FATE: A Tribute to Majora’s Mask

Of all the game music that I’ve been wanting to arrange/remix as part of the Materia Collective, the music from The Legend of Zelda series has been at the top of my wishlist. Last year Materia Collective released an excellent orchestral Ocarina of Time album Hero of Time from Eric Buchholtz. This year I was able to join in on the Materia Collective album FATE: A Tribute to Majora’s Mask to cover music from the Nintendo 64 sequel.

Majora’s Mask has been one of my favorite games in the Zelda series, despite it being one of the more unusual entries. It’s been nice to see the game become more popular among the fan base, especially with the re-releases on handheld. For this album I had the opportunity to arrange the tracks “Snowhead Temple” and “Final Hours.”

Often in my approach to arranging music, I will try to imagine what a particular artist would do with the melodic and harmonic material of a piece. “Snowhead Temple” has a very loose and improvised sound, so a jazz ensemble seemed like a good fit. One of my favorite avant-guard jazz albums is Miles Davis’s Bitches Brew, and it became the primary inspiration for this arrangement. You can hear this most prominently in the opening and closing sections of my arrangement.

 

The track features two soloists from Materia Collective whose performances really helped bring the piece together. Sean Schafiansky performs on Soprano Saxophone and Ken Crouch did some wonderful work on Trumpet. This arrangement was wildly different from what I’m used to creating, but it was a lot of fun and I love how it turned out.

The track “Final Hours,” aka “Last Day,” was a more straight forward orchestral arrangement for me. The original track plays during the last five minutes of the game’s three day cycle. The first time I heard it in the game it caused me to stop and just absorb the atmosphere of the game in that moment, even with the clock ticking down to the end of the world. The original track is foreboding and eerie, so I wanted to create something that evoked that same experience from when I first played the game.

 

One of my fellow Materians Lauren Liebowitz performs a solo on Flute for the opening of the arrangement. While it’s a brief cameo, it provides an appropriately haunting introduction of the main melody. I also did some sound design for this track. Throughout the piece you can hear low rumbles of the moon coming closer, boulders crashing down, and a handful of other atmospheric effects. This is one of the more cinematic sounding arrangements that I’ve done and I’m glad I was able to create it for one of my favorite pieces from Majora’s Mask.

In addition to the above tracks mentioned, I contributed vocals to a number of other arrangements on this album. This includes Nautilus T Party’s rock cover of “Ikana Castle,” titled “Ikana’s Wrath;” Fredrik Häthen’s orchestral arrangement of “Calling the Four Giants,” titled “Termina’s Last Hope;” Laura Intravia’s orchestral reimagining of the final boss music called “The True Face;” and Garrett Steele’s short but sweet arrangement of the “Missed Event 2” track. Last but not least, it wouldn’t be a full Materia Collective collaborative album without an entry from Bonnie Bogovich’s Bwak Choir. I contributed the usual chicken vocals and played some kazoo in this goofy rendition of the “Min-Game” track, titled “Mini Bwakky Cheepy Game“.

FATE: A Tribute to Majora’s Mask was an absolute blast to work on. There’s tons of great arrangements and remixes on this album, so definitely give the entire album a listen. You can find FATE: Majora’s Mask Remixed on Bandcamp, Spotify, and Google Play.

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