The Champion Mipha | Hyrule Warriors: Age of Calamity | Sheet Music
The Champion Mipha from Hyrule Warriors: Age of Calamity, now transcribed with full sheet music and an audio re-creation.
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This includes individual part scores for:
2 Clarinets in Bb
4 Horns in F
3 Trumpets in Bb
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The track opens with massive fanfare, using a melody that is quoted directly from "Sidon's Theme". The harmony here interestingly suggests a Phrygian mode (0:02; A-Bb-C-D-E-F-G), notably due to the opening clash of C-E-A sitting atop a pedal Bb, which then resolves down to A minor (A-C-E). A typical composer may have used a simple Bb major 7th chord here (Bb-D-F-A), but instead, we get a rarer, more impressive Phyrgian colour (Bb-C-E-A).
This opening continues with a series of irregular 3-measure phrases as we step down to the dominant minor, E minor in 1st inversion (0:09, G-B-E), and then on to a Dorian shift with a D major 9th in 1st inversion (0:11; F#-A-E). This shift is Dorian in nature due to the raised 6th (F#).
At 0:14, we swap over to a tease of "Mipha's Theme" as her motif fleetingly appears in the delicate flute, piano and glockenspiel, before exploding outward to conclude the introduction in glorious fanfare with a dominant chord (E-G#-B). Thus the track begins (0:23).
To start, we get a familiar harmonic progression - A, G, F, E. This Aeolian phrase is quoted directly from "Sidon's Theme" (albeit in a different key). Sitting atop this is a new string ostinato ascending a perfect 4th (A-B-C-D), with a clarinet countermelody that descends in contrary motion (A-G-F-E). Further, the piano contains allusions to the arpeggio fragments from "Field (Day)", also heard in "Overlooking Hyrule" ( https://youtu.be/BsBDmiXaYZo?t=14 ).
After this sequence, we get our first full statement of "Mipha's Theme" in an oboe (0:37). This theme swirls around an E, while the harmony underneath falls chromatically from A to F, eventually spelling out a gorgeous major 7th chord (F-A-C-E). From there, we travel to Bb via a perfect cadence (0:41; Bb-D-F) and follow with a tritone pivot to get to our dominant (E). With such a progression, this Bb essentially functions as a Neapolitan chord - the flattened 2nd of the scale (here, Bb) that travels to the dominant (E) - albeit without the 1st inversion.
The 2nd half of the theme touches on the Dorian mode once more (via the progression of E minor to A major), and again when it rests in D major (the 4th above A minor). But this is brief, as we quickly step down to Bb to fall back to A - the same progression as our opening Phrygian chords.
The following phrase (0:53) is similar, although now with the string motif taking the melodic role with some additional brass support. Harmonically, we get a heavily simplified version of "Mipha's Theme" - A minor (0:53), D major 9th (0:55), Bb major (0:57), E major (0:58). Note the bass jumping up a rare diminished 4th interval (essentially a major 3rd; 0:55; Bb - F#). The phrase closes on an imperfect cadence (E major; the dominant of A), with an additional two beats to accentuate the transition.
Here (1:08), we get a solo cello referencing "Sidon's Theme", accompanied by strings briefly in parallel sus-4 chords (E-A-B). By 1:19, we get an unexpected whole-tone scale (D-E-F#-G#-A#-B#) while the bass makes another quasi-Neapolitan pivot (Bb-E).
Nearing the end (1:22), "Mipha's Theme" appears once more in unison with an absent bass and plummeting violins. Eventually, the bass catches up (1:24), and we get one final Dorian fanfare of the theme at 1:29 before returning to Phrygian at 1:37.
The piano spells out the familiar string ostinato, as the harmony descends in dominant 7ths - the third of which (1:41; F+D#) partially functioning as a classical Augmented 6th chord (F-A-C-D# moving to E-G#-B). And at 1:45, we loop back to earlier material, now without the accented notes of 0:23."