In other words, these melodies are not only written to be ocarina solos-there are harmonic considerations too. Kondo uses this behavior to his compositional advantage.Īll of the ocarina songs are either filled out with orchestration when triggered, or are heard elsewhere in the game as part of the background music. The upshot is that Kondo is only limited to the five-tone palette for the beginnings of the ocarina songs, since the answer motive does not rely on controller input.
Playing this section, which I’ll call the trigger motive, causes the game to complete the rest of the tune automatically with what I’ll call the answer motive. To have Link perform a song, the player presses a button to take out the ocarina and then plays the beginning of the melody-a motive five to eight notes long, depending on the piece-using the five buttons on the controller. Why ostensibly? Because although Kondo laments his compositional limitations, he has more freedom than it might initially seem because of how the in-game ocarina works. All of them are ostensibly based on the pitches D, F, A, and B, and D an octave above. Link learns twelve songs over the course of Ocarina of Time, not counting the improvisatory “Scarecrow’s Song”: six as a child and six as an adult.
Five of the controller buttons correspond to different pitches on Link’s ocarina (some Easter egg controls allow the player to get at the notes in between for fun), and he must play various songs to progress through the game.
Song of storms synthesia series#
Ocarina of Time is the first game in the Zelda series to feature a playable in-game instrument. Then as soon as I was finished with those Ocarina songs, I had to create even more for Majora’s Mask-I got a lot of milage out of just five tones!Ī lot of milage indeed. Since each of those songs, like Zelda’s Lullaby or Epona’s Song, had a particular theme, it was quite challenging, but I think it all felt really natural in the end. Specifically: re, fa, la, and ti (and the higher-scale re). I had to create all of those memorable tunes with only five tones of the classic do-re-mi scale. In a 2005 interview with Nintendo Power, composer Koji Kondo spoke a little about his experience writing music for The Legend of Zelda: Ocarina of Time: Ocarina music in The Legend of Zelda: Ocarina of Time Introduction
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