Uploaded March 2023 | Updated September 2026, 2 weeks ago
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An orchestral cover of the new boss theme, Critical Clash 2, extended to 30-minutes. Licensed sheet music & parts are also available!
(Yeah, erm, the video was made before the official titles were released. Hence the video having "Decisive Battle 2" as the title :P )
--------------------
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: Octopath Traveler II
★Developer: Square Enix, Acquire
★Publisher: Square Enix
★Composer(s): Yasunori Nishiki
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, 8Dio
★Tags: Octopath Traveler II, Octopath 2, Decisive Battle 2, Critical Clash II, Critical Clash 2, Boss Theme Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, OST
#OctopathTraveler
#Orchestra
#CriticalClash
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An orchestral cover of the new boss theme, Critical Clash 2, extended to 30-minutes. Licensed sheet music & parts are also available!
(Yeah, erm, the video was made before the official titles were released. Hence the video having "Decisive Battle 2" as the title :P )
--------------------
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: Octopath Traveler II
★Developer: Square Enix, Acquire
★Publisher: Square Enix
★Composer(s): Yasunori Nishiki
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, 8Dio
★Tags: Octopath Traveler II, Octopath 2, Decisive Battle 2, Critical Clash II, Critical Clash 2, Boss Theme Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, OST
#OctopathTraveler
#Orchestra
#CriticalClash

![The Battle of Hyrule Field | Orchestral Cover
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Well bloody hell, that took a long time to complete. But here it is - a full sheet music transcription / remix / cover of this intense battle theme from Hyrule Warriors Age of Calamity.
➤ Analysis:
The track is a fusion of two tracks from Breath of the Wilds OST - the Field Battle ( https://youtu.be/fmXUVbqpBw0 ) and the Lynel / Yiga Battle ( https://youtu.be/fmXUVbqpBw0 ) - now with extra strings and sauce.
We begin with an original opening, outlining a massive 6 octave span in the piano as the brass come in with material that contains snippets of the Age of Calamity motif (here, Bb-A-Eb-F - the falling semitone, then ascending tone). The function of this opening is to bombastically prepare us for our tonic by emphasizing the dominant chord (chord V; here, G major). This chord takes up measures 2 & 3, with the 3rd being coloured further with an augmented 5th chord (G-B-Eb) and added 9th (Ab) for that scrumptious semitonal dissonance.
As the intro concludes (0:08), we get a rare and fascinating metric shift - a metric modulation - where the tempo changes according to a previous note value (here, what was previously a crotchet now becomes a dotted quaver; a shift of 1 : 0.75). This material here is the closest link to BotWs Field Battle. At 0:13, the metric modulation is reversed (0.75 : 1) and we resume our original tempo (A TEMPO).
The main track then begins at 0:14, with direct material from the Lynel / Yiga Battle from BotW. This material is built out of rhythmic syncopation (the stresses fall off of the beat), creating an exciting metric ostinato that persists for a good chunk of the track. This oscillates in a Mixolydian fashion between C - Bb.
As the strings enter at 0:22, the do so with surprising dissonance, utilizing C-Dbs and F-F#s - very harsh clashes! As the final violin enters at 0:26, we get a quick syncopated passage in parallel suspended 4th chords (e.g. C-F-G & Bb-Eb-F). Here, we can start to hear some of the pentatonic elements of this track to create a floating, ambiguous harmony with clashes that, in theory, shouldnt work, but are allowed due to the softer dissonances of pentatonicism.
The passage is nearly repeated at 0:30, now with additional instruments and chromatic piano. There is a remarkable amount of dissonance going on that isnt perceived as such - the 1st violins clash their Dbs with the bass Cs, and the 2nd violins F# clashes with the cellos regular Fs.
At 0:44, we get more allusions to the Field Battle, and at 0:52, more pentatonicism appears with strings playing in parallel 5ths, largely missing out the notes D + A (for pentatonicism). More pentatonic material occurs at 1:07, again with more parallel 4ths & 5ths in the strings, and we step up a semitone at 1:21 whilst largely retaining the prior material, now with additional bass movement.
As we drop back down to our tonic (1:37), the piano goes off on a 4-bar tangent while our ostinato continues underneath. At 1:44, we get an expansion of a previous section, now with brass doubling the strings and extra bass flourish.
The piano receives another solo at 2:06 as the strings play a slightly altered version of the ostinato. We get a quick shift to the relative major at 2:14 (here, Eb), before slipping back down to C at 2:18. In our lead up to the final climax, the piano outlines many parallel 4ths & 5ths - more evidence of pentatonicm.
Finally, at 2:29, we get a re-statement of earlier material, now with additional bass movement to add additional harmonic colour, and extra lavish piano phrases. As we prepare to ascend a semitone again (2:41), we get extra juicy syncopation to complement this.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic 8Dio, and my mouth.
★Game: Hyrule Warriors: Age of Calamity
★Developer: Omega Force
★Publisher: Koei Tecmo, Nintendo
★Composer(s): Kumi Tanioka, Reo Uratani, Ryotaro Yagi, Haruki Yamada
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, 8Dio, My Mouth ©
★Tags: Hyrule Warriors Age of Calamity, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Battle of Hyrule Field, battle of hyrule field piano
#HyruleWarriors
#AgeOfCalamity
#Zelda The Battle of Hyrule Field | Orchestral Cover](https://i.ytimg.com/vi/jWz8NY9noQo/mqdefault.jpg)
![Sorrow and Regret | Orchestral Cover
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One of the saddest themes from Golden Sun after defeating the Doom Dragon, now orchestrated.
➤ Analysis:
Appearing after the final boss, this is one of Golden Suns saddest themes (and is often paired with another sad theme that comes just afterwards).
The track begins sparsely; just two voices playing monophonic material, one of which is incredibly quiet. So essentially, most will only perceive one voice playing in the beginning - a very thin texture! For this arrangement, I brought up the quieter 2nd voice (here, in the vibraphone).
This opening harmony lays in a somber E minor - or really, E Aeolian (E-F#-G-A-B-C-D-E) through the descending E-D-C-B progression. Aeolian as a scale (also known as a mode) is historically a tragic one, evoking feelings of sadness and imagery of tears (notably from John Dowlands Renaissance work, Flow My Tears, which is in A Aeolian and follows the same progression Sakuraba uses here).
The entire track essentially follows this same descending progression throughout with only one or two transformations, such as E-D/E-C-B (0:28).
After the first 4-bar phrase, we get a melody - appearing here in the deeper alto flute (0:15). The melody is rather simple, but is overflowing with tragedy through its leaning on semitonal clashes (note the F# at 0:15 which clash against the vibraphone, and recur similarly throughout the track). These same semitonal clashes appear in other instances, such as through major 7th chords (C-E-G-B; 0:34).
At 0:28, a male choir appears, filling out the harmony with techniques such as 4-3 suspensions (B-E-F# to B-D#-F#; 0:50). Here, to prepare for the later addition of strings, Ive added a cello doubling the bass progression.
Then, as the alto flute fades, I decided on bringing a full cohort of strings (0:38) to enhance the sorrowful aesthetic of this track with some yearning violins in octaves, and subtle tragic countermelodies buried within. A tubular bell was also added to invoke the sense of funerals and death, and the guitar was doubled in the harp so that it is not entirely lost in as the strings enter.
Whereas Sakuraba originally concluded the work at 0:53 and looped back to the beginning, I decided on extending the work by another 4 bars (the first time Ive done so with one of these arrangements) in order to allow one final development of the material (and also, the arrangement became very structurally unbalanced without an additional 4-bars!)
For these final 4-bars (0:54), I reintroduced the alto flute, and an additional flute, doubling the melody, and also added a touch more movement to the vibraphone material that occurs throughout by doubling it a 16th note apart in the glockenspiel and celesta (for some added twinkling as if the dripping of tears).
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: 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
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Sorrow and Regret
#GoldenSun
#Orchestra
#SorrowAndRegret Sorrow and Regret | Orchestral Cover](https://i.ytimg.com/vi/jb5Ygf50Lwk/mqdefault.jpg)
![Valak Mountain | Orchestral Cover
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And now, the regular day version of Valak Mountain from Xenoblade Chronicles, fully transcribed with sheet music and an audio recreation.
Many thanks to KibaLight for their 4K Xenoblade footage:
https://youtu.be/SKON7Rc46Zw
➤ Analysis:
Out of the entire Xenoblade OST, only a few of the environment tracks have vastly different day and night versions - Valak Mountain here is one of them, having very little in common with its Night version.
Here, the track opens with soft and somber guitars outlining D minor (D-F-A; 0:02), with a pleasing alternation with the submediant - Bb major (Bb-D-F; 0:05). This alternation occurs often throughout the track.
From this thin opening, the track slowly expands with more guitars, adding some soft semitonal dissonances and rhythmic syncopation for further interest (0:09), as well as alto flutes (could also be regular flutes) beginning their sparse ostinato (0:14). And then, a harp steps in to provide some bass resonance (0:19), also outlining semitonal dissonances with its E appearing underneath a Bb major chord (E against Bb-D-F = F to E semitonal dissonance).
By 0:26, our first melody appears in the oboe; a wonderfully simple phrase that yearns tragically as it outlines a D minor chord (D-F-E; 0:26) and an implied diminished 7th / major-minor 9th (A-C#-E-G-Bb; 0:31) before resolving to the tonic of D minor via a good old perfect cadence (0:34). This phrase repeats identically (0:37 - 0:49), with a slight overhang from the oboe.
The accompaniment instruments continue in soft isolation (0:49 - 1:01) playing the opening D minor / Bb major alternation. At 1:01, there is a mild disturbance to the meter with a short pause (or fermata). This is the only metric dissonance in the entire track and marks the entry of several new instruments.
At 1:02, the prior oboe phrase is repeated, now doubled on a harpsichord (a rather antique instrument, invoking an aesthetic of oldness and richness - like mountains). Additionally, we now have a dedicated bass part - a contrabass pizzicato.
After repeating the earlier oboe phrases, we get an expansion of the phrase at 1:25 with a progression into the subdominant chord, G minor (G-Bb-D) - the first appearance of what should be one of the most commonly used chords in Western harmony, appearing nearly 1.5 minutes in (a remarkably slow development paralleling the slow development of mountains).
Here, a soft string ensemble also enters, quietly providing a secure chordal backing to the harmony, which quickly resolves back to D minor via another perfect cadence (A to Dm; 1:28). Then after a fleeting passage through Bb - Gm - A/Dm - Dm, we rest the phrase on a short dominant pedal (A major; A-C#-E; 1:39), which aurally prepares us for a return to the tonic of D minor, as we have heard previously.
Nope!
Instead, we get an extreme tritonal shift into Eb major (Eb-G-Bb; 1:47) from A major. This abrupt shift comes out of nowhere, and is one of the most unique characteristic of this track.
The melody is now doubled in not just the oboe and harpsichord, but also a soft flute, bright glockenspiel, and soaring violins. The alto flute ostinato shifts its rhythms, and an additional pizzicato is added.
Harmonically, we slip down from Eb to D (1:50), then acting as a perfect cadence into the subdominant - G minor (1:54). Following this is a surprising Dorian progression into C major (C-E-G; 1:56), quickly followed by a tertiary shift up to Eb major (2:00), falling again to D. Here, again the perfect cadence is subverted with a Gm 6th chord (G-Bb-D-E), signalling a repeat of the entire phrase (2:11 - 2:34).
The repeat is not exact, as the melody changes briefly (2:17), and we finally get our perfect cadence resolution to G minor (2:28).
Then, every instrument is silenced except for a lone celesta in D minor (2:34), somewhat resembling the bare harp 5th chords from the Night version. Then, the previous Eb phrases repeat with added string material (2:58).
Finally, the track concludes in G minor, and repeats with a gorgeous plagal cadence into D minor (3:44).
★Game: Xenoblade Chronicles
★Developer: Monolith Soft
★Publisher: Nintendo
★Composer(s): ACE+
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, Vienna Symphonic Library
★Tags: Xenoblade Chronicles, Xenoblade Definitive Edition, Valak Mountain
#XenobladeChronicles
#SheetMusic
#ValakMountain Valak Mountain | Orchestral Cover](https://i.ytimg.com/vi/kTmf7neSPXQ/mqdefault.jpg)
![Gloomy Caves | Orchestral Cover
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A rather tricky one, but here is an orchestral arrangement of the unsettling Gloomy Caves, also known as Mysterious Caves from Golden Sun.
➤ Analysis:
To accompany the explorations of a mysterious cave, or unsettling dungeon, Sakuraba presents us with this unnerving track that juxtaposes functional harmony with uncomfortable atonality.
The track begins predominantly in E minor through the outline of an E minor triad (E-G-B), followed immediately by the dominant of B major in the 2nd measure (0:05; B-D#-F#). But then, we begin to slip away from functionality with a chromatic step downwards to E#-G# (0:10), suggesting C# major (C#-E#-G#) - quite the distant key from the tonic of E minor.
This 4-bar harmonic progression continues again at 0:12, now with an additional string passage soaring high above, further outlining the E minor to B major progression. Then, once again, this snippet of functional harmony is warped into wandering chromaticisms at 0:17. Where previously this short passage suggested C# major, now the tonality is almost fully obscured, highlighting an extreme diminished chord of E#-G#-B (more easily read as F-Ab-B), which descends chromatically before returning once more to the brief respite of functional harmony (0:23).
This juxtaposition of functional and dysfunctional seemingly mirrors the players exploration of an unknown cave; keeping to familiar territory, before wandering off to some place new, then back to the familiar, followed closely by discovering something else new.
A stark change occurs at 0:32 with a sudden shift to a 5/8 meter, decimating the previously functional 3/4 meter. Here, the tonic of E minor is withheld somewhat, but we are treated to some unsettlingly dissonant stabs built on major 7th + sharp 11th chords (e.g. F-B-E seen in the trumpets of measure 13; 0:33), which are such uncommon chords that their name could easily be called any number of things.
After these chords jump out and scare us, we return to the more functional 3/4 meter (0:41), but now almost entirely atonal with no discernible tonic center: the woodwinds flurry around and chase each other in a darkly chromatic sense; the violins and vibraphone repeat an ostinato that could debatably be tethered to B major; and the lower strings fall slowly downwards in a chromatic spiral unrelated to the other material. We are most certainly in alien territory here.
With the entry of the panpipes (0:51), we get a small addition of melodic material that attempts to solve this atonal harmonic puzzle; the first measure potentially swims around C minor/major (C-Eb-G / C-E-G; 0:51), but this is thwarted by the G# appearing in the violins and vibraphone. Thus atonality remains the likely contender here.
By 1:01, we return to the 5/8 material heard previously at 0:32, again outlining a tonic pedal on E, and with our good friend the F-B-E chord. However, where the previous appearance of this material (0:32) retained its functioanl 4-bar phrasing, here this is reduced to an unnatural 3-bar phrase, further adding to the uncomfortable aesthetic.
After this persistent juxtaposition of functionality and dysfunctionality, we finally get some closure with a more traditional modulation into the subdominant - A minor (A-C-E; 1:06). But, keeping with the unsettling theme, this respite does not last for long as Sakuraba introduces the tritonal augmented 4th interval (D#), found in the violas of m.29 (1:11), constructing a diminished chord (A-C-D#) suggesting that something is still out of place.
This creeps down chromatically at 1:17, before returning once more to A minor, now also with a dominant 7th chord being suggested at 1:24 with the appearance of D# and F# over a pedal of A. This dominant 7th is completed at 1:30, now with the B in the bass, preparing for a perfect cadential return to the opening in E minor.
★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, TLA, GS, Golden Sun Orchestra, Golden Sun Cover, Golden Sun Remix, Golden Sun Arrangement, Gloomy Caves, Mysterious Caves
#GoldenSun
#Orchestra
#GloomyCaves Gloomy Caves | Orchestral Cover](https://i.ytimg.com/vi/l8APZZgCvzI/mqdefault.jpg)



![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)