• Jonathan Shaw

New Transcription: "Overworld Theme" from Zelda: Link's Awakening HD (2019)

With the recent release of "Link's Awakening HD", I wanted to tackle a few of the brilliantly orchestrated tracks, starting with the "Overworld Theme" (with its initial woodwind introduction).

If you're after the sheet music for the "Overworld Theme" for the 2019 remake of "Link's Awakening", you can find it here!

This includes individual part scores for:

  • Piccolo

  • Flute

  • Oboe

  • Clarinet in Bb

  • Bassoon

  • Solo Violin I

  • Solo Violin II

  • Solo Viola

  • Solo Violoncello

  • Solo Contrabass

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

Arranger's Note:

"The "Overworld Theme" to Link's Awakening has a few versions; this particular one that opens with woodwind fanfare is only played once after you first retrieve the sword from the beach. After that, this woodwind introduction is replaced by a string introduction (which I have included in the .PDF scores below).

To begin the analysis, this woodwind introduction begins glamorously with tertiary modulations from G major to Bb major to Db major (0:03), creating a remarkably triumphant sound. To get back to the tonic of G major from Db, a simple semitonal shift upward is used, getting us from Db major to D major. From there, a simple perfect cadence brings us back into G major.

The main string section opens with the familiar "Zelda" motif, which continues more or less identically to many of its previous renditions from other games. The first big change occurs at 0:33 where the original Zelda material suddenly melts into a chromatically descending legato passage which concludes in the tonic minor (G minor).

Following on is a brief section in Eb major (0:38) where the cello takes a solo role. But the 1st violin quickly returns to reclaim its solo role (0:44), repeating back to the previous harmonic founding of Eb major.

However, here the harmony modulates to Ab major rather than D minor (0:47). This rather sudden and extreme shift seems quite distant from the tonic of G major. So how do they resolve it? By using a cheeky Neapolitan 6th progression (Ab major to D major to G minor/major) which solves this harmonic problem seamlessly and with a lot more interest than a simple perfect cadence."

Featured Posts
Recent Posts
Archive
Search By Tags
Follow Me
  • Facebook Basic Square
  • YouTube
  • SoundCloud
  • Patreon_logo.svg

© 2020 Jonathan Shaw