The prologue of the game. It is only used in the first cutscene before the main menu.

Music and songs analysis and hypothesis

Kicks in as soon as the game’s first cutscene starts, and also the #1 track of the album and the number 0 in the development track names, possibly meaning it was always meant to be the first thing to be heard in the game, after the beginning credits and initial settings (progressive scan screen).

It’s worth mentioning it is one of sixteen to have a title marked with tildes (~), meaning it has a subhead and is also one of the two songs with this feature that are not ～巨像との戦い~ (~Battle with the Colossus~).

The song is orchestrated with bouzouki, strings (violin, viola and cello), choir (Soprano, Alto, Tenor and Bass), flute and organ. It is composed mostly in the D phrygian mode (historically known as a “mystic” mode).

There are five major distinguishable parts to this song, listed below:

| 0:00–1:00 | The kite oversight scene until ‣ jumps over a chasm on the mountain. | It starts with the bouzouki describing a melody and a choir responds it while one of the voices makes the pedal note below everyone. After the small talk between the bouzouki and the choir, the flute comments high above everyone, calling like a bird. This pattern is played three times until… | Aa. (0:00–0:21): The first time we hear this ascending then descending phrase in the bouzouki showing a very noticeable phrygian scale built on top of a pedal note in the choir sustaining all in the root of the scale, followed by a response from the sopranos and altos. The phrase is cut by a flute calling like a bird. Ab. (0:21–0:42): The second time, the ascending and descending phrase is more elaborate and shows some movement in the sustained note. The choir than responds with a different answer and is cut again by the flute. Ac. (0:42–1:00): The third time, the bouzouki explodes in the most rhythmic elaborate phrase yet, responded right after by the same answer in Aa. but now added a bass in D, the root of the scale. The flute cuts again. | | --- | --- | --- | --- | | 1:00–1:12 | After ‣ jumps a chasm and ‣ rides her by the moonlight until this scene on the mountains fades out | …when the strings enter developing the melody the bouzouki was making and the flute was commenting until… | Ba. (1:00–1:12): The strings showcases four times a descending phrase. At first, the phrase looks cut short before repeating itself with one single note longer and then repeating only the tail twice afterwards. | | 1:12–1:42 | As ‣ and ‣ traverse a forest where the only lights visible are the rays of moonlight that pass through the dense folliage of the trees and the few fireflies that are stationary until the scene fades | …when the choir return to sing the main verse with the strings. In this part, the high voices seems to have a conversation with the low voices. Then, the flute seems to have the final word, until… | C. (1:12–1:42): | | 1:42–2:24 | As the rain pours, ‣ stops to drink some water and ‣ watches from afar the gates to the ‣. They, then ride along a green plain until arriving at the gates. Pillars are visible at the front. The climax happens when the camera pans up the temple. The scene continues showing ‣ and ‣ entering the temple with a quieter part of the song until they actually pass through the portal | …when the strings goes into a frenzy on the same ideas we have stablished prior: the development of the melody and harmony in 1:00–1:12 and the call and response we just heard. These two ideas build a crescendo coming and going in dynamic, height and speed until a climax at 2:09–2:15. From there, a soft chord progression is played and the bouzouki and an organ (synthesized) announces… | Bb. (1:42–2:09): Bc. (2:09–2:24): | | 2:24–3:24 | When both ‣ and ‣ are seen walking through the temple, as the camera shows the first images of the ‣. Finishes with the end of the cinematic | … the return of a triumphant choir accompained by a very expressive and full string section. At 2:48, a similar texture is heard, but at half the dynamic, that builds up on yet another crescendo that stops only at the end of the song. | Da. (2:24–3:24): |