{"id":233443,"date":"2023-06-06T04:25:02","date_gmt":"2023-06-06T08:25:02","guid":{"rendered":"https:\/\/sftarticles.wpenginepowered.com\/es\/?p=292254"},"modified":"2025-07-01T19:00:37","modified_gmt":"2025-07-02T02:00:37","slug":"the-unforgettable-classic-song-that-was-about-to-be-the-main-theme-of-the-legend-of-zelda","status":"publish","type":"post","link":"https:\/\/cms-articles.softonic.io\/en\/the-unforgettable-classic-song-that-was-about-to-be-the-main-theme-of-the-legend-of-zelda\/","title":{"rendered":"From Near Miss to Timeless Classic: The Untold Story of the Song That Almost Became ‘The Legend of Zelda’ Main Theme"},"content":{"rendered":"\n

It was not uncommon during the era of 8-bit consoles to find that the main themes of some video games were simply chiptune versions of classic songs that were not copyrighted<\/strong>. For example, ‘Tetris’<\/a> used ‘The Nutcracker,’ ‘Final Fantasy II’ incorporated ‘Swan Lake’ (both by Tchaikovsky), and ‘Might & Magic’ featured Pachelbel’s ‘Canon.’ They sounded good, were adaptable, and players liked them\u2026 So, what prevented using Ravel’s ‘Bolero’ as the main theme for that little game from 1982 called ‘The Legend of Zelda’?<\/p>\n\n\n

\r\n
\r\n
\r\n
\r\n \"Zelda\r\n <\/div>\r\n
\r\n Zelda Classic<\/span>\r\n DOWNLOAD<\/a>\r\n <\/div>\r\n
\r\n <\/path><\/path><\/text><\/svg>\r\n <\/div>\r\n <\/div>\r\n
\r\n <\/span>\r\n <\/div>\r\n
\r\n \r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n<\/div>\n\n\n\n

We are going to a ravel party<\/h2>\n\n\n\n

On November 22, 1928, something unique was about to happen at the Paris Opera<\/strong>, but many of the attendees were not even aware that they were about to witness the premiere of a melody that would resonate throughout the decades. Maurice Ravel, who adapted an Islamic song<\/a> using an orchestra and his own arrangements reminiscent of Spanish boleros, debuted a song that supposedly took place in a Spanish tavern, where a dancer would climb onto a table and begin to dance, increasingly accompanied by the clapping of the audience.<\/p>\n\n\n\n

At least, that’s what was written in the program booklet handed out at the entrance. Ravel preferred it to resemble a factory due to the mechanical nature of the music<\/strong>. In those years, it became a huge success that resurfaced fifty years later thanks to ’10, the Perfect Woman,’ where Bo Derek moved to its rhythm. The problem is that Blake Edwards did pay the corresponding rights for its use, which cannot be said for Nintendo<\/a>.<\/p>\n\n\n\n

\n