I love the message about not overthinking it. There's a reason some of this stuff has worked for hundreds of years. Not everything you do has to be something that no one has ever even thought of before.
When I’m deep in the weeds of orchestrating and refining, melodies that I thought were fresh and catchy always seem so facile and derivative because I’m listening to them for the 1000th time. I have to always remind myself that if I liked it the first time, the audience probably will too the first time they hear it.
I just realized they didn't use a Bb Clarinet for that, they probably used an A Clarinet. I say this because the A note sounds like the clarion register, but on the Bb, that's not the case. It could also be a midi or other version of the clarinet, but I'd never noticed before regardless! Edit: nvmd the transcription you wrote is just in concert key dang lol, just a regular Bb Clarinet
You really nails why it’s such a perfect melody-simple yet powerful, capturing the essence of Zelda’s adventure and nostalgia. The way he explains its layers and emotional impact makes you appreciate the theme even more. A must-watch for any Zelda fan! 🙌
In the first four bars, I guess technically there's no chord movement since it's all just G major. But, it really _feels_ like there's one chord per bar. Maybe the Gsus4 in bar 2 could be interpreted as a *IV*sus2. The Gsus2 in bar 4 could be interpreted as a *V* with it's third degree missing (that would be D major missing the F#), but that's a stretch.
Technically there was chord movement even if it stayed on G, but with suspensions. The fact that it starts on G, goes to a suspension of G, comes back to G, goes to another suspension of G and comes back to G again is an indication of movement. The bass didn't move, maybe, because I don't know if it jumped an octave, so in this sense it may have had movement if it jumped an octave, but the inner voices, which make up the chord, surely moved so there was movement.
I don't think that's a stretch at all. It's like a [I, IVsus2, I, Vsus4] progression all over a tonic pedal. It's half way between [I, IV, I, V] & [I, I, I, I] because removing the third from the non-I chords and putting them over 'do' makes them more I-ish. It's got movement, but not too much movement, eh?
OH MY GOD, you told me more about writing a melody than I ever got from anywhere else!! I've only really participated in choirs, band, and a few years of piano lessons, but still. I came to this video looking for a little bit of musical video game joy, but I'm leaving subscribed because I feel like there's more I can learn here!!
0:14 For some reason, I want the 3rd note, C5, to be B4! I feel like the tritone resulting from C5 to F#5 sounds too weak, compared to a fifth from B4 to F#5.
There are references to Zelda’s lullaby all over the place. If you pay attention, in Tri’s themes there are bits of reveresed zelda’s lullaby which instantly reminded me of skyward sword’s main theme. Nintendo is getting subtle with these things
So, in other words, Zelda's Hyrule theme is derivative of Link's Hyrule theme. What a shame. She should've gotten her own. Nah, I'm just kidding y'all. These are video game characters, not people. I don't care what's derivative of what. This theme is catchy as hell, that's all that matters.
Ryan, I have a question for you. You have recommended the book "Harmony & Voice Leading by Edward Aldwell and Carl Schachter" for those who want to study theory. How many months or years did it take for you to study this book? I know everyone has their own rhythm. Some are more dedicated, some don't have so much time because of x, but how long did it take for you to study this book? I'm asking just so I can have some reference, you know? Because I'm taking my time. I'm writing the examples on Muse Score, doing the exercises. So I'm taking my time. It's a great book. I like its approach. It teaches you about the I and V chord in major and minor and then everything after is an expansion of that. I'm enjoying this book very much. I have the fourth edition, do you know if this one is the last one or if there's a more updated one?
I love the message about not overthinking it. There's a reason some of this stuff has worked for hundreds of years. Not everything you do has to be something that no one has ever even thought of before.
When I’m deep in the weeds of orchestrating and refining, melodies that I thought were fresh and catchy always seem so facile and derivative because I’m listening to them for the 1000th time. I have to always remind myself that if I liked it the first time, the audience probably will too the first time they hear it.
@@eosborne6495 Yes, so much this.
Once you progress past the first group of dungeons, the field theme actually starts with Zelda's Lullaby
I just realized they didn't use a Bb Clarinet for that, they probably used an A Clarinet. I say this because the A note sounds like the clarion register, but on the Bb, that's not the case. It could also be a midi or other version of the clarinet, but I'd never noticed before regardless!
Edit: nvmd the transcription you wrote is just in concert key dang lol, just a regular Bb Clarinet
You really nails why it’s such a perfect melody-simple yet powerful, capturing the essence of Zelda’s adventure and nostalgia. The way he explains its layers and emotional impact makes you appreciate the theme even more. A must-watch for any Zelda fan! 🙌
Great video man. I was literally just thinking about the similarities. And your breakdown appeared in my recommended.
In the first four bars, I guess technically there's no chord movement since it's all just G major. But, it really _feels_ like there's one chord per bar. Maybe the Gsus4 in bar 2 could be interpreted as a *IV*sus2. The Gsus2 in bar 4 could be interpreted as a *V* with it's third degree missing (that would be D major missing the F#), but that's a stretch.
Technically there was chord movement even if it stayed on G, but with suspensions. The fact that it starts on G, goes to a suspension of G, comes back to G, goes to another suspension of G and comes back to G again is an indication of movement. The bass didn't move, maybe, because I don't know if it jumped an octave, so in this sense it may have had movement if it jumped an octave, but the inner voices, which make up the chord, surely moved so there was movement.
I don't think that's a stretch at all. It's like a [I, IVsus2, I, Vsus4] progression all over a tonic pedal. It's half way between [I, IV, I, V] & [I, I, I, I] because removing the third from the non-I chords and putting them over 'do' makes them more I-ish. It's got movement, but not too much movement, eh?
OH MY GOD, you told me more about writing a melody than I ever got from anywhere else!!
I've only really participated in choirs, band, and a few years of piano lessons, but still. I came to this video looking for a little bit of musical video game joy, but I'm leaving subscribed because I feel like there's more I can learn here!!
It's catchy! I just watched and it's already stuck in my head.
It'll probably never leave mine after hearing it for 15 hours straight
@ Wow, you’ve watched the video a lot!
@@FilmScoreandMore LOL
0:14 For some reason, I want the 3rd note, C5, to be B4! I feel like the tritone resulting from C5 to F#5 sounds too weak, compared to a fifth from B4 to F#5.
hah yeah i just tried it on my keyboard, that sounds awesome!!
god I love clarinet
I missed your tutorial/analysis videos so much :)
There are references to Zelda’s lullaby all over the place.
If you pay attention, in Tri’s themes there are bits of reveresed zelda’s lullaby which instantly reminded me of skyward sword’s main theme. Nintendo is getting subtle with these things
I would love to see you do a breakdown of the Hyrule Field theme from Twilight Princess
So, in other words, Zelda's Hyrule theme is derivative of Link's Hyrule theme.
What a shame. She should've gotten her own.
Nah, I'm just kidding y'all. These are video game characters, not people. I don't care what's derivative of what. This theme is catchy as hell, that's all that matters.
They both live in Hyrule, but they experience it differently. We're hearing their interpretations!
What a great video! Really liked your analysis!
Let's goooooo!! Great video dude!
Ryan, I have a question for you. You have recommended the book "Harmony & Voice Leading by Edward Aldwell and Carl Schachter" for those who want to study theory. How many months or years did it take for you to study this book? I know everyone has their own rhythm. Some are more dedicated, some don't have so much time because of x, but how long did it take for you to study this book? I'm asking just so I can have some reference, you know? Because I'm taking my time. I'm writing the examples on Muse Score, doing the exercises. So I'm taking my time. It's a great book. I like its approach. It teaches you about the I and V chord in major and minor and then everything after is an expansion of that. I'm enjoying this book very much. I have the fourth edition, do you know if this one is the last one or if there's a more updated one?
Nice analysis thank you
Cool video. That’s not oringally Links awakening, it’s the OG NES overworld theme.
There must be other music besides Zelda being made on this planet? 😉
I was the like nº 100. Good job and thank you.
A perfect melody but it’s not very catchy or something I want to listen too all day like I can with other Zelda music.
I find it a bit grating and breathless. Like it is trying too hard to impress you.
All these fancy gimmicks aside, its not nearly as catchy as the original overworld theme.
Catchiness is subjective, this has been stuck in my head on and off since it first appeared in the trailer
There are bad tunes, there are good tunes and there are the godlike tunes.
the original has been around for almost 40 years, it's a bit of an unfair comparison
Really fun game too.