Musicology of Video Games #1: What Each "Legend of Zelda" Theme Actually Says About That Game

So, I actually did my undergrad in Musicology, and not Performance.  Though I have recently learned the error in my ways, I still do have some interest in my research area, which is video game musicology.  As an example of just how deep this can be, here's something I've wanted to look at for a long time: The Legend of Zelda, the absolute best franchise in gaming, last I checked.  I'll show you just what a musicologist can gather from what would be simple tracks, by analysing each main/Overworld theme, how it compares to the others, and what it reflects about the game itself.  I'm going to ignore the handheld games post-Oracle for now, mostly because I've never played them, and might go back to them later.  Also, while I could probably write an entire article on EACH theme, I'll keep each summary to a short paragraph.

The Legend of Zelda (1986)

Here it is, the game (and theme) that started it all.  The original Zelda theme is quite harmonically complex compared to other tunes at the time, which reflects the nature of the game, itself very complex in terms of layout and free exploration.  The shifting between major and minor modes keeps it fresh, instead of becoming a boring, predictable loop like most tunes would after the hours one could spend in the Overworld, it is actually a challenge to grow bored of this theme, which is exactly what Koji Kondo would have wanted.

The Adventure of Link (1987)

The second game in the franchise took a different direction, using an RPG-style Overworld map, with sidescrolling dungeons and action scenes.  The theme actually reflects this well, using a more triumphant and major sound, in order to better contrast with the action during encounters with enemies.  It was a wise choice for variety, but also isn't as nice to listen to, neither is the game as nice to look at.

A Link to the Past (1991)

A Link to the Past brought the games back to their roots of top-down adventure-based gameplay, and the theme used here is virtually identical (before enhancements) to the first theme.  Basically, Nintendo's way of saying "Hey everybody! We know you all liked the first game better, so here's more! We promise we're still legit!" Not that I'd downplay the best game ever made, but there's no reason the designers couldn't have an agenda with part of it.  After all, it just adds another layer of depth to the experience, as the designers are communicating with the player in more than one fashion.

Link's Awakening (1993)

This is the same theme used in the Oracle series, so I'll just mention it once.  So, moving from a 16-bit to an 8-bit console, one would expect the game to be simpler, less deep.  So, Kondo made a brilliant move in making the theme actually an extension of the original, adding new (and beautiful) layers that players have never heard before.  It is as if to say "You might think this is any old Zelda, but wait! We're just going to keep making it better.  And better." And they did, with this game absolutely blowing away expectations of a MERE GameBoy attempt at Zelda, and replacing them with another totally legit, totally awesome game.

Ocarina of Time (1998)

THIS SONG.  THIS GAME.  Ocarina, though I don't believe (as most of the world does) that it is the BEST game ever made, was phenomenal.  And this track wraps everything about it into one nice little package.  The main motive is there, but so wrapped and flourished that you can barely tell.  New emotions are added, such as strife and helplessness, that really weren't there as much in previous games.  In A Link to the Past, part of the allure was that you were destined to be a badass, and so there was never the desparation that you would fail, but it was more like a challenge, whereas here there was a threat for the first time.  The beauty, majesty, and grandeur of this adventure all make it into this theme, which is a nice contrast to that in...

Majora's Mask (2000)

We're back to the original Zelda theme again, this time riddled with urgency, desparation, and an overall eerie tone, that fits Majora brilliantly.  Unlike ALttP, in which the main theme countered the breaks from tradition of a previous game, the main theme here counters the breaks in ITSELF, changing it from "Whoa, left field!" to "Whoa, Zelda, but so many cool and unique aspects!"  This theme roots it in the player's mind that, no matter how different the quest, they're still playing Zelda, and it's still amazing.

The Wind Waker (2002)

This is undoubtedly my favourite Overworld theme in any Zelda game, with Link's Awakening coming second.  The motive is still there, but the grand, sweeping gestures, and epic, triumphant scale fill the piece with majesty.  I've always considered the hero of Wind Waker to be the best incarnation of Link in the franchise, solely because he starts the game as a nobody who's the butt of every joke and gag, and through sheer determination, even though it's explicitly stated he's NOT the Chosen One, he grits his teeth, gets the Master Sword anyways, reassembles the Triforce, and beats Ganon in my favourite final boss fight in the franchise, too.  There's just so much good about Wind Waker, and... THIS SONG.  Just listen to it, that's all I need to say.

Twilight Princess (2006)

The main motive reappears here as an opening flourish, and... DAT BRASS.   This theme is amazing, though you've heard that about pretty much every theme so far. XD  The triumph of a Zelda game is there, since most of the time you'll be on horseback, mixed with some more move-sounding themes to go along with the generally more plot-based and cinematic nature of the game.  And speaking of that...

Skyward Sword (2011)

QuQ

That is all.

...K, seriously.  This is beautiful.  It's like... Wind Waker meets Twilight Princess, take the best parts of both, and put it IN SPACE, then pull it back from that slightly so it's just in the sky.  The live orchestra is breathtaking, and if Zelda ended now, I'd be happy.  At least, until I beat the game.  Then I'd go cry.  The next Zelda after this should be phenomenal, considering the legacy the entire franchise has to live up to, in Skyward, Wind Waker, Ocarina, ALttP, and all these masterpieces.

K, regular content next time, promise. :P

Whole lotta random junk! Wooo!

Hi interwebs!  Long time no rant!  So, here's one rant, and I have another ultra-nerdy but still music one planned for... whenever I have the chance, so like next week sometime. XD

Thing number one: MASTERCLASS TOMORROW.  I'm incredibly pumped, we're having one of (if not) the BEST trumpet players in the country come to direct it, and her orchestra's performing with our local pro orch Saturday night.  WHICH I'M GOING TO.  I lucked out on two tickets through a series of fortunate events, and they're playing Tchaik 5, so I'm totally stoked.

I'm going to play Legend in the masterclass.  I've played it once already in front of people, at the last noon-hour concert at school.  It actually went really well, except I was for some reason shaking, which I rarely ever do these days (and by rarely, I MEAN it, like maybe once a YEAR or so).  But, there was only one part I was consciously aware of cracking, though that run at the end gets me every time.  I start to get ahead of the piano, so I pull back on the rein, and then it becomes a rocking-back-and-forth until we (usually) end together miraculously at the same time.  Much like the contour of the lick itself.

So, orchestra.  Oh, orchestra.  I'm sitting second in the youth orchestra this year, which I've known for ages, and I'm cool with that.  But I think I got demoted in university orchestra, since I'm labeled as first for the first concert (ALL SIBELIUS, ALL THE TIME), even though we rotate, I play first in two pieces, and my ol' buddy Thalberg does in one (he's Thalberg because I have longer hair, so I get to be Liszt, and there's actually a few other good reasons we line up that way, but not going to go into too much detail right now).  But now I'm apparently sitting second for the whole of the second concert... I just wanted to drive ONE of the orchestras.  Not both.  Just one.  I feel like it's another one of those "we're getting you accustomed to it now so if you get that kind of gig in real life you can deal" things, but... idk.  I just feel like the conductor shouldn't have written "trumpet I" on the set of parts I got in September if he planned on switching them up like that.  On the other hand, I feel like I AM getting to be a decent second, in the sense of anticipating what the lead's going to do and matching lenght/style/tone/etc, but... I have enough chance to practice that in youth orchestra, I just want to experience it from both sides. :/

Anyways, off to play me some Legend.  After all, Masterclassmasterclassmasterclass. ^.^  I reeeeeeeeeeeeeeally hope it goes well for me.  I really do.




(Also, the third movement of the Sibelius violin concerto?  That's totally the soundtrack to some guy baking a pizza.  Just saying.)