The Legend of Zelda: Skyward Sword is perhaps the most compelling argument yet for āVideo Game as Concert Piece.ā As a game, it is a smartly designed interlocking series of puzzles, an ever-more-complex world filled with hidden secrets and challenging combat that unfolds with a uniquely Zelda-y sense of joyous excavation. But as a concert pieceā¦ oh, boy.
I am, as I have admitted before, not a āZelda guy.ā I could never have written a review as far-reaching, comprehensive and lucid as Stephen Totiloās splendid Kotaku review. I also couldnāt have put together a piece that points out the gameās maddening flaws as humorously (and, I must admit, accurately) as Tim Rogers did
https://lastchance.cc/the-legend-of-zelda-skyward-sword-the-kotaku-review-5860878%3C/a%3E%3C/p%3E
But I can talk about the music. To offer a correction to an earlier version of this post, it seems that Koji Kondo isnāt as responsible for this music as I thought. Due credit to Hajime Wakai, Shiho Fujii, Mahito Yokota and Takeshi Hama, all of whom contributed. AnyhowāIām certainly not going to say that the themes in this game are ābetterā than past Zelda games (particularly Ocarina of Time, as chronicled by Cruise Elroyās Dan Bruno). But when taken as a whole, the score is one of the most far-reaching, interestingly developed and gorgeous series of musical themes Iāve heard in a game.
Recorded with a full orchestra (though the occasional sampled MIDI instrument does turn up), the Skyward Sword score is lush, ambitious, and human sounding. Instrumental soloists, particularly some of the woodwind players, all have their moments to shine, and the reprisals of old Zelda classics like āZeldaās Lullabyeā and āInside a Houseā sound terrific when performed by human beings.
Iāve written in the past about how dialogue-free games tend to use music more effectively than current-gen ātalkyā games, and Skyward Sword is a prime example of this. To reiterate my opening thesis, this is a Video Game as Concert Piece, a work that is as much about its ever-shifting, ever-more-complex musical themes as it is about its puzzles, gameworld, or story.
āGoddessā Themeā
Letās listen to this one first, shall we? The most easily recognized tune from the game, the āBallad of the Goddessā is the main heroic theme from Skyward Sword, and with good reason. From the first trailer I saw for the game, I was struck by how immediately iconic it felt, how it conjured feelings of adventure, purpose, and more than anything, of motion. I really dig this version as well, which presents the theme in a lighter context, pushed by a more delicate but no-less-driving rhythmic bounce.
Is this theme actually better than Kondoās original theme for The Legend of Zelda? I donāt know. Thatās a really stupid question! But āBallad of the Goddessā is a great example of a heroās theme done right. Itās a strongly melodic anthem the boldness of which remains all too rare in modern video games.
https://www.youtube.com/watch?v=uwRIUvVK1qk
āFiās Themeā
Linkās blue robot-ish companion Fi is graced with a lovely theme. Throughout the game, we hear several variations on it, and this one is my favorite. It recalls nothing so much as Thomas Newmanās standard-setting work on The Shawshank Redemption, and if that aināt a compliment, I donāt know what is.
When the orchestra creeps in for the second pass, ever-thickening counter-melodies layering on top of the lush string arrangementā¦ this kind of piece is proof that a full orchestra will always convey emotion more effectively than an army of perfectly programmed chiptunes. (Sorry, chiptunes. I still love ya.)
https://www.youtube.com/watch?v=EW70tM3J5UQ
āRomance Themeā
Ugh. Gah.
This piece kills me. Go away, stupid oboist. With your stupid ridiculously gorgeous melody/counter-melody-thing. Yes, this isnāt even actually an oboe solo (he/she has a flute doubling the part), and the bassoon deserves equal props for laying down some ridiculously beautiful whole notes. There is also like a 5% chance that this is an English horn, since sometimes the two can sound so similar that I get disoriented. Or maybe Iām disoriented by all the prettinessā¦
Are you sensing that I have a hard time talking about this piece? I do. It slays me. Iāve reached the limit of my ability to describe it ā just listen to it and then go fall in love with someone, okay?
https://www.youtube.com/watch?v=tPDFIOEc86I
āLoftwing Themeā
Skyward Sword is a game about flight, and so it needed at least one theme that specifically conjured aerial grace. The āLoftwing Theme,ā written to introduce the giant flying birds ridden by the citizens of Skyloft, is just thatāa light, bouncing theme in 6/8 time, which is better known as the unofficial time signature of flight. But the reason I love this track is that it is a flying duet between a flute andā¦ a trombone.
There are a scant handful of video game soundtracks that feature show-stealing instrumental soloists. Violinist Martin Chalifour stole the show on Garry Shymanās Bioshock and Bioshock 2 soundtracks, and the bass clarinetist and bassist on the L.A. Noire soundtrack also had their moments in the sun.
https://lastchance.cc/the-best-game-music-of-2011-l-a-noire-5867787%3C/a%3E%3C/p%3E
This piece, much like the entire score, is a leaf on the windāwatch how it soars.
The entire Skyward Sword soundtrack is stupidly great. You can also listen to the whole thing on any of several YouTube channels, and itās easy to find piano transcriptions and downloads all over the place. Its musical score is an instant classic, as far as Iām concerned, and my favorite part of a great game.
Weāll have more of the best video game soundtracks of 2011 soon. Happy holidays!
āThe Best Game Music of 2011ā is a multi-part series highlighting the best video game soundtracks of the year.
