![]() The A section is 8 bars long (in 4/4 time) and the B section is 10 bars long, which can be viewed as a 6 + 4 hypermetric grouping. The piece is in duple meter and is constructed in binary form (an A section and a B section, with a short intro on tambourine) which is looped "ad infinitum." Both A and B sections are characterized by straight-forward dance rhythms in metric groupings of two. ![]() The modal basis of the piece is a way to make the song sound more medieval and removed from classical western music. Although this is where the piece is based harmonically, it is still overall ambiguous in its harmonization, as accidentals in the harmony later on in the piece suggest that the piece is in fact in C Major and it simply starts on the 4th scale degree and a IV in the harmony. The tonic of the piece is F, resulting in a scalar mode of F Lydian (a major scale with a raised 4th). "Saria's Song" is based on three main notes, F, A, and B. Melee's arrangement of "Saria's Song" also returns as a track. "Saria's Song / Middle Boss Battle" reappears as a track in Super Smash Bros. "Saria's Song" can be heard at the end of the "Ocarina of Time Medley" in Super Smash Bros. A medley containing "Saria's Song," " Saria's Song / Middle Boss Battle," is featured as track in Super Smash Bros. When Zelda performs a Special Attack using the Baton, one of the songs that she can play is "Saria's Song". In Hyrule Warriors, "Saria's Song" substitutes the victory theme during Darunia's victory animation, where he dances to the music as he did in Ocarina of Time. "Saria's Song" can be heard at the end of the " Ocarina of Time Medley" in Super Smash Bros. Melee, "Saria's Song" appears as an alternative background music on the Great Bay stage, also serving as Young Link's theme song. In Tri Force Heroes, "Saria's Song" appears as one of the tunes the Lucky Lobby Ball plays when hit with the Sword. Also, the Skull Kid plays the song on his horn from time to time. In Twilight Princess, a remix of "Saria's Song" appears as the background music for the Sacred Grove. The song makes a last appearance after the game credits, where the tree stump showing a drawing of Link, Skull Kid, Tatl, and Tael appears. The notes for "Saria's Song" can sometimes appear on a wall in the northern part of Termina Field, where Link can play a song for Rupees. During the ending of the game, the Skull Kid mentions that Link has the same smell as the fairy kid who taught him that song in the woods, assuming he is the same Skull Kid as the one in Ocarina of Time. It also plays during the scene where Tatl, Tael, and the Skull Kid are playing in the woods. In Majora's Mask, "Saria's Song" appears as the background music for the Woods of Mystery and when Pierre dances with Link. The sliding technique described before can be used to leap between the highest and lowest notes.The Legend of Zelda: Breath Of The Wild - The Champions' Ballad Review At the same time as you slide the finger off the cappello, you must also slide the left pinky finger onto the tail and roll off the right thumb. Making leaps this wide also requires a large change in breath pressure. I recommend practising with a tuner until you get used to it. The 3 point grip shown previously has a lot of advantages: Wide leaps tend to crop up between phrases it's usually a good idea to staccato tongue the transition. It maintains the right thumb, the strongest finger, as the main support point. It distributes ocarina weight over both hands so works effectively with larger ocarinas. It keeps all fingers close to their respective holes. ![]() It permits leaping between high and low notes. It keeps the centre of support relatively constant. However, it does have one con: it can limit the playing speed of the right thumb hole. The palm grip is a technique which can work around this. In the palm grip, the entire weight of the ocarina is taken by the right hand, which allows the right thumb to be removed. Whenever you intend to play a high note, slip the right ring and pinky finger around the tail well in advance. ![]() While doing this, there is a tendency to extend the remaining two fingers vertically upwards. I strongly recommend keeping them bent so they remain close to their holes and have less distance to move when returning to a lower note. However, the technique has a lot of problems: This is useful for situations where the high notes need to be trilled or otherwise played quickly. ![]()
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