![]() ![]() ![]() Also there is a trend to use non-typical chords to fulfill a common function. Many of the objects in the Zelda series will liberally borrow pitches from parallel modes to create a sound that is distinctly Zelda. Which chords in this analysis are minor? Just the tonic chords? The composer has borrowed from D major to have a predominantly major sonority with a minor tonic chord. Can we call it D Major or D Minor? That is hard to say. So the piece is centered around D as a tonic. First look at a roman numeral analysis of the Ballad of the Goddess (don’t worry, I break it down below):ĭ: i VII i IV VI VII VI VII i VII i IV VI VII III IV V The Zelda sound is a particular way that the game’s composers have used mode to create harmonic variety in the music. The Zelda Sound started with the first game for the series and continues to this day and is evident in this object. There is an element of this object that really plays into a term that I am going to start using and developing as I continue my analysis, called the ZELDA SOUND. But I want you to see clearly that it is not just a pitch mirror, but a rhythmic mirror as well:īut really, the more interesting element of this object is the harmony. I’m 99% sure I got it right.įor those who have been reading up on Skyward Sword, you might have already heard that this melody is a mirror of Zelda’s Lullaby. ![]() Here is a quick melody and bass line with a harmonic reduction I wrote out. (Update: 11/9/13 - had to find new youtube videos, so the notation may not match with the music, but the harmonic profile and melody are still the same.) It is a beautiful piece, and harmonically very interesting. What is known now as the Ballad of the Goddess is the first harp song learned in the game, and also the theme that has been used for all promotional material leading up to this release. ![]() In honor of the release of The Legend of Zelda: Skyward Sword today, I bring you an analysis of this theme. ![]()
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