The Strangest Song in Link's Awakening

Follow me: https://twitter.com/JalopesTL https://www.twitch.tv/jalopestl _______________ Additional Reading: Ryo Nagamatsu on Rearranging the Link’s Awakening OST - https://www.zelda.com/links-awakening/blog/music-composer-ryo-nagamatsu/ Deconstructing: The Eight Dungeons of Link’s Awakening, Jason Yu - http://jasonyu.me/links-awakening-dungeons/ How Link’s Awakening Rearranges a Soundtrack, 8-Bit Music Theory - https://www.youtube.com/watch?v=owkk5s4w1eQ Motivic Development in Link’s Awakening, 8-Bit Music Theory - https://www.youtube.com/watch?v=A8d-PUuUJnA Pokemon Red and Blue Score for Sound Chip, Mark Benis - https://www.youtube.com/watch?v=2WG9V6C1Aew ______________ Credits: Kyle Selheimer (Kflame210), Graphic Design - https://twitter.com/kflame210 Prism, Pixel Art - https://twitter.com/GFLK_pik MickeyBurgs, Pokemon Game Capture - https://twitter.com/MickeyBurgs ______________ Orchestra footage from Swedish Radio Symphony Orchestra - https://www.youtube.com/watch?v=YrpWBgB6oz8 Chamber group footage from Royal Philharmonic Concert Orchestra - https://www.youtube.com/watch?v=YkGJmFjfx6Q ______________ My first attempt at a long-form analytical video, where I take a closer look at one of the more peculiar songs from the Link's Awakening soundtrack and what makes it stand out among the rest of the game's music. I examine the song in the context of both the original GB OST, as well as the re-arranged version on Nintendo Switch. ______________ A final note: there are a few tiny errors/enharmonic inconsistencies in my transcription in the end. Nothing too dramatic, but I did the initial transcription pretty quickly, so a few small things got past revisions. If there's one thing I'd definitely change, it's calling the last chord in the "dissonant alterations" of the string chords an A7b5. While it's true that the voicing has the 7th and b5 of that chord and an A in the bass, the lack of a 3rd makes A7b5 a pretty unconvincing choice of chord name. I think F9/A ultimately makes more sense, even though there's no F in the strings - later on, when the low brass part enters, it puts an F in the lower register, which recontextualizes the string chord as an F9... and that, conveniently, makes more sense as a chord that can functionally return to the home key of G major, being that bVII is a strong substitute for the V chord. Isn't music theory fun?!