Cruise Elroy

[Part one | Part two | Part three | Part four | Part five | Part six] This post, the last in the current series, comes in two parts. First, some trends I’ve found while analyzing the twelve ocarina songs, along with a few miscellaneous observations that didn’t fit in anywhere else: Seven of the (…)

[Part one | Part two | Part three | Part four | Part five | Part six] All right, back into the fray! It’s time to finish off the analysis of the twelve ocarina songs. We’re down to the last six. As fans of the game will remember, adult Link learns six “warp songs” from (…)

[Part one | Part two | Part three | Part four | Part five | Part six] This post continues analyzing the songs in Ocarina of Time and theorizing about Koji Kondo’s intentions with them. Before reading, I encourage you to check out the comments on my last post. Hopefully the discussion between Ben Abraham (…)

[Part one | Part two | Part three | Part four | Part five | Part six] Koji Kondo on his experience writing the music for Ocarina of Time: I had to create all of those memorable tunes with only five tones of the classic do-re-mi scale. Specifically: re, fa, la, and ti (and the (…)

Inspired by Michael Abbott’s post on music in the Legend of Zeldacite series, I’ve been working up harmonic analyses for the songs Link learns to play in Ocarina of Time. I’ll post the whole thing when it’s ready, but in the meantime I wanted to share something interesting I noticed about Koji Kondo’s harmonic palette. (…)