Uploaded October 2022 | Updated September 2026, 2 weeks ago
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Time to sit back, relax, and roll some dice with this jazz arrangement of the Lucky Dice / Lucky Medal mini-game music, also doubling as the lobby music for the battle mode.
--------------------
➤ Analysis:
The go-to jazz track in Golden Sun, this accompanies the various mini-games throughout the game, such as Lucky Dice / Lucky Medal Fountains as well as the background music for the link battle lobby. So what does Sakuraba use to create a jazzy atmosphere?
Instrumentation-wise, the original gives us a drum kit & walking bass maintaining the rhythmic and harmonic anchors respectively. A brassy stab punctuates the chord in a syncopated (off-beat) way on occasion. And all are underpinning an improvisatory soloist on top (panpipes).
As such, when orchestrating I decided to use a small jazz ensemble to complement this: a saxophone soloist (replacing the panpipes for more accessibility), a muted brass group, drums and other small percussion, a new piano soloist, and an upright bass (replacing the bass guitar for a more club-like feel). This new instrumentation therefore shifts closer to classic jazz orchestration as if you were having drinks at a bar with a live band on stage.
Harmonically, we remain very simple: oscillating between E major and D major. This allows for the soloist to easily improvise their own material by following these familiar chords. To decorate this, Sakuraba uses added-note chords (chords with notes that go beyond the triad), such as 9ths (D-F♯-A-E; found in the panpipes/saxophone at 0:17) and 6ths (E-G♯-B-C♯; found also in the panpipes/saxophone at 0:06). These added-note chords are particularly characteristic of jazz through the blurring of the tonality.
Further evidence of jazz can be found directly with the cymbals of the drum kit, which are playing the familiar jazz swing rhythm / ride cymbal pattern (dotted: DUN, dun-dun DUN, dun-dun DUN) which is predominant in jazz repertoire, as (of course) are all of the solos: saxophone at 0:04 - 0:28, trumpet at 0:28 - 0:41, and piano at 0:41 - 0:53.
My main addition to this track is the piano, which adds a quasi-improvised accompaniment throughout in addition to its own solo at 0:41, and also a little ending to conclude the track properly (1:43), where I also construct various added-note chords and some false relations (playing the same note with 2 or more accidentals at the same time; here, C and C♯) before concluding on a massive E9 add6 chord (E-G♯-B-C♯-F♯).
(P.S. I don't wanna transcribe jazz solos anymore lmao)
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic & Addictive Drummer.
★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, Addictive Drummer, My Hands :O
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Feeling Lucky, Lucky Dice
#GoldenSun
#Orchestra
#FeelingLucky
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
🎹 Commissions ➤ jshaw.co.uk/commissions
🎮 More Arrangements ➤ jshaw.co.uk/TandA
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Time to sit back, relax, and roll some dice with this jazz arrangement of the Lucky Dice / Lucky Medal mini-game music, also doubling as the lobby music for the battle mode.
--------------------
➤ Analysis:
The go-to jazz track in Golden Sun, this accompanies the various mini-games throughout the game, such as Lucky Dice / Lucky Medal Fountains as well as the background music for the link battle lobby. So what does Sakuraba use to create a jazzy atmosphere?
Instrumentation-wise, the original gives us a drum kit & walking bass maintaining the rhythmic and harmonic anchors respectively. A brassy stab punctuates the chord in a syncopated (off-beat) way on occasion. And all are underpinning an improvisatory soloist on top (panpipes).
As such, when orchestrating I decided to use a small jazz ensemble to complement this: a saxophone soloist (replacing the panpipes for more accessibility), a muted brass group, drums and other small percussion, a new piano soloist, and an upright bass (replacing the bass guitar for a more club-like feel). This new instrumentation therefore shifts closer to classic jazz orchestration as if you were having drinks at a bar with a live band on stage.
Harmonically, we remain very simple: oscillating between E major and D major. This allows for the soloist to easily improvise their own material by following these familiar chords. To decorate this, Sakuraba uses added-note chords (chords with notes that go beyond the triad), such as 9ths (D-F♯-A-E; found in the panpipes/saxophone at 0:17) and 6ths (E-G♯-B-C♯; found also in the panpipes/saxophone at 0:06). These added-note chords are particularly characteristic of jazz through the blurring of the tonality.
Further evidence of jazz can be found directly with the cymbals of the drum kit, which are playing the familiar jazz swing rhythm / ride cymbal pattern (dotted: DUN, dun-dun DUN, dun-dun DUN) which is predominant in jazz repertoire, as (of course) are all of the solos: saxophone at 0:04 - 0:28, trumpet at 0:28 - 0:41, and piano at 0:41 - 0:53.
My main addition to this track is the piano, which adds a quasi-improvised accompaniment throughout in addition to its own solo at 0:41, and also a little ending to conclude the track properly (1:43), where I also construct various added-note chords and some false relations (playing the same note with 2 or more accidentals at the same time; here, C and C♯) before concluding on a massive E9 add6 chord (E-G♯-B-C♯-F♯).
(P.S. I don't wanna transcribe jazz solos anymore lmao)
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic & Addictive Drummer.
★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, Addictive Drummer, My Hands :O
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Feeling Lucky, Lucky Dice
#GoldenSun
#Orchestra
#FeelingLucky

![2022 Trailer Theme (Extended) | The Legend of Zelda: Tears of the Kingdom
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
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An 30-minute extended version of TandAs full transcription and arrangement of the 2022 trailer music for The Legend of Zelda: Tears of the Kingdom.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Massive.
★Game: The Legend of Zelda: Tears of the Kingdom
★Developer: Nintendo
★Publisher: Nintendo
★Composer(s): Yasuaki Iwata, Manaka Kataoka, Hajime Wakai
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library, Massive
★Tags: The Legend of Zelda, Tears of the Kingdom, Nintendo Direct Trailer Theme 2022, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover
#TearsOfTheKingdom
#zelda
#breathofthewild 2022 Trailer Theme (Extended) | The Legend of Zelda: Tears of the Kingdom](https://i.ytimg.com/vi/OCufZxtxYMU/mqdefault.jpg)


![Agatio and Karst | Orchestral Cover
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An orchestral arrangement Ive made of this very sinister theme from Golden Sun: The Lost Age.
➤ Analysis:
This was a tough one! Not only from transcribing the chromaticism, but also trying to recreate the characteristic glissando fall that is in the original.
This is certainly one of Sakurabas more chromatic and dissonant themes, emphasized by the use of the tritone (augmented 4th) and heavy instrumentation. I avoided brighter timbres such as upper winds and percussion to respect the original darker instrumentation.
I might have gone a little too far with the choral and violin effects, but I think the original was sinister enough to merit their use here to create even more chaos.
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun: The Lost Age
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★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, Agatio and Karst, Agatio, Karst, Agatio & Karst, Golden Sun Agatio and Karst
#GoldenSun
#Orchestra
#TheLostAge Agatio and Karst | Orchestral Cover](https://i.ytimg.com/vi/P3Yy-Lpdt6g/mqdefault.jpg)


![Doom Dragon | Orchestral Cover
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*Doom Dragon uses Cruel Ruin!*
Here we go: the most complex of all Golden Suns boss themes, Doom Dragon, now fully orchestrated with sheet music.
🥂 Drinking Game: Take a shot for every time signature change.
➤ Analysis:
The most eccentric of Sakurabas battle themes from Golden Sun, what does he employ to achieve this?
Like all of his battle themes, we are instantly thrust into the action with a massive unresolved suspended 4th chord (D-G-A), with the 5th (A) moving chromatically upward (A-B♭-B-C) alongside the tonic (D-E♭-E-E♭). This creates fierce instability in the harmony, and leads to several semitonal clashes (D vs. E♭ and A vs. B♭)
Metrically, we are in an uncommon 5/8 time signature, displacing the familiar 4 beats in a bar structure with an additional beat, further contributing to the chaotic drive of the opening.
When the first section begins (0:07), we step up a tone into E. The precise tonality of this E is debatable, but the oboe & violin melody would suggest a rather extreme E locrian modality (E-F-G-A-B♭-C-D-E). The locrian mode is the most unstable of all Western modes due to its diminished 5th interval (E-B♭; the tritone, or devil in music as it was once aptly named). A very appropriate use!
From here, the meter changes nearly every bar: 3/4 to 7/16 to 5/8 - it is impossible to follow the beat without repeated listening, creating an immense chaotic structure that jumps from one idea to the next in an instant. Other time signatures used include 12/16, 3/8 and (gasp!) the rare 4/4.
Harmonically, we also receive numerous diminished 7th chords throughout (e.g. 0:09). These chords have a similar instability as the locrian mode due to their diminished 5th interval - here, stacked twice (F & B, and G♯ & D) - conveying continuous harmonic unrest.
At 0:10, we get a brief respite of stability into F Lydian mode (F-G-A-B-C-D-E), which stays with us for 4 bars. The meter of 5/8 has returned to remind us of our hostile scene, whilst we swirl in various arpeggios from the strings and winds. A brief interlude of 3/8 (0:14) leads us to another diminished 7th chord (0:16), climaxing with an immense upward motion before we repeat the opening material once more (0:18).
For this repeat, I developed the material so that it is not an exact repetition, including additional wind runs, juggling the material in different instruments for a new colour, and additional countermelodies in the brass.
At the end (0:29), we rest in 4/4 for a moment with a stable Esus4 chord (E-A-B to E-G♯-B) before progressing into F♯ minor via an interrupted cadence (chord V to VI; E to F♯m; 0:31). This next section is rather stable in 5/8, with some descending chromatic harmonies before an abrupt shift into 12/16 with more diminished 7th chords (0:38).
This leads us to 0:41 - now in 3/4 with a sustained period of safety - in A minor (A-C-E). Here, there is a glimpse of the Dorian mode (A-B-C-D-E-F♯-G) through the progression of A minor (A-C-E) into D major (D-F♯-A).
But then we remember this is a boss theme, and quickly revert to our immense dissonance and 5/8 meter (0:52). In this passage, all hell breaks loose and every instrument seemingly wanders on its own with little cohesion (which is wonderfully appropriate here). The only anchor is that there is some sort of tonal centre on E - perhaps E locrian, our devilishly delightful mode from earlier.
A brief unison interlude in 12/16 (1:00), followed by consecutive tritones (1:04), leads us to our final sections (1:05) in F♯ Dorian (F♯-G♯-A-B-C♯-D♯-E) due to the basses descent to D♯. Here, the time signature remains its most stable - remaining in 5/8 for over 20s - before we repeat.
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 | Orchestral Cover](https://i.ytimg.com/vi/PMjqv0zdHZU/mqdefault.jpg)
![Gaia Rock | Orchestral Cover
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And the final Rock Theme - Gaia Rock - from Golden Sun: The Lost Age, with a new orchestral arrangement.
➤ Analysis:
As Magma Rock was dark and muddy with brass, and Aqua Rock was bright and twinkling, and Airs Rock was breathy with woodwinds, I decided Gaia Rock should be ancient and oriental, as if a relic from some old civilization since Gaia (Earth) encompasses our entire planet with all of its history.
As such, there is a large use of exotic instruments outside of the Western orchestra, such as the Javanese Gong Ageng (0:02), the Japanese Koto Zither/Guzheng (0:35), the Chinese Sho mouth organ (1:03), the Chinese Suona (1:20), the Australian Didgeridoo (0:34), and so on. Of course, there is the option of substituting these for more common Western instruments.
As for the work itself, Sakuraba uses another Phrygian Mode (on E), similar to Lemuria, characterized by the E - F - E progression, occurring throughout the entire work. This clash of Phrygian chords (E minor + F major) creates quite a wonderful dissonance that suggest an oriental otherness (another reason I made use of exotic instruments), which is fitting since the nearby village (Izumo) is celebrating a sacrificial ritual to appease an ancient serpent. Sounds very much like an ancient practice to me! ;)
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun: The Lost Age
★Developer: Camelot Software Planning
★Publisher: Nintendo
★Composer(s): Motoi Sakuraba
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★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, Gaia Rock, Gaia, Golden Sun Gaia Rock
#GoldenSun
#Orchestra
#TheLostAge Gaia Rock | Orchestral Cover](https://i.ytimg.com/vi/Q0W9OiN8e0U/mqdefault.jpg)
![Saturos & Menardi | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
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Hmm, I wonder if these guys are the baddies... what couldve possibly given it away ... 🤔
Enjoy the villains theme from the first Golden Sun, Saturos and Menardi, now for orchestra!
➤ Analysis:
The first of Sakurabas villainous themes from Golden Sun, what techniques does he employ to convey this atmosphere?
The first of these is chromaticism. From the first 2 bars alone, if we look at the melody (the parallel 4ths found in the choir), they move consecutively up and down in semitonal intervals. This creates an intense chromatic clash, particularly when coupled with the bass notes which move in contrary motion chromatically against the melody (0:07; the bass moves up while the melody moves down).
At 0:12, we have some scalic movement, outlining F♯-G-A-B. This could suggest certain tonalities, the most likely being F♯ Phrygian (F♯-G-A-B-C♯-D-E) due to the C♯ in the countermelody. But it could also suggest the more dissonant F♯ Locrian (F♯-G-A-B-C-D-E) which is what it harmonically feels it is moving towards (and would be vastly more appropriate for a villain theme!)
By 0:15, the opening material is repeated. Here, I have added embellishments so that it is not a direct repeat, such as additional chromatic trillings and wind fluttertonguing (a rather unsettling-sounding technique).
We reach a new section at 0:26, with a surprising choice of panpipes taking the melodic role (an instrument highly favoured in this OST). The panpipe melody here outlines the devilish tritone interval (F♯-B♯) - another excellent interval to exploit for a villainous theme. Underneath this, a new syncopated ostinato (an off-beat rhythmic phrase) is repeated by the bass instruments, further destabilizing the material.
The end of this section (0:40) is littered with another technique: false relations. This is where you have multiple accidentals of a note playing at the same time (similar to chromaticism). To identify this, look at the panpipes and violins playing an E♯, while the bass ostinato revolves around an E♮. This creates quite the semitonal clash!
This section is largely repeated at 0:42, but with additional development (octave violins, larger brass ensemble, and choir support). The false relation clash (now at 0:48) is exacerbated in all its evil glory.
And to finish, I wrote a brief outro based off of the opening material.
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, Addictive Drummer 2, Orchestral Tools, 8Dio & Sampleism.
★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, Addictive Drummer 2, Orchestral Tools, 8Dio, Sampleism
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover
#GoldenSun
#Saturos
#Menardi Saturos & Menardi | Orchestral Cover](https://i.ytimg.com/vi/Q8naaqup65Y/mqdefault.jpg)
![Alone (Shebas Theme) | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
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Prepare your tissues and bring on the tears; were all about to cry along with this orchestral cover of Alone (also known as Shebas Theme) from Golden Sun.
Bonus music box arrangement on Bandcamp! ➤ https://bit.ly/TandABandcamp
➤ Analysis:
One of the saddest themes of the franchise, alongside Sorrow and Regret (https://youtu.be/jb5Ygf50Lwk - both in the same key!), how does Sakuraba create a tragic atmosphere through music?
To begin, we open in a minor key (Em; E-G-B). Minor keys are your cheat sheet to creating tragic emotional music, although it is very possible to do so in a major key as well.
This minor tonality is combined with an extremely delicate instrumentation; Sakurabas original was scored merely for strings and a celesta-like instrument. I complemented this by utilizing various bright mallet instruments (singing bowls, hand bells, vibraphone, glockenspiel, celesta, etc.) and expanding the accompanying forces to include soft (yet assertive) brass.
Beginning in E minor (0:03), we quickly drop down to D major with a touch of contrary motion (the parts moving away from each other; note the E dropping to a D, and the G climbing to a D). Symbolically, outward contrary motion denotes things moving away from one another, akin to Sheba being perpetually separated from her people. This harmony moves to B major in 1st inversion (D♯-F♯-B) which can safely return us to our home tonic of Em via a perfect cadence (V-i; B major to E minor).
We swirl for a bit around these two chords, before falling to our good friend the submediant (chord VI; here, C major; C-E-G; 0:15), which jumps surprisingly up an augmented 2nd interval (enharmonically a minor 3rd spelt differently) from C to D♯ - an extremely stark jump, as we return to the tonic.
From here (0:19), the material is repeated with arpeggiated development in the bassline. To complement this, I expanded the instrumentation, and reinstated the classic Sakuraba echoing technique prominent throughout the entire OST (and early 8/16-bit music in general).
As this section closes, we get another repeat of this material with some further development (0:36). Here, strings and choir are added with doleful countermelodies. I added various semitonal dissonances to further invoke this tragic aesthetic (e.g. F♯ + G at 0:42 in the violins). Towards the end, the new strings treat us to a gorgeous major 7th chord (C-E-G-B; 0:48) as we transition into the climax (0:52).
Here, the opening material disappears and we are thrust into an orchestral passage of brass, strings and choir. Although it commences in E minor, we quickly adventure to various distant keys; D minor (1:05) to F♯ minor via a tertiary modulation (1:09) and back to D minor (1:13). These rather distant keys again signify Shebas inherent distancing from her people. In this climax, I also expanded the chordal harmonies to include various missing notes (e.g. E♯ at 1:10) to bolster these utterly melancholic harmonies.
As the section closes (1:17), I decided to add a brief moment of silence rather than looping instantly - an effort to emphasize the final swelling chord and enhance its trailing impact.
And to close us off (2:35), I wrote a brief closing phrase referencing some earlier material, now with additional soli instruments (Schindlers List maaay have popped into my mind here) before culminating on a final E minor chord that slowly swells and tails off into the distant nothingness.
And for fun, I made a little music box version of this arrangement as well ➤ https://bit.ly/TandABandcamp
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic and Cinesamples.
★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, Taylor Davis Solo Violin
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Alone, Shebas Theme
#GoldenSun
#Sheba
#Alone Alone (Shebas Theme) | Orchestral Cover](https://i.ytimg.com/vi/QGmzy2ldGCE/mqdefault.jpg)