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1. The Legend of Zelda: Link's Awakening Orchestral Arrangement

The Legend of Zelda: Link's Awakening Orchestral Arrangement

This album is free to download. Consider supporting me on to support my future works! More info at Audio-only upload of my orchestration of Link's Awakening. Check out the videos here. Because Soundcloud lets you replace the source file, all the tracks have been updated to the final release version of the album. They have all been tweaked, fixed, and re-EQ'ed to sound better than the original.

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2. Undertale Orchestrated - Heartache

Undertale Orchestrated - Heartache

MP3 and FLAC available for Patrons. ► Includes both looped and non-looped versions. After recently playing through Undertale (full pacifist run), I knew I had to orchestrate one of the tracks. It is amazing how toby fox was able to design, code, write, draw, and compose pretty much all of the game. And what's even more impressive is that toby fox's soundtrack is catchy, memorable, and puts lots of AAA composers to shame. Like seriously, I can barely recall any tune from any recent game off the top of my head except for Undertale. All composers should learn the lesson that melody trumps over any musical technical proficiency. The Heartache track was the first moment in the game that convinced me I was in for something special. After being pampered by the motherly Toriel, the protagonist breaks her heart by insisting on leaving the ruins to return home. During this battle, the protagonist is essentially awakened, and is forced to stand up and fight for her survival. This mood of excitement tinged with an air of sadness is captured perfectly in the music. In my arrangement, I kept the original version pretty intact, but with the instruments replaced with orchestral counterparts. The original track is already very fleshed out, with a catchy tune, varying rhythms, and an awesome bass line. The 6/8 time that toby fox uses is hard to describe, as it sometimes sounds like 3/4 and other times like 2/4, but it works pretty well. One thing that's hard to preserve is the snappiness and clearness you get from 8-bit sounds. It's really easy for an orchestra version to sound very muddy, as you can see from all those other orchestrated arrangements floating out there. I did my best playing lots of staccato and substituting group samples with solo instruments so that everything can still sound as clear as possible. I really wanted to preserve that bass line for its energy, so I listened to the original track at half speed and EQ'ed out all the other frequencies in order to copy it note for note. Then I brought it to the forefront of the track, having cellos, violas, violins, and flute all have a go at it. I was glad I had time to get used to using drumkits in my previous FFIV track. Here I used them in combination with timpanis to get that modern and classical hybrid sound. In addition, as I usually like to do, I added a 3rd arc to the music, as I felt that together, the track would cover the entire arc of the protagonist's battle with Toriel. I used the theme that appears previously in Toriel's home as a kind of reminder of her compassion, and also the potential peaceful life that the protagonist chooses to reject. This injection of emotion is something that toby fox uses too in the end of the game with a similar melody, so I thought doing it here would be a good fit, almost like a "preview" of the entire story's arc. The end result sounds pretty fitting in both the "genocide" and "pacifist" version of the fight. Original Song composed by toby fox Undertale is available on Steam

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3. Guardian Battle & Main Theme Orchestration - from Breath of the Wild

Guardian Battle & Main Theme Orchestration - from Breath of the Wild

Thank you for 10K subscribers! This track is free to download! Let's get this out of the way first. Breath of the Wild is a great game, possibly the best Zelda game ever made. The world is expansive and allows so much freedom, self-discovery, and experimentation. However, I felt that Nintendo really dropped the ball on the story and music. The Switch Presentation Trailer Nintendo showed gave me such hope for the epic music that would assault my ears, but sadly we were all misled. To me the soundtrack is only half-complete. The tracks are all atmospheric, and fit the setting really well, but ineffective in describing the context. The whole world has been plunged into darkness. Ganon's calamity infects the landscape, and yet all the inhabitants feel like they're at peace with it. Link has woken up from a hundred year slumber, and the world barely reacts to his return. What I had hoped to see was Ganon reacting to Link's presence. As Link defeats each divine beast, there should be a great escalating response from the opposing forces. But the world stays pretty much the same. The sense of adventure I felt in the beginning of the game sort of faded away. Instead the world felt more like just a playground for Link to play in until he decides to go save Zelda. The music for the enemies on the world map all have this playful silliness to it, which I felt was in contradiction to the context. Hence, this arrangement I made for the guardian battle, I consider more of a REVISION. I referenced the tone of the trailer music heavily in trying to come up with my version. For the percussion, I used a lot of wood and metal knick knack sounds to preserve the idea that the player is free to be creative with his/her strategies in fighting the guardians. When encountering these for the first time, most players probably fail and die quickly. The thrill you get from defeating these for the first time is very exhilarating, and I wanted the music to convey that. I borrowed the main theme of the game and injected it into the track to give it more emotion. Even though the end result is a lot more heavy highs and lows, I feel I still was able to keep the lightness of track intact.

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4. Undertale Piano Concerto - An Ending

Undertale Piano Concerto - An Ending

UPDATE: Download the sheet music and orchestral track here If enough people want sheet music, I might be compelled to make them. Anyway for my next Undertale track, I chose to arrange one of the more emotional pieces in the game. Even though I am a pianist, I am very cautious about using the piano in orchestrations because it can sound very cliche. The majority of piano arrangements I hear are simply the right hand playing the melody and the left hand doing either chords or arpeggios of the chords. Satisfying enough for the layman, but drives me crazy listening to them, and I'm guilty of doing that too. It takes a lot of work to make an arrangement that's dynamic and fun to play. The original track consists of a piano playing solo, and then joined by instrumentals for the second half. The latter half is extremely repetitive: I counted a total of eight repititions of the same phrase. To make it more interesting, I decided to go with three playthroughs of the melody, with the orchestral portion considerably shortened. First playthrough - I kept the solo piano part mostly unchained note-wise. In my performance, I added lots more dynamics and sustains to really bring out the soul of the melody. The orchestra part is also pretty straightforward. Second playthrough - Here's where I really dissect the piece to better understand how the music fits in the game. The chords and harmonies used in the solo portion closely resembles impressionism era music from composers like Debussy. The way the melody seems to drift away and change its mind helps to enforce the idea of the protagonist's loneliness. Makes sense as this is the same melody used in the beginning of the game. The melody in the orchestral portion is more conventional, and the way it just comes in suddenly (just like in the original track) is a great way to stir the emotions of the listener. The encouragement from all the side characters is punctuated by the warm strings playing in harmony. Third playthrough - I originally planned for an even longer and crazier solo piano cadenza, but it was sounding a bit too much of a departure from the original track. The way I have the piano get more fast and intense, is like how the protagonist responds to her prior defeat to flowey and subsequent encouragement from everyone else. Because she was a pacifist in her journey, she can rest assured her ultimate battle will not be fought alone. All these articulations I used are heavily derived from stuff by Chopin, Liszt, and Rachmaninoff. MP3 and FLAC available for Patrons. ► Original Song composed by toby fox Arrangement and fan art by Jeremiah Sun Undertale is available on Steam

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5. Undertale Orchestrated - MEGALOVANIA

Undertale Orchestrated - MEGALOVANIA

People have been constantly requesting more Undertale tracks, and I aim to please. The tracks most requested are all the boss fight songs, and since they are all very heavy metal/synth/rock style, I needed some time to figure out how to arrange. While doing a direct translation of the instruments worked alright for Heartache, I didn't feel the same approach would be as effective for MEGALOVANIA. Apparently MEGALOVANIA is a combination of megalomania and Transylvania, and not a mix of Mega Man and Castlevania, as I originally guessed. Digging further, I saw that the piece was used as the boss fight in toby fox's Earthbound hack. Since Sans was never this brutal throughout the game, and he gave you many chances to turn back, I concluded that this theme is actually the protagonist's boss theme. Being that this music occurs during the Genocide run of the game, the music serves to highlight the intensity and evilness of the player gone mad with power. Most of my time spent on this track was amassing the big percussion sounds to construct the epic "Hans Zimmer" cinematic feeling. I didn't want to use a simple drum kit like I did in Heartache because the original rhythm it would have sounded extremely repetitive in an orchestral context. So using a generous helping of Taikos, Epic Toms, Timpanis, Surdos, I came up with all sorts of rhythms to use as the foundation to give life to the piece. I took the catchy melodic riff and adapted it for percussion, with all sorts of variations. The end result does not fit into any specific genre. The middle solo section even has an unintended Asian feel to it. I imagine this piece is something a high school band/symphony would play at a school concert. After performing the usual classical pieces, they close out with this piece for fun times. People are seen wheeling out the big drums and an assortment of ethnic instruments. The attendees clap along and some get up to dance. Lol MP3 and FLAC available for Patrons. ► Original Song composed by toby fox Undertale is available on Steam

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6. Let The Battles Begin! (Fighting) Orchestrated - from Final Fantasy VII

Let The Battles Begin! (Fighting) Orchestrated - from Final Fantasy VII

Early MP3 and FLAC available for Patrons. ► Support me before I release the reward and it's gone! As Link's Awakening album is stuck in limbo, it's time to move on to new tracks. Even though FFVI is my favorite in the series, including the soundtrack, I think the battle theme for FFVII is superior, and in a league of its own. Nobuo Uematsu went all out and redesigned the battle theme to underscore the upgraded visuals, the cinematic camera, and the intense fighting energy. This is the kind of music I would have trouble composing myself. There's no clear melodic progression, the phrasing is unpredictable, yet put together everything still sounds so catchy and iconic. I am simply in awe at how Uematsu came up with this. I am very wary of arranging SquareEnix music, because they already do great arrangements with a live orchestra (Distant Worlds). However, I chose to take a crack at this one because I don't like the orchestrations floating around. The Advent Children piano solo is great, but leaves me still wanting the full arrangement. The version in the FF Battle Theme medley is too simple and short and not even complete, and the version at the end of Crisis Core is too cliche, with the awesome piccolo solo replaced with boring strings. Come on! For my arrangement, I let the music it play out in three unique loops. Here's my process behind them. I. Enhanced (Orchestrated) The first loop is a straightforward sounding arrangement of the original version. This was particularly difficult for me to achieve, because when I recreated it using the same instruments and articulation, everything sounded too muddy. The snappiness of the brass section is gone, the piccolo is drowned out, and the strings sound so synthesized. To fix that, I started fading instruments out and only had them come in during the recognizable parts. Also, I used a lot of solo instruments. I tried out this measured tremolo technique for the strings and the flutes to really get that intense energy feeling of a battle scene. It's definitely one of my favorite parts. II. Expanded After satisfying the purists, it's time to go crazy with some insane phrasing. I felt that since the battle theme appears in the beginning of the game and all throughout the entire story progression, I should include instruments that represent other areas of the game world. The original version felt very military and only fits well in the context of Midgar and Shinra soldiers. I added the more eastern Taikos, woodblocks, and african drums as a means of recalling areas such as Wutai, Cosmo Canyon and generally the overworld monsters. Then I mixed up the instrumentation and have different combinations of them play each phrase. This adds to the fast paced nature of the battles and the infinite variety of attacks/party members/magic/monsters that comprise each encounter. Again, the use of solo instruments (instead of ensemble) makes each note clearer and enhances the "attack" of the notes. The climax piccolo section I've redone to sound like perfect limit break music. I could go on much more on this section as it probably took me 80% of the entire time spent on this orchestration. III. Extended (Cool down) Just like I did with Tal Tal Heights, I added a third section as a breather before looping back. If a battle were to last long enough that you reach this part of the music, that would mean the battle is probably more difficult, or filled with annoying enemies. Here I ease up on the instruments to represent the fighters either recovering from their wounds or strategizing how best to defeat the enemy. In conclusion, modern soundtracks have traded catchy music for boring orchestrated atmospheric ambiance. Why can't we have both? This arrangement is my argument for more iconic NON-background music.

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7. Undertale Orchestrated - Bergentrückung & ASGORE

Undertale Orchestrated - Bergentrückung & ASGORE

I finally managed to arrange my most frequent request. This one was really tough for me to figure out. I a version that I did that sounded pretty awful, so I had to scrap everything and restart from zero. One reason this took me a long time to figure out was because I was unable to understand the flow of the track. The track builds up to a climax early on and then kind of drifts a bit before ending. Luckily, I found a sound that I liked and went with it. The opening of the fight scene has Asgore treating the player with compassion, offering the player multiple opportunities to step away, because he is reluctant to do battle. We can see the pain from his past experiences that caused him to take the path that he chose. The music reflects this by being less a "boss theme." It is somber, yet resolute. The big showcase of my orchestration is the thunderous percussion. The majority of my time was spent picking out the various drums I wanted to use, and then coming up with an assortment of rhythms and loops to use in the track. In the original track, the drum beat never changes, and the melodic phrases repeat a lot. As those familiar with my style, I never want to repeat a phrase in identical fashion. The result is what I would call a chaotic but beautiful mess. I don't even know what kind of style my arrangement should be labeled as. There's some Eastern Asian influence, a bit of medieval folklore, and some "Hams Zimmer" and "Hiroyuki Sawano," sensibilities. There is a lot of energy and excitement in my version, which may spoil you from enjoying the original track! MP3 and FLAC available for Patrons. ► Original Song composed by toby fox Arrangement by Jeremiah Sun Undertale is available on Steam

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8. DELTARUNE Piano and Orchestra - Friendship

DELTARUNE Piano and Orchestra - Friendship

Get the piano score free at Happy Thanksgiving everyone. Everyone please remember to show appreciation to friends, family, and even your enemies, because they built your character. For now, let's talk about Friendship. I always get the urge to just churn out a ton of piano covers for easy views, but I think about the possibility of missing out on an elaborate arrangement like this one, and convince myself not to. I went full Studio Ghibli on this one, and took a lot of inspiration from Princess Mononoke and Spirited Away. The phrasing at 3:55 is the first thing that came to my head, and I totally got that from the Spirited Away theme. In addition, the my instrumentation pulls a lot from the symphonic arrangement of Princess Mononoke. Just so I don't leave out any other familiar influences, other pieces I might have subconsciously took ideas from include Love Grows from Final Fantasy VIII Piano Collections, In my Life from Les Miserables, and some Chinese Christian hymns! In contrast to my previous piano arrangement An Ending, I decided to have the orchestra play a more active role. Friends come in all shapes and sizes, and having a variety of instruments surrounding the piano like people making themselves known seems very fitting. The melody here appears almost everywhere in the game, and to me the world in Deltarune is a generally peaceful place that's just unfortunately ruled by a BAD GUY. It's a relief at the end when all the subjects come to save you from the king after he takes advantage of your mercy. Slower and softer songs are still a challenge to me, and I can't just cover everything up by having the piano take center stage like I did in An Ending. I find that I have to always keep changing it up with the orchestra, and avoid using the same harmonies or rhythms. To enhance expressiveness of the music, I spent a lot of time agonizing over the ritardandos in the piece, which in a virtual setting is impossible to get just right. You would have seen me air-conducting the music like a maniac, trying to see what exact bpm I need to slow it down to. The tempo chart in my DAW looks like a seismograph! I made the piano parts much easier to play compared to An Ending, so you're all welcome for that. I didn't feel it was right to make it too show offish, because you shouldn't be overshadowing your friends. For some portions I gave the melody to the orchestra and just have the piano playing a supporting role. MP3 and FLAC available for Patrons. ► Arrangement by Jeremiah Sun Original Song composed by toby fox DELTARUNE Chapter 01 is currently free to download

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9. DELTARUNE Orchestrated - The Legend

DELTARUNE Orchestrated - The Legend

hope toby fox can finish this game. Playing through chapter 01, I feel like the presentation and pacing is much stronger than Undertale. The soundtrack so far is catchy and memorable just like the original. The Legend sequence in the opening lends itself to much gravitas. For the arrangement, I focused only on filling out the soundscape more. If there was one criticism I have of toby fox's music style, it's that he can repeat phrases a lot without any variation. This is understandable, as his soundtrack is still very extensive, plus he makes the entire rest of the game too. To make each repetition of the theme flow better, I altered the last measure in each playthrough to transition better to the next phrase. I didn't use any fancy instruments beyond the normal orchestral set. For the final section, I interpreted it as a quartet, and added the double bass and viola with their own parts to fill out the sound. All in all, the final product has a primarily medieval/classical tone to it. This was a bit challenging to do, as slower music is not my strong suit. I have to really work on the articulations and texturing for long notes so they don't sound too flat with the virtual samples. MP3 and FLAC available for Patrons. ► Arrangement and fan art by Jeremiah Sun Original Song composed by toby fox DELTARUNE Chapter 01 is currently free to download

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10. DELTARUNE Orchestrated - Chaos King

DELTARUNE Orchestrated - Chaos King

This was the first piece I wanted to arrange, along with Field of Hopes and Dreams (I haven't figured out how to approach that one yet!). What's really exciting here is that I got to build further on techniques and instrumentation I developed from pretty much all my previous Undertale arrangements. Plus I spent a considerable amount of time balancing every instrument, EQ'ing every track to get it sounding good. My takeaway from the original track and the context of the boss fight is a mix of shock, terror, and some mischief. You know while ascending the palace that the king is not going to grant you access to the fountain, but what surprises you is his disapproval of his son. Not only does he show such disdain, he even relishes in his villainy. This creates a strong motivation to the player to abandon the pacifist method and go all genocide on him. Hopefully you can tell from listening to my arrangement that I had so much fun with the percussion. After doing the I Am Setsuna track, No Turning Back, I had an itch to make another track with percussion that is intense but still quick on its toes. Nearly all of toby fox's original rhythm is preserved, and I merely layered on top of that. For others wondering how to orchestrate music, think of it as remastering a game. You don't just copy the same notes and substitute orchestral instruments. That's like slapping on some high-res textures and calling it a day. Does anyone enjoy playing the Final Fantasy games ported to mobile with the smoothed out graphics? You have to remodel everything from scratch with more detail. So for percussion, a trick I use is to subdivide the original rhythm, and then cut it up and distribute it among a bunch of instruments. Give the big booming drums the down beat, and the higher frequency instruments the syncopated and faster 16th note beats. Here are all the percussion patches I used in this song. Spitfire HZ01 Percussion - Boobams, Paper Djuns Spitfire HZ02 - Sony Stage Drums Soundiron Clacks - Bamboo Pole Cinesamples CinePerc - Taikos, Concert Toms, Tambourines, Tubular Bells, Crash Cymbals, Ensemble Claps + Snaps QL Stormdrum - Ambient Largeness, Lord of Toms Ensemble, Clacks (Taiko), Spring Drums I used to only use the stage mic versions of the patches because I naively thought that was the best when trying to recreate the sound of a full orchestra. Here, I experimented a lot with close mic versions, and I discovered that with the right control I can really get the punchy sound of the drums out without having to raise the volume out. This extended to the melodic instruments too, and allowed me to give the cello the same percussive rhythm. I repeated the first half of the song because it's my favorite part. I had a lot of ideas that I wanted to explore without repeating the entire track. I didn't want to rush into the more intense variation right away because it deserves a build up. If you listen closely, the percussion rhythm in the first run-through is inverted before being restored at the repeat at 1:35. Another first for me in this track is pairing up instruments from different families. I used to keep the woodwinds, strings, and brass separate in their motifs, but here I had them all make friends and do parts solos together, so you'll hear match-ups like Harpischord/Horns, Piccolo/Trumpet, String/Percussion, Brass/Choir. Hope you guys enjoy this! MP3 and FLAC available for Patrons. ► Arrangement by Jeremiah Sun Original Song composed by toby fox DELTARUNE Chapter 01 is currently free to download

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11. Tal Tal Heights / Mountain Range - The Legend of Zelda: Link's Awakening Orchestral Arrangement

Tal Tal Heights / Mountain Range - The Legend of Zelda: Link's Awakening Orchestral Arrangement

This album will be released April 1. More info at Get this track on Loudr - prefer Loudr please!!! Also on iTunes -, Amazon -, and Play - Finally we arrive at the Tal Tal Mountain Range Grand Orchestration. Since I first started, I was tempted to arrange it early on, as it is also my favorite track. Through great patience and humility, I held off on it, and even placed it far off in the tracklist, until my skills improved enough to tackle this beast. It is more appropriate here anyways, as this is when you can finally reach the majority of the mountain. Nevertheless, I've been arranging it in my head for the last 9 months, and obsessing over it until now. With regards to instrumentation, I felt the interpretation from the "Symphony of the Goddesses" concert was suitably epic, though a bit brief since it was a medley, so I kept mine similar for the fast parts. Tambourines really do add a nice flavor to the energetic rhythm and keep it from sounding too heavy. For the repeating ostinato, I used a combination of ukulele and nylon string guitar, which is similar sounding to the Gerudo Valley theme. Although every characteristic of the original song is preserved in my arrangement, I still made some significant alterations. The first drastic change you'll notice is that the opening phrase of the main melody has been stretched out 4 times. I felt that the original version rushed to the climax too early. By giving it more room to develop, I feel the melodic progression sounds a lot smoother this way. This also gave me more places to try out all sorts of instrument combinations and articulations. Check out those strings playing trills in discord to the melody. Sounds slightly off, yet somehow works! One possible controversial addition I made is introducing a third arc to the music after the first two repetitions of the main melody. Since the song is constantly fast and rhythmic, having it on repeat might sound a bit exhausting to a listener. A mountain range consists of peaks and valleys, plateaus and caves. I wanted to add some gloom and introspection, as I'm sure Link must be feeling as he nears the end of his journey. This also allows your mind ears to rest in between the awesome main melody.

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12. Undertale Orchestrated - Battle Against a True Hero

Undertale Orchestrated - Battle Against a True Hero

Conceptualizing this piece was actually pretty straightforward. I spent lots of weeks just playing the track in my head, imagining how it would sound in grand fashion. I found myself subconsciously tapping out different kinds of rhythm ideas to replace the drum pattern of the original. After it was a couple sessions of hammering out my percussion ideas inside Studio One. This track uses about 20 percussion instruments total. If this was played by a real orchestra, they'd probably have to perform this in a warehouse! This track is split into the obvious three acts. In the the original track, the motif in each act was repeated quite a few times before moving on to the next part. I wanted to avoid having my version have any noticeable repetition, so I layered counter-melodies on top of the original, and extended them out with some transformations. This along with the instrumentation allowed the "story" of the music to really come out. This is how I would interpret it in the context of the battle. The first act is jumping straight into the battle. I treat Undyne as the "True Hero, as she draws on her DETERMINATION for newfound strength, in order to battle you, the murderous player. The opening starts out focused on intensity. Both of the player and Undyne are jumping around, trading blows, with little time to think. As the battle progresses, we reach the second act, the escalation of the battle. The original tune here has a more distinct melody. It is also the same tune used in the pacifist/neutral run to encourage the player not to give up. Ironically here in the genocide run it now applies to your opponent, who is the one fighting for good. I imagine for the player character to go on a rampage, she must be dead inside and void of compassion. Therefore, the emotion here all comes from Undyne as she fights bravely. Obviously the battle does not go in Undyne's favor, and as she slowly succumbs to more attacks, we see the desperation in her eyes. Perhaps both the player and Undyne remember in some alternate universe where they shared some good memories together. They were actually besties, and went on adventures together. What happened to that reality? Instead here they are fighting to the death. Kinda tragic, I would think. I thought it would be fitting to have the strings soar above the original rhythmic melody, as if Undyne was crying out from the depths of her soul. But alas her end has come. At the very least, her sacrifice served a purpose in helping the others of her kind escape you, the evil player. Overall, I drew heavily on Hiroyuki Sawano and Hans Zimmer's style, most notably Zimmer's Mombasa track from Inception. I made a couple callbacks to my previous Undertale tracks, including the one motif I added in "An Ending." This is the last boss/battle music I'll arrange from Undertale. From now on, any future arrangements I'll do will be the more soothing and serene tracks. That'll balance out my entire musical reinterpretation from Undertale. MP3 and FLAC available for Patrons. ► Includes both looped and non-looped versions. Original Song composed by toby fox Arrangement by Jeremiah Sun Undertale is available on Steam

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13. Opening Scene - The Legend of Zelda: Link's Awakening Orchestral Arrangement

Opening Scene - The Legend of Zelda: Link's Awakening Orchestral Arrangement

This album is free to download. Consider supporting me on to support my future works! Update 3/20/2015 - Readjusted levels, used new sample library for woodwinds. Update 5/2/2014 - Tinkered with the instrument levels. Still not satisfied. I am starting a series on arranging the music from my favorite Zelda game in the series. The method I chose to re-orchestrate the soundtrack is to keep it as true to the original spirit of the music. I hypothetically imagine that the original composers created the music with realistic instrumentation before they simplified it into the 8-bit Game Boy version. Each instrument track from the original is represented in my version, and from that I add additional instruments in a way I think will amplify the intent of the composer. You can decide for yourself how effective my method is by the way I re-edit the music back into the game. Enjoy!

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14. Ballad of The Wind Fish ~Full Symphonic Version~ - The Legend of Zelda: Link's Awakening Orchestral

Ballad of The Wind Fish ~Full Symphonic Version~ - The Legend of Zelda: Link's Awakening Orchestral

Support me on to support my future works! Update 3/20/15 - Stretched out the ritardandos, added an extra measure before the Zelda Lullaby theme, fixed some instrument articulations, and readjusted sound levels This is the last track in the album. I did this first before the ending track because I knew this would take much longer. I thought long and hard on how to do a full arrangement of Ballad of the Wind Fish. In fact, I spent more time fiddling on the piano and writing notes than I did actually producing it in the software. There are a myriad of versions floating around online, and it would only be worth doing for me if I could bring in something new. Most “orchestrated” arrangements consist of a solo instrument playing soulfully while being accompanied by a piano or whatever instruments playing harmony. Then, you have the real live Symphony of the Goddesses version which while grand and epic, seems to have strayed too far from the spirit of the original. The interpretation I like the most appears in the Hyrule Symphony album, as part of the medley track. It was way too brief, and deserves a fuller arrangement. My version is constructed as a narrative about the end of Link’s relationship with Marin. It describes what Link may possibly be thinking during the ending as the credits are rolling. 1. Link never got a chance to say goodbye to Marin, but with her utterly occupying his consciousness, he has to let her go. The main melody starts out softly. 2. It’s too painful Link to drum up memories of Marin. How could someone just moments ago he could see, hear, and feel, suddenly be gone? The next portion of the melody is filled with discord, as feelings of disbelief flood his mind. 3. Link is in denial and wants to believe Marin is still alive and breathing somewhere on Koholint Island. Here the music becomes flighty with the woodwinds climbing up and down the scale. Link is fleeing the truth, while the reality is trying to chase him down. Ironically, the song we associate with Marin is also the the Song of Awakening, used to make her disappear. 4. In frustration, Link directs his anger at the Wind Fish. Here, I used the Mabe Village melody in a minor key, anchored by the Boss Theme as the baseline. The five-note motif of the Zelda main theme, also Link’s theme, is also used to show that Link is almost turning bad. In his rage, he wishes that the nightmares returns to trap the Wind Fish into another deep sleep, so the island, the village, and Marin, can come back. 5. Link releases his tension. All his willpower cannot undo what he chose to do. In his despair, the Zelda Lullaby plays softly. Link remembers that the true most important person in his life is Zelda, and not Marin. I placed it directly after the brief Mabe Village phrase, and hopefully you can see how the opening phrases of both melodies are very similar. This suggests that Marin is actually based on memories of Zelda that were projected by Link’s subconscious while he was on the island. 6. The memory of Zelda has brought Link to his senses, so once again he can start to say farewell to Marin. The Ballad melody starts again and plays solemnly to the end. I spent a lot of time tweaking the strings to give it lots of crescendos and decrescendos. Link celebrates the experience he shared with Marin while also mourning her loss. His face is completely drenched in tears as he endures the whole process. 7. Finally, for the end, I reversed the opening three notes of the Ballad melody to use as a punctuation for this piece as well as the soundtrack in general. It’s the end of this story, but something new beckons beyond the horizon. The final note is played in a major chord to signify this. And there you go. This demonstrates how meaningful the music can get when a true fan who is passionate about Zelda arranges the music. Passion and creativity always trumps technical skill! Hope you enjoyed the album!

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15. Overworld Theme - The Legend of Zelda: Link's Awakening Orchestral Arrangement

Overworld Theme - The Legend of Zelda: Link's Awakening Orchestral Arrangement

This album is free to download. Consider supporting me on to support my future works! Update 3/5/2015 - Adjusted the EQ some more, added some expression to the strings. Update 5/2/2014 - Rebalanced the instruments, adjusted some of the EQ, increased the reverb to sound like an orchestra hall, restored the bass in the timpani, maximized the sound. This is an orchestration of the overworld theme for Link's Awakening. All instruments are from virtual libraries. For the youtube video, as well as the rest of the tracks from the game, click here.

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My process arranging this track was a bit different. I spent most of my time experimenting with different instrument combinations and phrasings to get a feel of how I would ultimately tackle it. There's a bit of an identity crisis in my version, where you can tell I was flip flopping on whether to go for epic or silly. I thought both approaches worked well, and in service of circus/carnival music, just go for broke and pile it on! For my research, I listened to circus/carnival music, as well as related game music and noted what I thought were defining characteristics. For percussion, there's the original beat the toby fox used with the kick and snare played really fast. There's also the trademark timpani and cymbal crashes that make everything really lively. For the melodic instruments, there's a ton of brass. I couldn't find any reason to put strings in (except for the violin solo), and pretty much took them out entirely. In addition, the instruments that really give carnival music its "sound" is the mini organ as well as the magnificent accordion. What an awesome versatile instrument it is. I can use it for harmonic chords, and also as a solo instrument with fast articulation, and can play 1/32 notes just fine. Speaking of speed, the only reason I had to slow it down slightly from the original speed is to accommodate the short notes of my VSTs so it wouldn't sound too muddy. Now to explain my approach. The original track starts with a couple bars of the ostinato and transitions to a chord. I feel that it happens to quickly and needs a bit of a buildup. I stretched out the ostinatos for a few more bars to make it serve as a better intro, but still wasn't satisfied with the result. Eventually I decided to add a new melodic phrase to the A section. I am very proud of the result. It’s layered perfectly on top of the original ostinato and the connecting melody. Especially in the second go around with the solo violin, it’s a bit reminiscent of “Kingdom Trial” from Chrono Trigger. I replaced the beat with the circus timpani/cymbal combo. might be disappointed that it has a different feel from the drumset. But guess what, in the repeat, I bring it back! Aww yeah! And it comes after a great buildup with all the happy go lucky instruments having their fill. For the B and C section, I went with as many instrument/beat combo changes however I see fit. I imagine each of Jevil’s attacks is like a different performer at a circus. Less the super impressive stunt performers like trapeze or balanced plates, but more the center ring of the stage where there’s just so much going on. Tigers jumping through fire rings, elephants running amok, clowns on unicycles, you name it. In Jevil’s own words, it’s chaos, and he can do anything! The music morphs from one texture to another without letting up. Interestingly, I didn’t want to use too much percussion toys, or it would distract from the actual music. I gave the brass a couple of counter melodies to play against the main melody, threatening to crash through to center stage and bring the whole tent down. Also, drunken trumpets MP3 and FLAC available for Patrons. ► Arrangement by Jeremiah Sun Original Song composed by toby fox DELTARUNE Chapter 01 is currently free to download

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17. DELTARUNE Orchestrated - Vs. Suzie

DELTARUNE Orchestrated - Vs. Suzie

So I shared my plan on the community page detailing the rest of the Deltarune tracks I planned to orchestrate, and a lot of people noticed Vs. Susie was not one of them and loudly voiced their desire for me to arrange it. I was thinking, ok I'll probably save it for last, but thought it would be cooler to surprise drop this track first! The reason I did not consider this one was because the track has an intense heavy metal, and translating it to an orchestra would change the feel of it. I started out adding the electric guitar and designing the orchestra around it, but that didn't sound right either. Then, I thought, maybe I should approach it like I did with Megalovania and just go big with the Hans Zimmer-ish percussion, but I didn't want to retread similar ground. This was tough as I didn't want this track to sound like an afterthought. While experimenting with the percussion, I came upon a winning combination: Cajon + Drumkit. I used this in Field of Hopes and Dreams with the drums as more of a support, but here I tried to utilize both equally. At my church, the hall we use for worship is not good for drums, so we have people use cajon for a better mix. It works well enough, and as I listen to people play and experiment with it, I feel like, even if we eventually incorporate drums into the band, the cajon could still be utilized to enhance the mid-high range frequencies. So here, the undercurrent of the fast and aggressive cajon is meant to symbolize Susie's rage. While it's a bit hard to hear specifically, I spent quite a bit of time writing out different rhythms and transitions for the development of each portion of the track. If the percussion and the repeating ostinato represents Susie's exterior demeanor, then the soulful cello, high strings, and trumpet characterize Susie's inner thoughts. I thought it would be cool to really draw out the emotion and justapose it with the angry motif, as if these instruments think they're playing a different song. Until the ending, I kept the beats and harmonies intact, and a big challenge was to try and have the strings play long notes that soar above the general discord in the song. We can see throughout the game that while she's kind of a loner, she has a desire for friends, but she has trouble voicing her feelings and generally doesn't like to display much sentimentality. She also flip flops from hero to villain and back because she is trying to find her identity to excel as. It'll be interesting how toby fox will flesh out her character in the future. Deltarune Orchestrated will be available on iTunes/Spotify upon completion of the album. MP3 and FLAC available for Patrons. ► Arrangement by Jeremiah Sun Original Theme by toby fox DELTARUNE Chapter 01 is currently free to download on PC and the Nintendo Switch!

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18. Undertale Orchestrated - Bird That Carries You Over A Disproportionately Small Gap

Undertale Orchestrated - Bird That Carries You Over A Disproportionately Small Gap

I was originally planning to do just a 1:1 arrangement of the track, but after I finished the fanfare, I challenged myself to see how far I could stretch it out. These random quirky moments is what makes toby fox and genius and Undertale so beloved. I imagine there's an incredible backstory behind the bird. It spent its whole life trying to find a greater purpose beyond the survival instinct. It flew around all the lands, and as chance would have it, saw someone standing at the edge of the coast, wanting to get across to the other side. The opposite coast was just far enough that jumping across was impossible. That person would have to waste a full 5 minutes to take the long way around. The bird landed and called out, "Perhaps I can carry you across!" The bird grasped the person by the shoulders and flapped its wings furiously. It could not do it, as the person was too heavy. Dejected, the bird flew away, thinking itself useless. Sans just happened to walk by and saw the bird perched above, crying. "What is the matter?" he asked? "I wanted to help, but I am too small and weak to be of any use," the bird sobbed. "Nonsense!" Sans responded. "Setbacks are simply meant to make us try harder. Don't give up just on the first try!" His words filled the bird with DETERMINATION. It decided to start small and improve from there. First the bird carried a small pebble across the gap. Then, it went to look for a larger rock and carried that across. With perseverance, the bird found that it could carry larger and larger objects, until finally it developed enough strength to move mountains. Now the bird regularly ferries people back and forth across the gap, saving thousands upon thousands of travel hours. The bird was happy that it could serve in its little way. MP3 and FLAC available for Patrons. ► Original Song composed by toby fox Arrangement by Jeremiah Sun Undertale is available on Steam and PS4

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19. Sword Search - The Legend of Zelda: Link's Awakening Orchestral Arrangement

Sword Search - The Legend of Zelda: Link's Awakening Orchestral Arrangement

This album is free to download. Consider supporting me on to support my future works! Update 3/20/2015 - Used new sample library for woodwinds

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