Uploaded September 2017 | Updated September 2026, 2 weeks ago
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With the recent announcement of a 4th installment on the way, I thought it right to make a transcription of the "Main Theme" (officially titled "Quest for Butter") from Age of Empires 2, alongside a recording to test the score.
--------------------
➤ Analysis:
This theme, alongside the many map themes, is an absolute classic. Rippy creates an illusion of the Medieval period through instrumentation, with a reliance on flutes, reeds, horns and a even a harpsichord (which might be a little too early for the medieval period, but it still works!). I wasn't entirely sure on the oboe, but it was the closest sounding timbre I had available, though it may very well have been a Medieval wind instrument.
And yes, the official title is really "Quest for Butter" (look up your game files if you have it downloaded!), as well as many other inventive names and phrases that could rival Shakespeare. Here's to the 4th installment!
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Age of Empires 2: Age of Kings
★Developer: Ensemble Studios
★Publisher: Microsoft
★Composer(s): Stephen Rippy
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: Age of Empires 2, Age of Empires II, Quest for Butter, Main Theme, AoE2, AoEII, Age of Empires OST, Age of Empires Soundtrack
#AgeOfEmpires
#MainTheme
#SheetMusic
🎵 Sheet Music & Parts ➤ musicnotes.com/l/cg7w4
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With the recent announcement of a 4th installment on the way, I thought it right to make a transcription of the "Main Theme" (officially titled "Quest for Butter") from Age of Empires 2, alongside a recording to test the score.
--------------------
➤ Analysis:
This theme, alongside the many map themes, is an absolute classic. Rippy creates an illusion of the Medieval period through instrumentation, with a reliance on flutes, reeds, horns and a even a harpsichord (which might be a little too early for the medieval period, but it still works!). I wasn't entirely sure on the oboe, but it was the closest sounding timbre I had available, though it may very well have been a Medieval wind instrument.
And yes, the official title is really "Quest for Butter" (look up your game files if you have it downloaded!), as well as many other inventive names and phrases that could rival Shakespeare. Here's to the 4th installment!
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using the brilliant EastWest sample libraries.
★Game: Age of Empires 2: Age of Kings
★Developer: Ensemble Studios
★Publisher: Microsoft
★Composer(s): Stephen Rippy
★Software: Sibelius 7.5, Cubase Elements 7, Adobe Premiere Elements 15, EastWest Sample Libraries
★Tags: Age of Empires 2, Age of Empires II, Quest for Butter, Main Theme, AoE2, AoEII, Age of Empires OST, Age of Empires Soundtrack
#AgeOfEmpires
#MainTheme
#SheetMusic


![Lamakan Desert | Orchestral Arrangement
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Ew... My clothes are drenched in sweat! This is gross! ... says Mia as we listen to an orchestral arrangement of this sweltering desert heat theme from Golden Sun.
➤ Analysis:
Appearing in all 3 deserts of the series, how does Sakuraba achieve a hot, desert-y sound?
To start, we are using an octatonic scale (a scale of 8 notes; E-F-G#-A-Bb-B-C-D) based on a Phrygian dominant / Hijaz scale on E (with the extra 8th note being the Bb). Right off the bat, thats your fast track to oriental sounding music thanks to the augmented 2nd interval (F-G#; essentially a minor 3rd). Nearly the entire track simmers around this scale.
In the original, Sakuraba uses a plucked instrument, bass guitar and drums, followed later by strings and a sizzling synthesizer. To complement this ensemble (and the desert aesthetic), I decided to use melodic instruments primarily from India (Sarod, Tanpura), but also supporting East Asian instruments to enhance the oriental feel (Dizi, Taikos). The harpsichord also assists in adding a sizzling timbre to the melody.
Further, I expanded the percussion - a pivotal aspect of Sakurabas original. Not only do we now have Taikos, but also bright, shimmering chains as well as percussive techniques in the strings (col legno - striking the strings with the wood of the bow; and snap pizzicato - aggressively plucking the string so it snaps back against the wood).
Harmonically, we remain close to our opening E Phrygian Dominant scale (+Bb) throughout, shifting briefly to A minor a few times - the subdominant (chord IV; 0:15 & 0:48).
At 0:35, we get a fascinating disruption to the meter as the groupings suddenly depart from regular 4-beats per measure. Instead, we get a division of 3 + 5 beats, still adding up to the regular 4-beats per measure (3+5=8, 8/2=4), but temporarily displacing it. The use of parallel 4ths here also alludes to the oriental aesthetic through its pentatonic connotations. Due to these 4ths, we also get a surprising F# chromatic note (outside of our Phrygian dominant scale).
Due to the importance of these parallel 4ths, I scattered more of them throughout the track via the strings and harpsichord (0:08, 0:14, etc.). They also make a grand return in the final phrase (1:14); the bass instruments are given parallel 4th material, surprisingly, with the dominant note of the chord at the bottom (e.g. in scale on E, B would be our dominant - the 5th note - so these 4ths are stacked B to E, creating the 4th interval with the dominant at the bottom). This low use of parallel 4ths evokes an almost ritualistic daunting sound - perhaps due to low droning 4ths/5ths often found in ancient religious chanting.
In the final phrase, where Sakuraba used a sizzling synthesizer, I decided to use a solo violin (probably an unusual decision). Why not use a brass instrument; perhaps a trumpet? The problem is that the material of the final 2 measures contains rapid 32nd notes. Originally, this material stretched over 3 octaves from E to B, so finding an appropriate instrument to fit that range was tricky (and a trumpet wouldnt quite fit comfortably). Thus, I chose a solo violin with great agility, while also re-pitching the material to be playable in its range and also retaining a shining scratchy timbre to better suit the desert aesthetic.
Enjoy!
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, Vienna Symphonic, 8Dio, AmpleBass and my own set of chains (dont ask).
★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, 8Dio, AmpleBass
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Lamakan Desert, Desert Heat
#GoldenSun
#Orchestra
#LamakanDesert Lamakan Desert | Orchestral Arrangement](https://i.ytimg.com/vi/vughgpIr0TY/mqdefault.jpg)
![Non-Adept Battle Theme | Orchestral Cover
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Finally back with another Golden Sun arrangement, chosen by YOU! The battle theme against non-adept enemies, notably Briggs and Moapa.
➤ Analysis:
Acting as the combat music heard when battling either Briggs or Moapa, how does Sakuraba create tension?
Like many of his battle themes, we begin with a dissonance anacrusis (an upbeat) that thrusts us in to the action. Here, he achieves this by pitting a two chromatic scales a tritone apart (E - B♭) that are also travelling in contrary motion (the bass moves upward, while the melody moves downward). The tritone interval itself is particularly special due to being the most unstable interval in our Western 12-tone equal temperament (the Diabolus in Musica or Devil in Music). Altogether, this creates a mighty dissonance.
After this, C minor (C-E♭-G; 0:03) is established as the tonic. But this only remains for 2 bars, shifting abruptly into D minor (D-F-A; 0:07), quickly followed by a tertiary modulation to F♯ minor (F♯-A-C♯; 0:09). Within 10s, we have travelled a tritone away from our tonic (C - F♯). This then fluctuates between E minor (E-G-B) and F♯ minor (0:11) for a moment, with some additional chromatic glissandi in the trombones and strings, before culminating in a tritone jump from F♯ to C minor (0:17).
Here, Sakuraba repeats the opening material, so for development, I added an extended clarinet and violin countermelody (0:23) as well as adjusting the forces of the E to F♯ oscillation (0:26), including a new violin countermelody (0:30).
Next, we enter our B section, modulating up a semitone into G minor (G-B♭-D; 0:34). Here, the harmony remains relatively stable, offering a common descending pattern of G - F - E♭ - D. Contrarily, the rhythm provides most of the energy here, switching to a loose 3-3-3-3-2-2 / 3-3-6-2-2 emphasis (see the clarinets and middle strings). As the section repeats (0:41), I added a new countermelody in the horns to add some development to this repeat.
For the final section (0:50), we receive an interrupted cadence (chord V to chord I; here D major to E minor), signalling the end of the G minor section as the music transitions essentially into double time (twice as fast, with the harmony now shifting every 2 beats rather than 4 beats). Whereas the previous section was focused on harmonic descent, this section is focused on harmonic ascent, moving up from Em - F♯/D - G - G♯/E - Am. Sakuraba uses 1st inversion chords to achieve this upward ascent in the bass (1st inversion = the 3rd of the chord / mediant is in the bass).
We get a juicy tertiary modulation from Am to F♯ (0:54), acting as a secondary dominant of Em (chord V of chord V; here F♯ to B), allowing us to return to Em for a final repeat of this section (0:58).
And to close us off, I wrote a concluding phrase (2:07) utilizing snippets of the opening trumpet melody (0:03), and resting finally in E minor, funnily enough (very distant from our opening tonic of Cm!)
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest, 8Dio 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, 8Dio, Vienna Symphonic Library
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Non-Adept Battle, Briggs, Moapa
#GoldenSun
#Orchestra
#Briggs Non-Adept Battle Theme | Orchestral Cover](https://i.ytimg.com/vi/wEQ859T-dYM/mqdefault.jpg)

![Venus Lighthouse | Orchestral Cover (2020)
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After going dark 3 years ago, 2020 will bring a new dawn with a new arrangement of Venus Lighthouse from Golden Sun.
➤ 2017 Version: https://youtu.be/4TXNNp705O8
➤ Analysis:
Venus Lighthouse - the final dungeon of the original Golden Sun bringing us one of its most iconic tracks.
We commence in a strong F# Aeolian (F#-G#-A-B-C#-D-E) with a triumphant brass fanfare sitting atop a syncopated and energetic bass ostinato. To complement this rhythmic dissonance, I added a measured tremolo in the strings.
Harmonically, we sit on an F# pedal for some time with the harmony above progressing through F# minor - G# diminished (G#-B-D) - F# minor - E. Then we slip down to the submediant (chord VI; D major - D-F#-A; 0:06) for a brief excursion before climbing back up to F# minor and concluding the phrase on an imperfect cadence on chord V (C#-E#-G#; 0:09).
This shifts upwards via an interrupted cadence back to D, followed quickly by E, and again to our tonic of F# minor. All the while, the trumpets establish an inverted pedal on F#, colouring this ascending harmony to form added note chords (e.g. E major 9th; E-G#-B-F#; 0:13). To conclude the phrase, we have a final shift back to the submediant (0:16).
This opening material is then repeated, now with added woodwind and string flourishes, as well as piano support (0:18). A marked difference in this repeat is the ending harmony; at 0:29, we get a surprise shift into the tonic major (F#-A#-C#) instead of minor. This creates a more triumphant tertiary shift (e.g. the Fellowship theme from Lord of the Rings).
At 0:33, we begin the 2nd section in the submediant (D). Here, the strings and twinkling percussion take over the melodic role with a countermelody in the choir (now doubled in the horns and piano). Harmonically, we continue to traverse between the submediant and tonic (VI - VII - i) with some gorgeous added note chords from the countermelody (e.g. 7th at 0:33 & 9th at 0:39). As this 4-measure phrase repeats, this melody is expanded into octaves with fleeting woodwinds.
By 0:48, we repeat the opening triumphant material, now with additional melodic support from the trombones (0:48) and horns (0:50), later joined by the violins and flutes (0:57).
Following this, we get a surprising modulation into F Lydian (1:03; F-G-A-B-C-D-E; extremely distant from F# Aeolian) with a strong ostinato in the flutes, clarinets and harp to accompany a resolutely descending and ascending violin melody. In the repeat of this phrase, I added additional material in the trumpets to complement this melody.
After pulsing between F and G chords, we climb up to A major (1:18; A-C#-E; another triumphant tertiary shift of A to F). We are now scraping the climax of the track as we climb up another tone to B major (1:20; B-D#-F#). From here, we get an fantastically exciting tritone shift down to F major. To accentuate this, I added numerous sliding glissandi to sweep us through this remarkable shift.
From here, we climb again to G major and ultimately drop down another tertiary shift to E major (E-G#-B; 1:23), priming us to return to our tonic of F# via an interrupted cadence.
➤ FAQ:
➤ What are all these random little notes on the right side (Cubase)?
When MIDI programming, I use presets that have shortcuts known as keyswitches. These allow you to trigger between different patches on the go without having to use multiple channels for each patch (e.g. one for sustain, one for staccato, etc.). These random notes are what trigger these keyswitches. Ive decided to start including them on the videos since they are an important part of MIDI programming.
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, Vienna Symphonic Library, EastWest Sample Libraries
★Tags: Golden, Sun, Golden Sun, The Lost Age, Golden Sun: The Lost Age, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover, Venus Lighthouse
#GoldenSun
#Orchestra
#VenusLighthouse Venus Lighthouse | Orchestral Cover (2020)](https://i.ytimg.com/vi/wvM8pouK3Ck/mqdefault.jpg)
![Title Theme (Zelda: Links Awakening) | Orchestral Cover
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Heres a full sheet music transcription of Nagamatsus quirky arrangement of Links Awakenings Title Theme, or Main Theme.
➤ Analysis:
With this being a Zelda Title Theme, we expect a grand over-the-top orchestral explosion of adventurous sound, preparing us for the most incredible gaming experience yet made! ... Which makes the surprise all the more accentuated when we find this is not the case.
Following an overall aesthetic of cutesy-ness, Nagamatsu has orchestrated the original track using predominantly a woodwind septet. Woodwind instruments are perhaps the most delicate of the orchestral instruments (outside of perhaps solo strings), and the additional use of a recorder on the main melody (0:23) complements the cute aesthetic due to the recorder instrument being one often taught to children at European schools.
The track begins with an introductory segment in F major, the dominant key of Bb major - the key in which the main Zelda theme first begins at 0:23. Thus, this introductory segment is one large dominant pedal preparing us audibly for a perfect cadence shift into B-flat major, which we eventually receive at 0:21.
This introductory segment also has some subtle allusions to the Ballad of the Wind Fish through the use of ascending parallel 4ths (Oboe at b.3-5; 0:07), which are similarly present in the Ballad.
Also some tips for orchestrators; at b.4 (0:09) you will notice the orchestral technique of dove-tailing in the clarinet and bassoon, whereby two instruments seamlessly transition between one another by ending their phrase with the beginning of another instruments phrase (e.g. the clarinet concludes on an F, where the bassoon also starts on an F on the same beat).
By 0:23, the Zelda theme that we all know and love finally sounds, this time with an adorable melody on the recorder, alongside some almost comedic um-pah syncopated accompaniment from the clarinet and flute, further adding to the childish aesthetic. As if chasing one another, the oboe quickly echoes the opening melodic statement from the recorder (0:24).
There is not too much else to analyze after that; it remains quite faithful to the Zelda theme, until we get to 0:50. Here, we get a surprising tonal modulation into D major (or Ebb Major, but that would be trickier to read) - a tertiary modulation from Bb major. The conclusion must be drawing near!
Becoming grander, the clarinet makes a virtuosic 2-octave scale sweep, as the other instruments decorate the sharpened Phrygian-4th note (A# in the key of E Phrygian; E-F#-G#-A#-B-C#-D#-E), and we slowly climb from D major up to F# major - another exciting tertiary shift - with some final harmonic chromaticism into G major before resting on F# major - an incredible distance from our original tonic of Bb major!
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Zelda: Links Awakening HD
★Developer: Nintendo
★Publisher: Nintendo
★Composer(s): Minako Hamano, Kozue Ishikawa, arr. Ryo Nagamatsu
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Zelda, Links Awakening HD, Zelda Links Awakening, Zelda Sheet Music, Title Theme, Links Awakening Title Theme, Woodwinds, Title Theme Sheet Music
#LinksAwakening
#TitleTheme
#SheetMusic Title Theme (Zelda: Links Awakening) | Orchestral Cover](https://i.ytimg.com/vi/wwg9YPNIaVA/mqdefault.jpg)


![Shaman Village | Orchestral Cover
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Not particularly shaman-y, but here is a new orchestral cover for this gorgeous little track that first appears in the Shaman Village of Golden Sun.
➤ Analysis:
This theme first appears in the Shaman Village, but then, why does it not sound particularly shaman-like, similar to the percussively-driven Kibombo music? Unlike Kibombo, this theme is used in multiple locations: it also appears in the dwarven town of Loho, and also as the final track during the epilogue just before the ending credits. As a result, this final appearance is probably the most memorable use of the track, and so its association isnt really that of a Shaman Village, but more of a final emotional theme. But since it first appears there, here we are!
The original was scored for flutes, hi-hat, electric bass and some sort of plucked melodic instrument. To incorporate that here, I have similarly employed flutes, hi-hat, a softer upright bass, and acoustic guitar to take on the melodic role. To go further, I have added soft harp plucks to support the flutes, as well as a string ensemble (which well get to later).
The track opens in a C major tonality (C-E-G); no sharps, no flats - all peaceful and simple. Harmonically, we gradually float downward from C to G (in 1st inversion; B-D-G), to A minor - the relative minor (A-C-E) - and back to G in root position (G-B-D). We therefore have a pleasant step-wise descent through C-B-A-G.
During this progression, and perhaps the most unique element of this track, are the flutes. Nothing extreme; just a simple note puffing away, usually in 3rds or 4ths on every beat. The steadiness of this material, combined with the often syncopated melody creates a charming but soft little conflict that keeps the track in motion. Also, note the regular use of the dotted 8th notes rhythm, such as 0:07, which were often used to simulate triplets which were not easily possible on the existing hardware.
From here (0:13), the track takes a subtly darker tone with a B major augmented chord (B-D♯-G) - a rather extreme tertiary modulation from G major. This leads us into E minor, which can then pivot back down to C major via another tertiary modulation. Then we rest interestingly in D major (0:21), acting as an imperfect cadence on the dominant chord (presumably for G).
But no, it turns out to be an interrupted cadence (V-vi; D major to E minor), as we progress into the 2nd half of the phrase. For development, I have added a soft celesta to double the melody and provide some harmonic support through arpeggiated chords (similar to the harp). Here, the new strings also begin to fade in gradually.
The rest of the phrase remains largely simple, concluding with a gorgeous 4-3 suspended chord (D-G-A to D-F♯-A) on the dominant (0:40; D major - another imperfect cadence). As usual, we would expect this to resolve either via a perfect cadence (V-I; D to G) or an interrupted cadence (V-vi; D to E minor). Funnily enough, we get neither, instead receiving an inverted interrupted cadence (V-IV; D to C), which floats gently outward in contrary motion (e.g. the bass moves down while the melody moves up).
Originally, the track would loop here, but I have repeated the entire track once more with additional instrumental and harmonic development, including a more present string ensemble, violins doubling the melody, and extra piano warmth in the lower harmonies. A very gorgeous little track.
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, Shaman Village
#GoldenSun
#Orchestra
#ShamanVillage Shaman Village | Orchestral Cover](https://i.ytimg.com/vi/xUKhL71m4Wk/mqdefault.jpg)
