Uploaded October 2025 | Updated September 2026, 2 weeks ago
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A 30-minute extended version of TandA's orchestral cover of "Boss Battle" from Golden Sun: The Lost Age, originally composed by Motoi Sakuraba.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, Musio and Addictive Drummer 2.
★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, Addictive Drummer 2
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Boss Battle, Poseidon, Serpent, Serpant
#GoldenSun
#Orchestra
#bossbattle
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A 30-minute extended version of TandA's orchestral cover of "Boss Battle" from Golden Sun: The Lost Age, originally composed by Motoi Sakuraba.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, Musio and Addictive Drummer 2.
★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, Addictive Drummer 2
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Boss Battle, Poseidon, Serpent, Serpant
#GoldenSun
#Orchestra
#bossbattle

![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
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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)
![Doom Dragon (Extended) | Golden Sun Orchestral Cover
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An extended version of TandAs orchestral cover for the final boss theme from Golden Sun: The Lost Age - Doom Dragon.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, Addictive Drummer & 8Dio.
★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, Addictive Drummer, 8Dio
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Doom Dragon Boss Battle
#GoldenSun
#Orchestra
#DoomDragon Doom Dragon (Extended) | Golden Sun Orchestral Cover](https://i.ytimg.com/vi/rGsfawJy53k/mqdefault.jpg)
![A Life Sent On (Extended) | Xenoblade Chronicles 3 Orchestral Cover
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An orchestral cover of A Life Sent On (a variation of the main theme) from Xenoblade Chronicles 3, officially titled A Life Sent On, now extended to 30 minutes.
Dizi performed by SableProvidence.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Xenoblade Chronicles 3
★Developer: Monolith Soft
★Publisher: Nintendo
★Composer(s): Yasunori Mitsuda, ACE, Kenji Hiramatsu, Manami Kiyota, Mariam Abounnasr
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Xenoblade Chronicles 3, Xenoblade, Xenoblade 3, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Main Theme, A Life Sent On, Extended
#xenoblade
#xenobladechronicles
#xenobladechronicles3 A Life Sent On (Extended) | Xenoblade Chronicles 3 Orchestral Cover](https://i.ytimg.com/vi/rW3DdJMp68Q/mqdefault.jpg)
![The Storm | Orchestral Cover
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One of the earliest tracks heard in Golden Sun - the ominous, foreboding bass guitar & co. from the opening storm.
➤ Analysis:
This track was a real challenge to arrange.
The exposed and ominous sound of the bass guitar juxtaposed with the strings fading in from silence are arguably the most iconic elements of this track. And updating the track while attempting to maintain that sparse atmosphere was surprisingly difficult: add too much, and that sense of foreboding is lost; add too little and, well, its just the original track.
Achieving that balance is the true test for any arranger.
Here, the bass guitar opens with a quasi-improvisatory phrase on an F#, seemingly imitating the ba-dump, ba-dump of a heartbeat. In this opening, the metric dissonance is strong, creating a form of additive meter (6+2) which could be notated in numerous ways (e.g. it could also be a metric modulation, but I deduced that would be more challenging to read).
To complement the bass guitar, I subtle effects from synthesizers, waterphones and rumbling drums - a subtle approach to retain that sparseness but still providing additional mystery with modern virtual instruments. As the meter steadies out to 12/16 (0:11), these effects are nearly entirely removed, leaving a single swirling synthesizer swimming in the stereo space.
By 0:22, our classic string crescendos begin from silence, spelling out an F# minor triad (F#-A-C#). With these growths being a pivotal element of this track, I enhanced them with timpani rolls and additional brass to add some extra force.
As the crescendo concludes (0:26), a synthesized wind instrument appears with a disjunct melody on an F# Aeolian scale (F#-G#-A-B-C#-D-E). Here, I placed the material in the panpipes - an instrument favoured by Sakuraba in this OST - to remain close to the aesthetic of Golden Suns soundtrack. The improvisatory drums are retained, but with additional rumbling from a bass drum to boost their scale.
At 0:32, we abruptly jump down a tone into E minor / Aeolian (E-F#-G-A-B-C-D) and repeat the previous 4 measures nearly identically, but transposed. This alternation between F# and E persists for nearly the entirety of the track. The panpipe melody is expanded at 0:42, now back in F#, as we get another growing crescendo. This time however, a choir appears as well as an additional major 7th (the E# trilling away in the violins) for additional tension and development.
As the panpipes climb up to the open 5th (C#; 0:46) at the end of the crescendo, a tubular bell appears - often used as a signifier for bad things (e.g. death). Once more, we drop down to E (0:52) with another crescendo and repeat of earlier material.
But by 1:01, we get something new; the bass guitar departs from its heartbeat ostinato and offers some ascending and descending parallel 5ths moving atop an E pedal. To complement this shift, I add some thin string pizzicatos expanding the bass guitars material and to create a scurrying effect as if to tread carefully.
On returning to F# at 1:11, we get some more new material. And to mark this new addition, the melody is now also doubled with a bright synthesizer with the classic digital delay effect appearing in nearly every Golden Sun track. Further, we also depart from F# and E during this section (moving to G# minor), and so to highlight these new harmonies, I added a soft choir to present them. By 1:21, we return to familiar material.
From here to the end is an identical repeat of earlier material (0:42). But so that it is not an exact repeat, I added new string col legno material for an additional percussive fidgeting. Then at 1:42, we return to our metrically disturbed opening, and the track loops.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, Sampleism, AmpleSound and Steinberg.
★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, AmpleSound, Steinberg
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, The Storm,
#GoldenSun
#Orchestra
#TheStorm The Storm | Orchestral Cover](https://i.ytimg.com/vi/s_z5jk9q89Y/mqdefault.jpg)


