The Legend of Zelda: Spirit Tracks - Overworld Theme

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Video Game Pianist

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Published on June 5, 2013 6:00:46 PM ● Video Link: https://www.youtube.com/watch?v=7Jdo0eEE3uw

Game:

The Legend of Zelda: Spirit Tracks (2009)

Duration: 3:15

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1,332

As requested by ZebraStripedWhale and toonlink363 in the 4 June 2013 video, I play The Legend of Zelda: Spirit Tracks - Overworld Theme composed by Toru Minegishi.

Let's identify and examine the compositional techniques Toru Minegishi uses in The Legend of Zelda: Spirit Tracks - Overworld Theme! Please refer to the following gameplay video http://www.youtube.com/embed/Die8e59ILfM#t=5s and the The Legend of Zelda: Spirit Tracks - Overworld Theme sheet music http://www.videogamepianist.com/sheetmusic/the_legend_of_zelda_spirit_tracks_overworld.pdf.

Minegishi-san creates a rhetorical piece whic is played during the train ride in the game. The piece seems to be based on a dispositio from classical rhetoric. In the dispositio there is the exordium (introduction), narratio (exposition), confirmatio (confirmation), refutatio (refutation), and peroratio (conclusion). In the music, the exordium occurs from measures 1-4. The key of e minor is established. At the narratio from measures 4-18 the theme is stated and the overal peaceful mood is established. The confirmatio confirms the key of e minor from measures 19-22. There is an ellision between the narratio and confirmatio. The refutatio begins at measure 23 where the tonal key of e minor is slightly destabilized. The music could suggest that the train drifting off course. The peroratio begins at measure 33 with the suprising G major (bIII) harmony. The G major harmony goes to A major and finally to the dominant B major, and a peaceful atmosphere is once again established.

The B section starting at measure 44 is calm and not based on rhetoric. Minegishi-san creates a contrast by composing the A section based on rhetoric and the B section not on rhetoric. It is as if the train has stopped. The surface rhythms in the A section have ceased. It is quiet, nighttime, and stars shine in the sky! The structure of the B section and melodic shape is similar to the rescuing Princess Zelda track.

Minegishi-san is able to create many flowing sections by not writing half or authentic cadences. Some sections are written in the dorian mode, and this mode does not use the leading tone. By writing music without leading tones, the music is more horizontal than vertical.

These are some compositional techniques Toru Minegishi uses to successfully compose The Legend of Zelda: Spirit Tracks - Overworld Theme!

Sheet music: http://www.videogamepianist.com/sheetmusic/the_legend_of_zelda_spirit_tracks_overworld.pdf
Video Game Pianist official site: http://www.videogamepianist.com

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