My only slight niggle with it was that the theme running through some of the latter levels had the same
chord progression as Daft Punk's «Get Lucky», which I then couldn't remove from my head!
And then there are times when a term retains some sort of proportional relation of meaning — though not a synonymy — across discrete usages: say, «blues»
as describing both a subjective mood and also the objective structure of a particular
chord progression (assuming there is an affective connection there, whether neurological or cultural).
- Kataoka believes the world of The Legend of Zelda: Breath of the Wild is the true protagonist of the game - at times, really beautiful and delicate, and other time's it's rough and ruthless - the natural beauty is one of the main appeals of the game - she wanted the music to not just reflect, but also enhance that appeal - she wanted the music to reflect the long History of Hyrule, but also the ordeals of the Link and Zelda of this particular entry - in order to express the idea of a world in ruin, yet so vibrant, she decided to use traditional instruments - these included the shinobue and the erhu, which are not commonly used in orchestras - these contrast the synthesizer sounds of the ancient civilization - the main theme includes
chord progressions which are not really suited to classical music - Kataoka wanted reflect Link's 100 - year sleep in the main theme, which explains the rather strange break in the song - the break represents Link taking a «new breath», after 100 years in stasis - the break basically serves
as the division between Zelda and the past, and Link and adventure in the present day - she usually does not pay much attention to such details, but had the opportunity to do so this time