Uploaded October 2019 | Updated September 2026, 2 weeks ago
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Here's a full sheet music transcription of Nagamatsu's quirky arrangement of Link's Awakening's "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 instrument's 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: Link's 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, Link's Awakening HD, Zelda Links Awakening, Zelda Sheet Music, Title Theme, Links Awakening Title Theme, Woodwinds, Title Theme Sheet Music
#LinksAwakening
#TitleTheme
#SheetMusic
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
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Here's a full sheet music transcription of Nagamatsu's quirky arrangement of Link's Awakening's "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 instrument's 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: Link's 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, Link's Awakening HD, Zelda Links Awakening, Zelda Sheet Music, Title Theme, Links Awakening Title Theme, Woodwinds, Title Theme Sheet Music
#LinksAwakening
#TitleTheme
#SheetMusic


![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)




![Lalivero Ruins | Orchestral Cover
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An orchestral arrangement of the Lalivero Ruins from the classic and beloved JRPG, Golden Sun, as voted by YOU! :D
➤ Analysis:
Although titled Lalivero Ruins by the players, this track appears several times before reaching this end-game location, such as the post-Saturos encounter with Alex atop Mercury Lighthouse and Atmiller Cave.
However, I suspect the track came to be known as Lalivero Ruins since it is used as the precursor theme to the iconic Venus Lighthouse theme, thus making the track fixed in memory as the track that comes before Venus Lighthouse near Lalivero. Funnily enough, there is actually no location in Golden Sun known as the Lalivero Ruins - it should really be called the Tunnel Ruins. But alas, I did not come up with the titles! ;)
The track, although sounding rather neutral in the original, has a surprising amount of dissonance. Foremost, the track opens in a loose E-Phrygian tonality (E-F-G-A-B-C-D-E) - loose due to the chromatic appearance of Bbs and Abs in the 2nd measure (0:07).
At the same time, the metre is skewed between either a grouping of 2/4, 3/4 or 6/4. I decided on transcribing it as 6/4 due to the flutes and bass instruments moving every 3 beats, with the choir melody rising and falling across 6 beats. Ultimately, it could also be scored in 3/4.
To add to the dissonance, there is a plethora of tritone intervals (the Diabolus in Musica - the Devil in Music), notably the F-B found often in the flutes and the choir (0:03), again highlighting that Phrygian tonality.
As the opening 4-bar phrase repeats at 0:15, I expand upon the material with additional brass, new string and harp doublings, and an ancient-sounding crotale/antique cymbals on the choir melody.
By 0:28 we progress via a loose perfect cadence (V-I; E-A) into a 4/4 passage in A minor that is relatively consonant, albeit still referencing Phrygian through the progression to Bb (0:30). Here, the violins take the melodic lead surrounded by an octave shuffling bassline and pulsing choir (which I have expanded upon with some additional string ostinati).
At 0:37, we get a remarkable shift. Tonally, we are progressing from G major into C minor (another perfect cadence), but it is decorated harshly with the presence of an F# (see trombones, choir, etc.). This creates and F#/G semitonal false relation clash - quite a cruel dissonance! - yet the passage remains largely unperturbed to our ears. Sakuraba is once again flexing his harmonic palette.
Next, we return to a triple metric grouping - this time 3/4 - in our home tonality of E Phrygian (0:45). Here, a crunching 2nd violin melody reinforces the Phrygian character tones (the flattened 2nd and 7th; here, F and D), and I have built up the timbre of this melody through use of a guiro, muted trumpet and consecutive violin down-bowing for added crunch.
Harmonically, we get a demonstration of another Sakuraba trait - chromatically ascending harmony. Note here the choir (and also the horns) rising chromatically by semitone in parallel 5ths (E-F-F#-G) on top of an E-Phrygian pedal ostinato in the bass instruments (contrabassoon, piano, contrabass).
At the same time, we get a return to the opening rapid flutes (0:46), intriguingly playing passages with G# - conflicting harshly against the ascending parallel 5ths underneath (G# vs G; 0:49). Altogether these create quite a menacing and intensifying passage.
At 0:57, we return to consonance with a 4/4 passage, now unusually in F# minor (F#-A-C#; very distant to E Phrygian). And then we progress via a backwards tertiary modulation into A minor (C#-A; 1:12). This passage is akin to the previous A minor passage; the string melody returns, now with an additional countermelody in the oboes soaring high above as we conclude with an imperfect cadence in G major for a tertiary shift back to E Phrygian for the loop.
★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, Lalivero Ruins, Lalivero, Ruins
#GoldenSun
#Orchestra
#LaliveroRuins Lalivero Ruins | Orchestral Cover](https://i.ytimg.com/vi/zEYMPMyweWc/mqdefault.jpg)
![Shaman Village (Extended) | Golden Sun Orchestral Cover
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New year, new goals: time to start creating Extended versions for the older TandA arrangements, starting with Golden Suns Shaman Village. You asked, I (eventually) listened :P
Also now with slightly enhanced mastering o/
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 (Extended) | Golden Sun Orchestral Cover](https://i.ytimg.com/vi/zMYbrnSrNDo/mqdefault.jpg)

![Kalay | Orchestral Cover
🎵 Sheet Music & Parts ➤ [Removed by Nintendo JP]
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Arriving in Kalay, you are first greeted by this mighty theme, now orchestrated from Golden Sun!
➤ Analysis:
The work itself is rather triumphant for a little market town theme, but that is perhaps what makes it such a classic, characterized particularly by the double echoing harps (which I have extended here to run nearly throughout the entire work, as opposed to finishing at 0:35 in the original ).
To create its rather triumphant feeling, there are many tertiary progressions (particularly, downward a major 3rd), such as B-flat major to G major at 0:27, and later on, C major to A-flat major (0:47).
These particular shifts are very grand movements due to their voice leading (for example, the major 3rd shifts down a semitone to become the 5th; e.g. in C major, the E shifts down to an E-flat now in A-flat major - beautifully smooth voice leading).
Otherwise, the work is quite a simple one, floating mainly around the I, IV and V chords. I have fleshed out some of the harmonies at 1:00 to add a little more colour to these relatively simple chords.
Here, Ive also combined my usual sample libraries (EastWest) with some brand new Vienna Symphonic libraries, which should hopefully create some better legatos in the melodies.
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, 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, Kalay, Kalay Village, City, Town
#GoldenSun
#Orchestra
#TheLostAge Kalay | Orchestral Cover](https://i.ytimg.com/vi/zwClU8QycJA/mqdefault.jpg)