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  • Writer's pictureJonathan Shaw

Fi's Theme | Zelda: Skyward Sword | Sheet Music, MIDI, XML & More!

With Skyward Sword HD nearly upon us, here is a familiar track, now fully transcribed and recreated with full sheet music scores and parts.

Special thanks to SableProvidence for performing the Dizi!

If you're after the sheet music, score, XML or MIDI for Fi's Theme / Fi's Lament from The Legend of Zelda: Skyward Sword, you can find links here!

This includes individual part scores for:

  • Full Score

  • Bansuri, Dizi or Flute

  • Horn in F

  • Euphonium

  • Tuba

  • Tubular Bells

  • Harp

  • Acoustic Guitar

  • Sitar

  • 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:

"We open with an ambiguous bare 5ths chord (A + E), unsure of our tonality. Through the combination of strings, bells and sitar (interesting choice!), we eventually get a hint of tonality through the presence of an F♯, suggesting an A Dorian modality (A-B-C-D-E-F♯-G). However, the crucial 3rd note of the scale is not yet established - we don't know if it is major (C♯) or minor (C). Nevertheless, the use of these ancient modes complements Fi - a character bound to a timeless sword.

Regarding instrumentation, we get an intriguing use of a sitar and bamboo flute (either bansuri or dizi with a lessened membrane). This use of traditional exotic instruments, as well as the chiming of bells, further complements the agelessness of Fi.

Following the sitar's modal opening, we transition to the bamboo flute, outlining Fi's motif in full. This motif is also Dorian in nature (through the F♯), and also uses several musical ornaments such as mordents and acciaccaturas, mirroring a well-ornamented / decorated blade.

By 0:28, we get our first tonal shift from A Dorian into C major (C-E-G), followed by D major (D-F♯-A). These chords align closely with our tonic of A Dorian, but then we get an intriguing tertiary shift up to F major (0:32, F-G-A-B♭-C-D-E), starkly contrasting with our previous Dorian mode through the lack of an F♯. To complement this, the bamboo flute has also modulated into F with another statement of Fi's motif.

As the phrase closes (0:38), we conclude in D major (D-F♯-A) with an added 9th note (E) in the melody. To return to our tonic of A Dorian, we get an unexpected shift to F♯ minor (0:44, F♯-A-C♯), followed by an even more unexpected C♯ minor 7th (C♯-E-G♯-B). However, this unusual chord is structured in such a way to act more so as the dominant (E-G♯-B) with an added 6th (C♯). If we look at it that way, the unusual nature of this chord diminishes, and we get a safe perfect cadence (chord V to I; E to A) back to our tonic.

This opening section (0:17 - 0:46) is repeated (0:46 - 1:15), with some subtle development in the accompaniment, as well as additional bass 5ths support (harp at 1:01). As the section closes (1:12), the harmony differs from before, as we rise into the tonic major; A major (A-C♯-E), thwarting the previous Dorian mode and finally giving us the answer to the 3rd note (major; C♯). We also get a slight dynamic growth into the next section, followed by a sudden drop in dynamics (marked "sub." or "subito" = "suddenly").

In our final section, the sitar returns as we shift upward into the distant key of B♭, alternating with A. This alternation suggests a Phrygian modality (A-B♭-C-D-E-F-G), though it is but a fleeting visit if so. It could alternatively be analysed as B♭ Lydian through the presence of B♭ and E, though this is less tangible due to the frequent alternation with A. Nevertheless, the sitar swirls around these keys for a while, as if floating above the clouds, and we ultimately rest in A, giving us the perfect opportunity to loop back to the start in A Dorian."


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