Uploaded September 2017 | Updated September 2026, 2 weeks ago
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An orchestral arrangement I've made of this little theme from Golden Sun, also known as "Altin Peak".
--------------------
➤ Analysis:
Sorry for the wait! It's been a busy few months. Since no official titles for the OST were given, people seem to have rested either on "Altin Peaks" or "Inside Tret", hence the title for this one.
The original audio is surprisingly grim, with several semitonal clashes (see the G# against A at 0:04) and an empty atmosphere given by the use of bare 5ths (A+E) with only the occasional 3rd mediant note. I've emphasized this emptiness by focusing on the bare 5th element throughout.
There is an interesting "False Relation" semitonal clash as well at 0:22 with the G-natural in the bassoons and a G-sharp in the harp, further adding to the unsettling atmosphere.
I added oboes in the final phrase for their painful timbre (in my opinion!) that mimics the bassoons.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun
★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, Altin Peak, Inside Tret, Kolima Forest, Altin, Mine
#GoldenSun
#Orchestra
#TheLostAge
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
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An orchestral arrangement I've made of this little theme from Golden Sun, also known as "Altin Peak".
--------------------
➤ Analysis:
Sorry for the wait! It's been a busy few months. Since no official titles for the OST were given, people seem to have rested either on "Altin Peaks" or "Inside Tret", hence the title for this one.
The original audio is surprisingly grim, with several semitonal clashes (see the G# against A at 0:04) and an empty atmosphere given by the use of bare 5ths (A+E) with only the occasional 3rd mediant note. I've emphasized this emptiness by focusing on the bare 5th element throughout.
There is an interesting "False Relation" semitonal clash as well at 0:22 with the G-natural in the bassoons and a G-sharp in the harp, further adding to the unsettling atmosphere.
I added oboes in the final phrase for their painful timbre (in my opinion!) that mimics the bassoons.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun
★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, Altin Peak, Inside Tret, Kolima Forest, Altin, Mine
#GoldenSun
#Orchestra
#TheLostAge



![Mercury Lighthouse | Orchestral Cover
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The first of the lighthouse themes from Golden Sun - the ominous Mercury Lighthouse - now for orchestra.
➤ Analysis:
As soon as we step inside for the first time, this lighthouse means business.
The tonality is almost entirely obscured, with an opening melody that somewhat resembles E minor (E-G-B; 0:03). But this is quickly blurred with A# s - the devilish tritone interval - and also Ds (the 7th) and both Cs and C# s (the 6th). After the first four measures, we jump up to a tonal center of G (0:10) - a tertiary shift - and then up to A (0:13), allowing us to progress back to the opening tonality of E via a loose plagal cadence (IV - I).
Thus, even with such excitingly excessive chromaticism, there is still a trace of functional harmony here.
What is perhaps the most characteristic element of this track is its glissandi - the sliding between notes. This is most apparent in the opening violins (0:03, 0:10), but I have equally given it to other instruments here, including the clarinets (0:16, 0:22) and of course, the trombones. To complement this characteristic, I have also instructed the string players to play a with a heavier portamento (molto port.), informing them to play with a more aggravated, yet subtle slide between each note.
The synthesizer from the original was a tricky element to orchestrate, so I actually decided to retain it and created a beefy, brassy synth. This adds an overall sizzling to the track.
With that in mind, I pose a question: why did Sakuraba construct Mercury Lighthouse to have rather heavy and dissonant elements? Considering this lighthouse is central to water adepts, shouldnt we expect it to be more soft and flowing like a running stream, perhaps with more twinkling like Aqua Rock?
I think some of these flowing elements are still there - as noted, by the use of the sliding glissandi - but overall I suspect the atmosphere of these lighthouses was intended to be more intimidating, mystic and ancient - like a form of slumbering deity. The theme for Jupiter Lighthouse is similar in this regard, but Venus and Mars differ - with Venus being a glorious fanfare (fitting for the final dungeon of the 1st game), and Mars a fleeting race (fitting for the lighthouse being on a literal cliffhanger).
I would also bring your attention back to the four Rock themes, which mirror the Lighthouse elements - water, earth, fire, air - and in this case, the Rock themes do complement their respective element. So perhaps these Lighthouse themes had to be treated differently as the elemental themes were already covered? Some room for thought!
At 0:29, we shift to the 2nd section. Here, the tonality is completely destroyed; extensive tritones (see the synth), semitonal clashes (see the low strings vs. synth) and a chromatic melody (see the flutes). I welcome anyone to try and suggest the tonality here :D
In 0:41, we get an instant metric shift to what might be 10/8 (namely as that is the lowest common multiple for the metric grouping of 3-3-2-2). We have now shifted loosely to D minor - again, very obscured and chromatic. This phrase is repeated twice, the 2nd time with extra chromaticism through a new countermelody in the horn (0:46).
By 0:52, we reach the final climactic section with parallel open 4ths and 5ths spread across the orchestra. It seemed fitting to add a tubular bell here to mark this building of tension. Tonally, it is tricky to say (shocking, I know), but the melody in the strings would suggest G Lydian (G-A-B-C#-D-E-F#). But since this is doubled a 5th above, it would thus also be D Lydian (D-E-F#-G#-A-B-C#). So, we effectively have bitonality with two Lydian scales at once, although this is very loose.
This material ascends a full tone at 0:58, and I added additional wind material to mark this intense shift. A countermelody appears at 1:05, plucking away in the high winds and xylophone, as the section repeats before we loop to the beginning.
★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, Mercury Lighthouse
#GoldenSun
#Orchestra
#MercuryLighthouse Mercury Lighthouse | Orchestral Cover](https://i.ytimg.com/vi/_fguler9Ht0/mqdefault.jpg)
![Inside the Great Gabomba | Orchestral Cover
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Quite a tricky one to figure out; the ethnic tribal-esque interior of the Great Gabomba statue from Golden Sun!
I created this arrangement backwards; creating the recording before the score (where I usually create the score first), but I think the result was rather satisfactory!
➤ Analysis:
Contextually, we are visiting an ethnic tribal village during one of their ceremonial rituals. Large crowds are chanting and dancing as we enter the massive mechanical powerhouse that is the Great Gabomba Statue.
Sakuraba reflects all of these elements: the African-esque tribal chanting with vocal shouts; the wooden, mechanical clock-like nature of the statue with dry percussion and unending semiquaver rhythms.
As such, I wanted to enhance these elements as much as possible. Thus I used as few Western instruments as possible, opting instead for more ethnic tribal-esque instruments such as Taiko drums, Frame drums, Kalimbas, various sticks and shakers, and several other dry wooden percussion that are more familiar, such as xylophones and marimbas. All of these elements complement the mechanical wooden dryness of Sakurabas original.
The African chanting is also left intact to maintain that sense of tribalism and ritualism.
To analyse some of the material, the track begins with a syncopated (off-beat) passage in the bass guitar, which I have moved to the piano here (0:03). This melody is engulfed with various rhythms, most of which emphasize the constant flow of semiquavers in an unending mechanical loop, as if like a clockwork machine. I have further enhanced these rhythms by providing some additional syncopated passages, notably in the Taiko drums, pulli sticks and wood blocks.
Harmonically, we are starting in A Aeolian (A-B-C-D-E-F-G-A) - a modal key which suggests to us a rural otherness outside of the more common major and minor tonalities - quite appropriate for representing an ethnic tribe. This swims between a tonal center of A - G periodically throughout 0:03 - 0:28. By 0:28, we get an abrupt shift to the relative major - C Mixolydian (C-D-E-F-G-A-Bb-C) - as we modulate into the 2nd section.
Here, the bass melody slowly ascends an A Aeolian scale. To add a bit of treble interest at this passage, I expanded the fluttering semiquavers above with the use of an ornamented acoustic guitar.
Up until this point, the music has been predominantly in a time signature of 3/4. However, I decided to play with this and added a subtle shift into 6/8 (0:47), emphasizing 2 groups of 3 beats, rather than 3 groups of 2 beats. We still perceive the running semiquaver patterns to be in 3/4, so this addition of a 6/8 counter-meter should add some subtly exhilarating rhythmic interest, further enhanced with the return to the opening time signature of 3/4 at 1:00.
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: 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, 8Dio
★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, Great Gabomba Statue, Inside the Great Gabomba
#GoldenSun
#Orchestra
#TheLostAge Inside the Great Gabomba | Orchestral Cover](https://i.ytimg.com/vi/_jSxrffbj38/mqdefault.jpg)

![Freezing Kalt | Orchestral Cover
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An orchestral arrangement Ive made of this lonely, yet chilling little theme from Golden Sun: The Lost Age.
➤ Analysis:
The original audio was particularly empty to symbolize that even the most far-reaching and distant islands are still inhabited, albeit cut off from the world. Thus I tried to keep the orchestration fairly light and cold, with the exception of the climax (of course!) which is quite heavy before trailing off into loneliness once more.
I wasnt too sure on the use of alto flutes at the same time as regular flutes as an orchestra will typically have the flautists doubling the alto flute, and well, here Ive written for both at the same time which is a little unusual!
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, Freezing Kalt, Kalt Freezing, Frozen, Cold
#GoldenSun
#Orchestra
#TheLostAge Freezing Kalt | Orchestral Cover](https://i.ytimg.com/vi/blPot6fIUEg/mqdefault.jpg)
![Felixs Battle Theme | Orchestral Cover
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Here to bring an end to the year - the epic Felixs Battle Theme from Golden Sun, now for orchestra.
➤ Analysis:
Functioning as the general battle theme for The Lost Age, how does Sakuraba convey intensity, aggression and energy?
Like many of his battle tracks, we get an introduction (0:03). Here, it begins with an intense series of ascending diminished 7th chords (e.g. C-Eb-F#-A), creating an exceptionally crunchy ambiguous sound. The tempo (speed) is also rather fast at 160 beats per minute, and melodically the track is packed with rapid 16th notes. Altogether, they create an instantaneous vivid energy - very suitable for a battle.
After the introduction, we shift into F# Aeolian (F#-G#-A-B-C#-D-E) with a grand string melody outlining a major 7th chord (0:07; D-F#-A-C#) alongside a descending harmony. Here, I have expanded this string material with numerous countermelodies and complementary chromaticism.
As we progress into the 2nd half of the phrase (0:12), we expect another 4-measure phrase. But this is a battle track! Thus, we get a 3-measure phrase instead, interrupting the previously established regular phrasing. The trigger for this interruption (0:15) is an intense clash of ascending and descending diminished 7th arpeggios (D-F-Ab-B).
This chord is used as a pivot to modulate from F# to A Aeolian (A-B-C-D-E-F-G) - a tertiary shift up a (you guessed it) 3rd. Here, a lyrical oboe takes over the string melodic role while a glockenspiel provides the subtle countermelody from Sakurabas original. As the phrase enters its 2nd half again (0:22), once more the phrasing is cut short - this time to merely 2 measures - as the strings reclaim their melodic role with some additional added-note harmonies (e.g. major 9ths; 0:24; C-E-G-D).
At 0:25, we begin the pre-climax climb - an exciting passage of fleeting string material, newly added syncopated brass, and additional snare drum counter-rhythms as we slowly ascend harmonically from B to C to D to D# diminished 7th (D#-F#-A-C) accompanied by a swift woodwind scale and brass crescendos.
We have reached the climax (0:31), now in E Aeolian (E-F#-G-A-B-C-D). Here, the strings proudly perform an incredible melody involving 2nd and 6th clashes (e.g. E-F#, C-E-A, and B-D#-G). Accompanying this is our good friend the oboe, now returning with a glockenspiel and harp to provide the classic Sakuraba arpeggio movement, all the while the remaining instruments distort the rhythm with syncopation (e.g. 3 against 2).
This is the first time we get our long-promised regular phrasing (a full 8-measure phrase goes undisturbed). And at 0:43, it even manages to loop for another full 8-measures uninterrupted as the trumpets takeover the string melody, and the strings provide a new countermelody in 3rds. As we conclude in B major, we drop down via a plagal cadence (IV - I; B to F#) for our loop.
On the whole, quite a short battle track (akin to Colossos Battle Theme), but nonetheless exciting in so short a time!
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, Felix Battle Theme
#GoldenSun
#Orchestra
#FelixBattleTheme Felixs Battle Theme | Orchestral Cover](https://i.ytimg.com/vi/bsXhPjaraQQ/mqdefault.jpg)

![Colosso Starts! | Orchestral Cover
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With the excitement around Super Smash Bros., I figured it was time to have a go at orchestrating Sakurabas Colosso themes from Golden Sun, starting with this one!
➤ Analysis:
The piece is highly energetic, with a powerfully driving rhythm (see cellos at the start) and several hemiolas (0:46) which further create the exciting rhythmic pulse.
The original also contained elements of fanfare, with its notable use of trumpets (again with Sakurabas excellent echoing effect, which Ive applied here at 0:46 in the trumpets) and triumphant major key. The additions Ive added (e.g. the woodwind and harp responses of 0:07 and 0:14) further enhance this victorious aesthetic.
Heres to Isaac one day making it into Smash as a playable character!
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Golden Sun
★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, Colosso, Golden Sun Colosso, Colosso Starts
#GoldenSun
#Orchestra
#TheLostAge Colosso Starts! | Orchestral Cover](https://i.ytimg.com/vi/d7XZlKepvHY/mqdefault.jpg)
