Zelda's Lullaby (Ancient Tune) | Hyrule Warriors: Age of Calamity | Sheet Music
Zelda's lullaby, as performed by Terrako from Hyrule Warriors: Age of Calamity, transcribed and re-created.
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"Very mild spoilers below, so do finish the game first if you want to avoid.
The classic theme appears once again, following its many past iterations ( https://youtu.be/KLzQTect_80 )
But out of all the past versions, this one is perhaps the only one that actually functions as a lullaby - performed by Terrako to calm a disheartened Zelda.
Being a machine, the instrumentation is purely synthetic, using only 3 soft square waves from a synthesizer with the occasional legato glissando between notes and subtle vibrato.
The material is short and sweet: we start in the most simple of keys - C major (C-D-E-F-G-A-B) - with a slow flow between tonic (C) and dominant (G) chords, as well as some tasteful sprinkling of the secondary dominant / supertonic in 3rd inversion (0:10; C-D-F#-A) to add some Lydian brightness.
From here, the melody soars up a perfect 5th (0:14), this time coloured underneath by the supertonic (D) before falling back to the tonic (C) in 1st inversion (E-G-C). The phrase concludes with an ambiguous imperfect cadence in the dominant (G) to prepare for the repeat of the phrase.
Throughout this phrase, the voices are surprisingly scattered (except for the 1st voice, which remains tethered to Zelda's melody). This complements the child-like and playful personality of Terrako - a sort of "making it up as I go along" performance - but it could also suggest the fragmentation of the timelines and the disconnect from reality that Terrako experiences from existing in both the altered present and the catastrophic future.
Nevertheless, the opening 8-measure phrase repeats once more, with some subtly altered harmonies and concluding with the melody soaring high to a top G (0:34).
Then we get a new short section (0:38) that continues the 2nd half of the familiar "Zelda's Lullaby" motif. Harmonically, the track has a brief visit to the sub-dominant (F major; F-A-C), quickly falling back to the tonic in 1st inversion once more (E-G-C). As the phrase reaches its end, it halts on a dominant chord in 2nd inversion (D-G-B), but without the 3rd (B), creating a softer dominant sound as the track loops."