral Cover (#GoldenSun20)](https://i.ytimg.com/vi/qntjZrNXRiU/mqdefault.jpg)

![Ivan and Hama | Orchestral Cover
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An orchestral arrangement of this peaceful Golden Sun theme.
➤ Analysis:
Also known as Ivans Theme and A Little Friendship, this nostalgic track is remarkably simple. It could be argued that its small, fragile nature is reflective of Ivans character, but as there are no official titles for these tracks, it is more likely a coincidence and the main reason that fans have colloquially linked the track to Ivan.
The main characteristic of this track is the syncopated pizzicato strings that persist throughout its entirety (0:02), emphasizing a 1-2-3-1 rhythm in a 4/4 time signature.
On top of this sits a delicate synthesized melody (which I have orchestrated here in the clarinet) swimming simply around E major and its related chords: B major (the dominant; 0:06); C# minor (the relative minor ; 0:09); G# minor (the mediant; 0:13); and A major (the subdominant; 0:17). Those are the sole few chords used in this track outside of occasional added note embellishments (e.g. a major 9th at 1:04). This sparse harmony reflects its rather small aesthetic.
There is a panpipe accompaniment for a good portion of the track (which I have expanded to cover the entire arrangement by shifting it into the clarinets at 1:00). This rather breathy instrument is commonly used by Sakuraba throughout the entire Golden Sun OST, and could be linked to wind adepts (bit of a stretch ;) ).
After the first 8-bar phrase, I decided on adding a counter-melody to accompany the rather isolated solo clarinet (0:31) to add further interest to some static moments and help prepare for the busier 2nd section (1:00) where Ive added a distant female choir and a childish soprano recorder accompanying the panpipe melody.
While the arpeggios of 1:01 were originally in a synthesizer (the material of which I had previously given to the clarinet), I decided to place them in the harps here to blend better with the other instruments and allow me to retain the Sakuraba echoing effect in a less intrusive manner. While an echoing effect was also used with the initial melody (0:03), I decided to remove it so to not needlessly complicate what was a very simple, delicate melody.
Otherwise, I added some additional percussion; such as a suspended cymbal to help bridge the transition between sections; and a triangle and tambourine bounce off of one another on rare occasion to help convey the small-ness of the track.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and 8Dio.
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Sampleism
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Ivan, Hama, Hamma, Ivan and Hama, Ivan & Hama, Ivans Theme, Ivans Theme
#GoldenSun
#Orchestra
#IvanAndHama Ivan and Hama | Orchestral Cover](https://i.ytimg.com/vi/qzII6bnv4vc/mqdefault.jpg)
![Prologue (Book One) | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ https://bit.ly/TandABundle
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🎵 Apple Music / iTunes ➤ https://bit.ly/TandAApple
The longest Golden Sun track - the extended main theme, Prologue (Book One) - now orchestrated with the glorious fanfare it deserves.
➤ Analysis:
The full main theme for Golden Sun, and its longest track (clocking in at over 3 minutes!), how does Sakuraba present a memorable theme for the grand quest we are about to take?
We open with a cohort of strings assisted by timpani and bass drum, treading 4 crotchets to invoke march-like elements as it expands outward in contrary motion, as if we finally set foot in the overworld as the land opens before us.
This is the main theme (motif) for Golden Sun, beginning quite traditionally in A major. By the 3rd measure, we get a fascinating expansion of the meter from 4/4 to 6/4 as well as a Mixolydian shift down to G (0:06; not typically found in A major). This is followed by a triumphant-sounding tertiary shift from G to E major (0:10), preparing us for a brief perfect cadential return to the tonic (0:12).
But this quickly modulates to the relative minor - F# (0:12) - along with more expanding contrary motion, as the bass moves downward while the melody soars upward. Then, a descending sequence occurs, now doubled in the oboe and clarinet for additional support and counter-material, as well as additional strength from a tuba.
As the full motif ends at 0:21, it then repeats. I have added additional brass fanfare doublings, as well as extra drums to enforce the march-like qualities further, and at 0:31, the winds join in for added excitement as the theme progresses to its relative minor segment.
This time, the motif is extended with an additional repeat of the relative minor segment (0:39). To reflect this, I added a glockenspiel to double the melody so that it is not an exact repeat.
At 0:48, an A Mixolydian / D major section begins: the violins play a delicate ostinato outlining a suspended 4-3 chord; the bass descends in Mixolydian fashion from A-G-F#; and the melody swims proudly around A major, creating some major 9th chords (0:52). This 4-bar phrase repeats again (0:56), with a new melody in the oboe, doubled by a celesta and now with additional brass swellings.
At 1:04, we get a gorgeous modulation into F major from A (another exciting tertiary shift) as the strings take center stage, following a straightforward progression of F - Dm - Bb - C, with added-note decorative 7ths and 9ths throughout for some scrumptious color. I enhanced this section with a subtle choir and exaggerated the swellings of 1:16 with additional instruments.
A new section begins at 1:20, now modulated into C minor. The oboe sings a doleful tune, as a countermelody is intriguingly placed in the bass instruments. A new ostinato appears in the strings - a crunching minor 9th dissonance - which I have doubled with piano and muted trumpets to round off this new color. Even as the melodies modulate through different chords, this ostinato remains unchanged, creating significant clashes to further signify the new woeful aesthetic.
This 8-bar phrase is repeated at 1:37, now in the violins and doubled up an octave in the winds. The minor 9th ostinato has jumped down an octave. I decided to exaggerate the initial 2-crotchet rhythm in the ostinato in order to add more interest to an otherwise unchanged 16-bar ostinato.
By 1:53, an interrupted cadence brings us back to our tonic of A major as the main theme returns. Here, I decided on giving the material to a brass quintet, and then shifting this with seamless dove-tailing to a wind quintet (2:02), supported by pizzicato strings and with an additional countermelody.
At 2:11, we begin building towards the climax with an 8-bar tonic pedal as the violins outline a Mixolydian phrase. This pedal pays off at 2:27 as the main theme returns with the full orchestra.
As the theme finishes, we get some new material (even as the theme nears its end!), giving us one last glorious tertiary modulation into F Lydian for one final hurrah as the track triumphantly returns to A major to finish with a bang (3:00).
★Game: Golden Sun
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Golden Sun, Orchestra, Orchestral, Remix, Cover, Main Theme, Prologue (Book One)
#GoldenSun
#Orchestra
#MainTheme Prologue (Book One) | Orchestral Cover](https://i.ytimg.com/vi/rCKGQqJAsTI/mqdefault.jpg)