Inside Jabu Jabu's Belly - The Legend of Zelda: Ocarina of Time Original Soundtrack
Music: Inside Jabu Jabu's Belly Composers: Koji Kondo Platform: Nintendo 64 / Nintendo 3DS Music and piano visualization project made with the actual audio tracks from the original Nintendo 64 game. Extracted with a specialized audio software, we can now dig inside the score for the first time; offering us a glimpse for how each instrument contributes to the whole. ♫ Support the Channel: https://www.buymeacoffee.com/musictracks ♫ Media files and support for future interactive tools: https://bit.ly/officialmusictracksmedia Musical Analysis: Structure: Section 1 Time Signature: 4/4 Tempo: 76 Melodic and Harmonic Profiles: D Octatonic, D Diminished Ocarina of Time stretched the idea of what a dungeon in Zelda could be; before Ocarina, the dungeons in Zelda were exactly that: Caves, ancient man-made structures and underground buildings. Ocarina of time showed that dungeons could be basically..anything. Nothing would be too absurd or outlandish anymore after having literal puzzles and enemies inside a whale. from then on, dungeons would appear on the sky, on another dimension, on mansions, boats or technology infused facilities. Stories of whales or other aquatic creatures swallowing humans are recurring features in the mythologies of many cultures; they don't chew, they don't rip the body, they just swallow the victim whole in one or two gulps— Scarily, it can actually happen in real life, but they are mostly accidents where whales were trying to eat something else, and large prey such as humans are expelled almost immediately. As the last dungeon from the child portion of the game, Lord Jabu Jabu Completes the trilogy of organic dungeons from the game; both he and the Great Deku Tree are alive, with Dodongo’s Cavern being composed for the most part of molten rock and the remnants of a giant fossil.They are the natural conclusions of their respective tribes’ elemental motif. But Lord Jabu-Jabu takes the organic component to extreme lengths. The combination of the breathing visuals, claustrophobic setting and music that mimics sounds that are characteristic of living organisms creates the coarse atmosphere that would make the Metroid series proud because of how it straddles the line between sound effects and music. As with the previous dungeons, Kondo uses few “instruments” to create the ambience of this fish deity. There is only one traditionally pitched instrument and this is the only track from the child portion of the game that has a drum beat; but not any beat, remember that this is a full red blooded mammal, which means that the cajon is the representation of the heartbeat of a beast that is currently alive—and not feeling very well since it has all those monster inside— The growling noises we hear are pretty much self explanatory, complementing the unsavory imagery with the noises Link is currently hearing coming from the stomach of the animal. The constant, pulsating ambience track supplements the claustrophobic sensation of this dungeon. The use of this specific, eerie synth pad— a synth which would go on to be promoted to a major role on Majora’s Mask, owing to the special connection it shares with one of the game’s main inspirations— seems to parallel the use of its counterpart pad for the Zora’s Domain, cementing the connection of this place with the Zora and the princess Ruto; possibly implying that the ethereal mermaid choir from before has been corrupted inside the Lord Jabu Jabu—it also could have sprout from the electricity the dungeon is based around and the ties this element has to modern sounds. This string pad is playing one-measure chords in a parallel motion that are reaching for a resolution that never seems to come. At first glance, it could be said that the chords are playing dominant seventh chords, however, from a musical intention point of view, it is better to classify the chords with the unconventional Sus2 (b5) suffix, seeing how the tritone is their main emphasis—in fact, the spirit of the piece would basically be unchanged if we remove the major second from the chord, its only function being softening the chord. The volume of all the instruments in undulating, creating a pulsating sonic landscape Samples used on this track: Cajon = Trip Hopping; from the ‘Spectrasonics Distorted Reality’ library • Spectrasonics Distorted Reality - a classi... Underwater Pressure = Cricket Choir; from the ‘Spectrasonics Distorted Reality’ library • Spectrasonics Distorted Reality - a classi... Growl = Breaths/moans/screams - Crunch Roar; from the ‘A Poke in the Ear with a Sharp Stick II’ library • CRUNCH ROAR (Rarefaction A Poke In The Ear... Ethereal Strings = JX Lo Strings Right; from the Digidesign SampleCell Factory Library or basically any emulation of the iconic Roland D-50 string pad ♫ Continue to Blog and Musical Analysis: https://officialmusictracks.wordpress... #Zelda #Nintendo #VideoGameMusic #OcarinaofTime
