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  • Writer's pictureJonathan Shaw

Battle of Hyrule Field (Hyrule Warriors: Age of Calamity) | Orchestral Cover

Well bloody hell, that took a long time to complete. But here it is - a full sheet music transcription / remix / cover of this intense battle theme from Hyrule Warriors: Age of Calamity.

If you're after the sheet music, score, XML or MIDI for The Battle of Hyrule Field from Hyrule Warriors Age of Calamity, you can find links here!

This includes individual part scores for:

  • Full Score

  • 4 Horns in F

  • 2 Trumpets in Bb

  • 2 Trombones

  • Bass Trombone

  • Tuba

  • Timpani

  • Bass Drum

  • Taiko Drum

  • Tom-toms

  • Snare Drum

  • Synthesized Percussion

  • Suspended Cymbal

  • Clash Cymbals

  • Tam-tam

  • Hi-Hat

  • Tambourine

  • Tubular Bells

  • Crotales

  • Glockenspiel

  • Xylophone

  • Marimba

  • Piano

  • Violin I

  • Violin II

  • Viola

  • Violoncello

  • Contrabass

If you are one of my Patrons, you can now find the MIDI, XML, SIB files, as well as stems and multitracks I created for this transcription now available to download from your Patreon Google Drive folders!


Arranger's Note:

"The track is a fusion of two tracks from Breath of the Wild's OST - the "Field Battle" ( ) and the "Lynel / Yiga Battle" ( ) - now with extra strings and sauce.

We begin with an original opening, outlining a massive 6 octave span in the piano as the brass come in with material that contains snippets of the "Age of Calamity" motif (here, Bb-A-Eb-F - the falling semitone, then ascending tone). The function of this opening is to bombastically prepare us for our tonic by emphasizing the dominant chord (chord V; here, G major). This chord takes up measures 2 & 3, with the 3rd being coloured further with an augmented 5th chord (G-B-Eb) and added 9th (Ab) for that scrumptious semitonal dissonance.

As the intro concludes (0:08), we get a rare and fascinating metric shift - a metric modulation - where the tempo changes according to a previous note value (here, what was previously a crotchet now becomes a dotted quaver; a shift of 1 : 0.75). This material here is the closest link to BotW's "Field Battle". At 0:13, the metric modulation is reversed (0.75 : 1) and we resume our original tempo (A TEMPO).

The main track then begins at 0:14, with direct material from the "Lynel / Yiga Battle" from BotW. This material is built out of rhythmic syncopation (the stresses fall off of the beat), creating an exciting metric ostinato that persists for a good chunk of the track. This oscillates in a Mixolydian fashion between C - Bb.

As the strings enter at 0:22, the do so with surprising dissonance, utilizing C-Db's and F-F#'s - very harsh clashes! As the final violin enters at 0:26, we get a quick syncopated passage in parallel suspended 4th chords (e.g. C-F-G & Bb-Eb-F). Here, we can start to hear some of the pentatonic elements of this track to create a floating, ambiguous harmony with clashes that, in theory, shouldn't work, but are allowed due to the softer dissonances of pentatonicism.

The passage is nearly repeated at 0:30, now with additional instruments and chromatic piano. There is a remarkable amount of dissonance going on that isn't perceived as such - the 1st violins clash their Db's with the bass C's, and the 2nd violins F# clashes with the cellos regular F's.

At 0:44, we get more allusions to the "Field Battle", and at 0:52, more pentatonicism appears with strings playing in parallel 5ths, largely missing out the notes D + A (for pentatonicism). More pentatonic material occurs at 1:07, again with more parallel 4ths & 5ths in the strings, and we step up a semitone at 1:21 whilst largely retaining the prior material, now with additional bass movement.

As we drop back down to our tonic (1:37), the piano goes off on a 4-bar tangent while our ostinato continues underneath. At 1:44, we get an expansion of a previous section, now with brass doubling the strings and extra bass flourish.

The piano receives another solo at 2:06 as the strings play a slightly altered version of the ostinato. We get a quick shift to the relative major at 2:14 (here, Eb), before slipping back down to C at 2:18. In our lead up to the final climax, the piano outlines many parallel 4ths & 5ths - more evidence of pentatonicm.

Finally, at 2:29, we get a re-statement of earlier material, now with additional bass movement to add additional harmonic colour, and extra lavish piano phrases. As we prepare to ascend a semitone again (2:41), we get extra juicy syncopation to complement this."


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