View Full Version : Ocarina of Time Suite: Part 3 (Saria, Overworld, Owl Theme, Death Mountain)
I started writing this nearly two years ago, and though most of my stuff from way back then totally sucks, I've actually always been happy with the bulk of this particular arrangement. I've tried to finish a full fledged version of it no less than three times over the two years, and if you ever have heard one of the earlier versions, you'll be able to get a sense of how far my production values have come.
Anyway, this is the "sequel" to a mix that's posted on the site, called Prelude. My intention is to cover all of Ocarina of Time's OST, so long as the song in question can survive the transition to orchestral, and to do so in a way that is sort of cohesive and neat sounding. I've written the next two parts, as well as Part 2 (which naturally goes in between Part 1 on the site and Part 3, which you're looking at right now), so at this point it's only a matter of sequencing, applying the sounds and mastering - which is actually the hardest part for me. Anyway, I look forward to your feedback, thanks.
01-18-2007, 06:38 PM
This, like your previous work, is simply masterful. I was a little nervous when you decided to embellish Saria's theme somewhat, but you made it work.
BTW, what can I call this in my music library? I'd rather it have an actual name as opposed to "Part 3", you know?
01-18-2007, 08:11 PM
The whole first part of it seems kid of jumpy and not locking together really well. It gets more solid about a minute into it.
For the most part, the instrumentation and orchestrations is done really well. Its very solid and comes together very nice. Its just the first minute or so that seems kind of not so tight.
That could be because it's in 5/4! I think I know what you mean, and even though it sounds perfectly ordinary to me, it must just be because I've been listening to it for 2 years.
Dijn, I'm absolutley terrible at titles. I called the older ones Spiritual Stone of Fire, since that's sort of what's going on in the game at this point. But I'm not too happy with that title - if anyone has some suggestions, I'd be happy to hear them.
01-19-2007, 01:50 AM
For what it's worth, you could call it "Youth" if you wanted. The music in the piece primarily focuses on the adventures of young Link after all. It's succinct, and conveys a direct emotion.
01-20-2007, 12:33 AM
doesnt it sound like it sort of lacks something? like some of the orchestrated parts lacked intensity or something, dunno maybe its supposed to be like that.
01-22-2007, 04:18 AM
I hate that damn owl, but i like this mix. I disagree with the others, I think the first minute is fine. the awkward time signature works for a foresty theme. the owl theme only brings back bad memories for me, but i like the orchestrated feel of it. And then a total switch in games, to a great remix of the mountain. Actually I think you could work more on that part and can the other two songs, and get a great mix out of that.
01-22-2007, 07:01 AM
The first minute or so didn't sit so well with me either. I listened to it a few times to see if I could get used to it. So far, no go. Hm.
Kaepora Gaebora's theme was excellent. As was the Death Mountain theme... although I'm not sure how inter-game mixes are recieved on the judges end of things. :/ Even if they are all Zelda.
Very nice though. I am impressed, which is not easily done. :)
Well, my first remix on the site included music from three Zelda games, so it should be fine.
01-28-2007, 11:33 PM
This is lovely! Beautiful arrangement.
However, there are some weird sounds--the flute from the beginning has distortion on sustained notes throughout the entire piece, and one of the high timpanis has an annoying ringing resonance, which is especially noticeable after 3:00 when it plays in quick succession. You mentioned that you still have to work on the production so those are probably already on your to-do list.
Aside from that, I love this, especially the Kaepora Gaebora and Death Mountain sections. Nice nice. Anticipating finished version.
Sounds really good, especially the bass line at the begging (the most overlooked of all lines.) While the use of timpani and low strings in unison is a great effect, there's too much timpani accompaniment in spots that would work perfectly for pizz bass plucks instead (and would give the timpanist a break on the retunings.) Long tones can be handled by cellos and bassoon.
At 1:12 it feels like the bass line should be supported more by trombones rather than cellos (cellos can instead start doing what the violins have been doing all along for greater effect.)
At 1:40 the timpani has overstayed its welcome and should really be pizzicato bass by this point. 2:06 is a good spot for it to come back. It's best to keep the use of timpani sparse so it can be easily retuned. Again, what the basses are doing at this point (long tones) can easily be accomplished using trombones and bassoons.
By 2:30-3:00 the overall sound is becoming a bit too string/timpani-centric after a long portion mainly dominated by strings. You should try cutting out voices for effect and give parts to other sections in a sort of "ensemble" style of writing.
The bassline during the march at 3:00 is not as clever as the opening of the piece and is really stagnant. If you ask me, it sounds like the violins/violas are playing what the horns should be playing, the bass should be staccato in the rhythm of the timpani, and the timpani should only be hitting lightly every half-note so its sound isn't so dominating. There's also just a surprising lack of brass except for the trumpets.
I'd get rid of the piano, its usage here is a bit too corny. If you want glissandi, use a harp. Melody can be taken care of by everything else.
At 4:15 the brass should really be taking over the melody, and the counter-melody could be in the violins and horns instead of oboe.
While you do attempt to break up the rhythm at 3:39, you have the same quarter-note pulse going for 2 minutes straight, which is far too long for a piece that is 5. A good way to change that up would be to end with a more direct approach, like an oom-pah pulse in half notes (and that makes it easier to accelerate towards the end.) Itís hard to explain, but I think you can hear how the quarter-note pulse is driving the rhythm and it sounds a bit boring without any change, or syncopation, or even elision.
01-29-2007, 01:27 AM
The "problem" in the first section to me seems probably not in your arrangement, but the fact that the flute and strings have a slow attack which makes them sound really tentative all of the time. The other thing about 5/4 is it's a meter that generally needs stronger rythmic emphasis on it so it doesn't sound too loose or wrong or off when it isn't. You might want to crank up those woodwins in the background at the beginning and make them more sharply emphasize the beat. The same with the strings at about :35.
Other than that, I don't have much to say. I love Zelda and I think you did a good job applying the original material to this kind of arrangement.
01-29-2007, 09:23 PM
Funny. I don't understand why people are complaining about the first minute. That's really the part I like best =P
Maybe the strings at 0:20 should be a bit more staccato. Right now they sound a bit blurry. Unless it's your intent to make it sound like that of course.
The bass melody at 0:29 could be a bit louder I think. It should draw the attention away from the strings.
At 1:43 the bassoon comes in. It already sounds nice, but I think it could be awesome if you toy around a bit there with trills and staccatos.
Overall I think you could try using more of the woodwind choir. It feels like the strings are very dominating in here.
I think you're doing a good job. Keep it up!
Actually, yeah, when I started this mix I had terrible woodwind samples, so I was hesitant to use the woodwinds much. But actually, one of my favorite moments, sample wise, is a woodwind chord in the Death Mountain section, after the Brass/Harp bit. You can definitley expect to see more in the next installment.
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