The Strangest Song in Link's Awakening

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Additional Reading:
Ryo Nagamatsu on Rearranging the Link’s Awakening OST - https://www.zelda.com/links-awakening...
Deconstructing: The Eight Dungeons of Link’s Awakening, Jason Yu - http://jasonyu.me/links-awakening-dun...
How Link’s Awakening Rearranges a Soundtrack, 8-Bit Music Theory -    • How Link's Awakening Rearranges a Soundtrack  
Motivic Development in Link’s Awakening, 8-Bit Music Theory -    • Motivic Development in Link's Awakening [P...  
Pokemon Red and Blue Score for Sound Chip, Mark Benis -    • Pokémon Red and Blue - Complete Soundtrack...  
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Credits:
Kyle Selheimer (Kflame210), Graphic Design -   / kflame210  
Prism, Pixel Art -   / gflk_pik  
MickeyBurgs, Pokemon Game Capture -   / mickeyburgs  
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Orchestra footage from Swedish Radio Symphony Orchestra -    • The Legend of Zelda - Suite (Live with the...  
Chamber group footage from Royal Philharmonic Concert Orchestra -    • Royal Philharmonic Concert Orchestra - Bal...  
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My first attempt at a long-form analytical video, where I take a closer look at one of the more peculiar songs from the Link's Awakening soundtrack and what makes it stand out among the rest of the game's music. I examine the song in the context of both the original GB OST, as well as the re-arranged version on Nintendo Switch.
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A final note: there are a few tiny errors/enharmonic inconsistencies in my transcription in the end. Nothing too dramatic, but I did the initial transcription pretty quickly, so a few small things got past revisions. If there's one thing I'd definitely change, it's calling the last chord in the "dissonant alterations" of the string chords an A7b5. While it's true that the voicing has the 7th and b5 of that chord and an A in the bass, the lack of a 3rd makes A7b5 a pretty unconvincing choice of chord name. I think F9/A ultimately makes more sense, even though there's no F in the strings - later on, when the low brass part enters, it puts an F in the lower register, which recontextualizes the string chord as an F9... and that, conveniently, makes more sense as a chord that can functionally return to the home key of G major, being that bVII is a strong substitute for the V chord. Isn't music theory fun?!