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Battle Theme | Zelda II: The Adventure of Link Orchestral Arrangement

Playlist:    • Zelda II: The Adventure of Link Orche...   So during the middle of arranging, I got hit with a piercing migraine and it affected the entire trajectory of this track. I kept working through constant pain, and the music got angrier as I reflected my suffering through grit teeth and clenched fists! I originally expected the arrangement to be short and sweet, but I kept adding new sections, and it'll sound obvious how many "false endings" there are in this track. The narrative arc of the battle music track was really interesting to dissect. To me there are 3 sections. The A section melody can be described as a series of interval jumps that float back down the scale, culminating in a drop to the bottom. Interestingly, the snare percussion has this beat (da—dada—dadada da—dada—dadada) that doesn't quite sync up with the syncopated melody and only intersect every 2 bars. It's not until the B section that the melody rhythm changes to match the percussion. Here, the melody tries to climb back up but seems to hit many detour key changes, until finally in the C phrase cadence it rises up confidently to a resolute determination and loops back. I remember Koji Kondo described creating the Mario theme by composing the music to match the player's actions in the opening of Level 1-1, and I feel like the composer Akito Nakatsuka did the same thing here. The random battles drop you in the middle of the map and you have to make your way to either side to exist back to the map. The player will first feel disoriented and has to take in the setting and the enemy setup. The ensuing fight picks up in intensity, and whether you can defeat the enemy without getting hit, escaping them, or just taking damage and limping away, the battle ends and the tension fades away. So while my orchestration as a whole doesn't mirror the original melodic flow, I still maintain the mood changes in my overall structure. 0:13 This section pretty much qualifies as a complete cover of the original track. I could just loop this portion and it would fit pretty well into the game. The dulcimer instrument substitute really well for the 8-bit melody, and in many parts I even make it softer than the strings and brass's weapon attacks and can still be identified easily. 0:42 The favorite thing for me to do as I played the melody back, is that if I split the A section melody with each alternating phrase, phrases 1 and 3 sound more dominant, while 2 and 4 are more like an echo. So If I emphasize 1 and 3 with the Brass section, while adding a little more phrasing, the melody becomes this really grand heroic fanfare. This is where Link and the player charge head-on into danger. Coming off of Zelda I, Link has become an experienced warrior and is a force to be reckoned with. 1:53 For those unaware, the melody here is taken from the Japanese FDS release. It's very similar to the boss theme, and I like to imagine that maybe feedback for the game after release determined the music was too intense and depressing for battles in the overworld that at times can be a simple stroll. I thought it would be cool to utilize it here as my "B section" to supplement the game's increasingly punishing difficulty. And then on a whim I capped it off with the "game over" sound too. Haha. It's here that I started incorporating the more cinematic drums and bass drum to describe the enemies that contrast the more proper timpani/snare percussion heroism of Link. 2:33 So after two thirds of the track being mostly recognizable, here in the optimistic C section I went a little bit off on my own. Thinking back on the Death Mountain track I arranged from Zelda I, the departure was two severe and apart from me briefly including the original track, it might as well have been an original composition. So here, I made sure that throughout the entire track I always need to include some element from the original track. The track rhythm is preserved here, and I reuse the A section melody pretty much everywhere, and in many forms. In the final build to the climax at 3:45, I inverted the A section melody as a statement that Link is resolving the danger that he entered. I also subconsciously added a little flair here that came from the flute in Xenoblade Chronicles 3, and decided not to take it out. At the start, the thing standing out for me was the melody's rhythm being identical to one phrase of the battle theme in Final Fantasy VII (that heroic scale climb), to the point that I was originally going to include it and turn the piece into a mashup. But the influence I did take from Final Fantasy VII is learning how the composers adapted the battle track and iterated on it for the Remake. You could take each section in my arrangement and spin them out into individual battle tracks that fit the desired setting in a theoretical Zelda II Remake. Please make it happen! Arrangement and illustrations by Jeremiah Sun #ZeldaII #EpicVersion #Orchestra