In which key is this written?

I'm working on a medley of The Legend of Zelda music for wind quintet. I've been staring at this piece for the last two days, trying to figure out in which key it might be written in. No luck so far; I can't make heads or tails of it.

Any help please?

Thanks,

Laogeodritt

Kokiri Forest on VGMusic.com

F

Major?

Care to explain, please? <<; I'm not sure I see how you got to that precisely.

Sounds more like C mixolydian to me (which is of course quite similar to F major). There are two parts based on F, but to me they sound more like subdominant parts, rather than the main key, especially because of the g major chords in there.

Most of the music is built on the chords c-e-g and bb-d-f, which are of course subdominant and dominant of F major, but (apart from the fact that they don't resolve to an F major tonic) the way they are used, they sound like a quasi dominant and tonic to me, i.e. VII-I in C mixolydian.

No this piece is definitely in C Major. I'm familiar with Koji Kondos work to the very brim. Although the key could be agrued from reading the midi file, I know for a fact it is C Major.

P.S. It would be nice if you could add a french or english horn and bassoon to your wind arrangement. Bassoon for base harmony and substitute bassoon and oboe parts with either horn with the consecutive octaves and fifths. They go very nicely with this song and this is just an idea.

Well, almost every b is flat.

That is true. When the piece changes into a what could be referred to as an F major key, these notes remain for the most part in constant scale, especially given the fact a secondary melody reaches a high E. We have a traditional transition of F Major melody. In tradition, mixolydian keys unlike these would always differ their notes from melodic phrase to phrase, so this can't be considered of the mixolydian diagram. It would be nice to call it of the mixolydian diagram, but the other problem is pitch. Of the "tuning amplitude" is the orchestra's pitch, which is disrupted by the flatter tuned instruments ranging the consectutive thirds and sevenths. In other words, it sounds icky. Kondo arranged the piece for string quintet, and the viola and second violin were intended to be tuned a little sharp. In such relation, the C Major key is a very common adoption of wind instruments for their various forms, playing the same note to be heard sharp.

Also I must add this Kokiri Forest piece is intented to be part of a suite for the video games own demeanor. The suite has an accounted key of Major C. :D

As a sidenote: that's one of the most brilliant themes ever written. Kondo is a God.

... I didn't understand anything of your last post, Rkmajora. =D

So, um, C major? How do the foreign chords/notes fit in, then? <<

(Yeah, I'm pretty much a newbie with musical theory and composition. 8D; )

P.S. It would be nice if you could add a french or english horn and bassoon to your wind arrangement. Bassoon for base harmony and substitute bassoon and oboe parts with either horn with the consecutive octaves and fifths. They go very nicely with this song and this is just an idea.

I'm writing it for a few players, among whom there are no double-reed players—one flutist/fifist, one clarinetist/flutist, one trumpeter/horn player and two saxophonists. I'm putting our trumpeter on French Horn (which he plays as a secondary instrument), since there's not much part for a trumpet in the pieces I've chosen.

For some reason, I wasn't receiving email notifs for this topic. << (I usually rely on them to notify me for topics I'm interested in following on forums—yes, I did subscribe to it.)

It's in C.

Y'know, there are these wonderful things called "accidentals" that do the bidding of any composer that wishes to modulate key for a few measure, but doesn't wish for a key change. :shifty:

It's in C.

Y'know, there are these wonderful things called "accidentals" that do the bidding of any composer that wishes to modulate key for a few measure, but doesn't wish for a key change. :shifty:

yeah, but, even though the written key is still the same, the tonicised key changes. Its more important as there are usually a LOT more people that hear a piece than play it :ninja:

Yes, and the accidentals screw me over since I can't tell which I should or should not be looking at when I'm working with MIDI data. <.< The Bb chords weren't particularly helpful, in this case.

Yes, and the accidentals screw me over since I can't tell which I should or should not be looking at when I'm working with MIDI data. <.< The Bb chords weren't particularly helpful, in this case.

Well if you find many accidentals that fit a key, put in the key. If these change for a good amount of time, the key has probably changed. Pretty simple but daunting process.

Which would've led me to a flat key, probably F or Bb in this case. See what I mean this time? =P

It's the first arrangement piece I've encountered to have an unclear key, actually... For most of the others, I'd need not look past the accidentals to find the key signature.

Which would've led me to a flat key, probably F or Bb in this case. See what I mean this time? =P

Then put it in F or B-flat. The only way to know 100% is to get a copy of the published score (I don't even know how to get my hands on that). Until then you'll just have to live with the best possible key.