Zelda Ocarina Of Time Replica

ocarina of timeWord around the trees has it you are on a quest for the fabled Ocarina of Time, the instrument of fairies. I can show you the way, adventurer.

Some Backstory

When Zelda Ocarina Of Time (OoT) was released back in 1998, the ocarina entered western pop culture and immediately fascinated gamers of all ages.
Many people realized this instrument is special, but only some went on a quest to find them in real life – which wasn’t easy, since the Internet was still young.

Most people incorrectly believed it to be just an invention for the game, but they all wanted one for themselves. It was only when ads for the first replica began to appear in gaming magazines that people became aware of the instrument as something tangible.

The first replicas had a bad design and quality. What people really wanted was a concert level instrument with a design indistinguishable from the original.

Fortunately, Zelda ocarina replicas have been perfected over the years, so let’s end the treasure hunt and find out where to dig!


The Best Replicas

First of all, there are many Zelda themed ocarinas available today. Even the OoT has several versions to it. You can get it as a 7 hole, a 12 hole and even a double ocarina.

Keep in mind that the original has 7 holes, whereas the high order replicas were made to give this instrument a wider musical range. If you want to have the absolute original, scroll down to the 7 hole replica.


1 – Ocarina of Time (12 Hole)

My personal favorite is the STL 12 hole you can see in the photo above. You can also get it here without the chest, so it is cheaper. It is about 5.5 inches long and plays notes from A4 to F6.In addition, a protective bag, a Zelda songbook and a Final Fantasy songbook are included with this replica.

This ocarina has warm and mellow sound and is virtually identical to the original OoT. Have a look at the amazing cosplay video above, where this replica is demonstrated.

Click though here to find it with the chest, or here without the chest.


OoT 12 Hole SongbirdAnother outstanding 12 hole replica is made by Songbird. It is about 6.25 inches long and plays notes from A4 to F6.

This replica is as as indistinguishable from the original as the other one. It has a slightly lighter color and a platinum ring around its mouth piece. A triforce symbol with an actual relief is crafted on the ring, while other replicas only have the symbol but no relief. This detail makes the Songbird replica the clear winner in terms of design.

The main reason why this instrument still comes in second place is the higher price point at around $20 more and fewer extras. It only comes with one Zelda songbook for 10 and 12 hole ocarinas, but the sound is as perfect, mellow and warm as the STL replica.

Click through here to find this replica.

Here is a sound test of this instrument, provided by its maker.



I love both of the above, and I know they are the best replicas in existence. You don’t need to consider their sound when choosing one of them. Instead, ask yourself if you want the extra songbook, or a nicer design.

Whichever you get, make sure you hold it high over your head after unpacking it :)


STL 12 Hole Replica
Songbird 12 Hole Replica
  • Dark Blue Color, Glossy
  • Concert Quality Sound
  • Original Design With Flat Triforce Symbol
  • 1 Zelda Songbook
  • 1 Final Fantasy Songbook
  • 1 Protective Bag
  • Light Blue Color, Glossy
  • Concert Quality Sound
  • Original Design With Triforce Relief
  • 1 Zelda Songbook
  • 1 Protective Bag


2 – Fairy Ocarina (12 Hole or 6 Hole)

This is an addition to the Fairy Ocarina12 Hole Zelda replicas and mainly for fans who really like to collect these.

What you see here on the left is an STL replica of the fairy ocarina Link receives from Saria in the Lost Woods.

This replica is 6 inches long and, like the others, has a range from A4 to F6.
Except for its exterior design, it is the same high quality as the STL OoT replica listed above. However, it is a bit cheaper.

Included with this instrument are a Zelda songbook, an instructional booklet and a neck strap.

Click through here to find this replica.


songbird-fairy Songbird also offers a fairy ocarina, which you can see on the right. It is 6.5 inches long and plays one octave and a third (from C to E). With 6 holes, it has 1 hole less than the original form the game and a smaller range than the replica from STL.

In terms of design, however, Songbird has produced an instrument close to the original – save for the missing 7th hole. It has 4 holes on top and 2 thumb holes on the back.

The color is perhaps a bit too dark  a to be accurate, but it’s not entirely clear how dark the original really is. I tend to think the real color should be somewhere between the Songbird and STL replicas.

Overall, this is a very solid instrument and the most affordable out of all the replicas presented on this page.

Click through here to find it.


3 – The Perfect Replica (7 Hole)

songbird-7hole-ootThe original Ocarina of Time has 7 holes and a satin blue look, which is exactly what has been reproduced here. It is made by Songbird and identical in size and quality to their 12 hole replica.

While the 12 hole has a glossy finish, the 7 hole mimics the satin look of the original and is thus the most accurate replica on the market.

One peculiarity are the finger holes on top. You can see 7 holes, but the two holes above the Triforce symbol are actually closed and only meant to give it the look of the original. Instead, it has two thumb holes on the back, like all sweet potato style ocarinas do. Having only holes on top would be much more difficult to play.

Songbird 7 Hole OoTIn terms of music, the 7 hole has the same range as the 12 hole, but in order to do this it needs to use more hole combinations, which makes it more complicated to learn. If you want an easier-to-use instrument, it would be better to go with a 12 hole or the double ocarina I show you below.

Due to their equal size and sound, this replica is the same price as the 12 hole one, meaning it is still more expensive than the STL 12 hole.

Click trough here to find it.


4 – The Double Ocarina Of Time

STL-double-ootThis is the musical pinnacle of the OoT family. STL’s double ocarina of time is 5 inches long, tuned in the key of C and plays two whole octaves with notes from A4 to C7.

It is identical to the STL 12 hole replica in color, design and quality, but the second chamber adds an unprecedented musical range. There is pretty much nothing you can’t play on this instrument.


Included are an obligatory Zelda songbook, a complete fingering chart and a protective bag. Have a look at the video on the right, where this instrument is demonstrated. I have the feeling Link would like to get his hands on one :)

Click through here to find it.


5 – A Word On Plastic Ocarinas

STL and some no-name sellers also offer plastic replicas. These instruments may be cheap, but don’t sound as good their ceramic counterparts. They also don’t bear a resemblance to the original and looks very much like a toy. I don’t recommend it and plastic ocarinas in general.

The only upside is their indestructibility. But if you are looking for a musical instrument or a good replica, I’d say go with any one of the above.


May the music fill your heart,



Dragon Tooth Ocarina Review

Dragon Tooth OcarinasToday I’m going to take a close look at the 12 hole Dragon Tooth from Songbird, which is a standard Alto C ocarina and has a pitch range from A4 to F6.

There also used to be a smaller version of this ocarina, a 6 hole Soprano G ranging from G5 to B6, which is sadly not available anymore.


The Sound

Like most professional ocarinas, the Dragon Tooth is a strong airflow (or rising airflow) flute, meaning you need to blow stronger as you play higher notes. This gives you are larger dynamic range, because the instrument sounds softer on the low notes and generally more powerful on the high notes.

Have a listen to this sound sample.


The Design

DragonTooth Fire Opal

The Dragon Tooth is true to its name and without a doubt one of the most impressive looking instruments I’ve ever seen. Its sleek, round and yet hard edged design stands out in any collection and has awed people at a local street festival, where I once played it.

Another unique feature of this ocarina is the ridge line running along the length of the instrument. It separates the holes on one side from the holes on the other side and allows for a better grip.

The dragon tooth comes in three style varieties – the Metallic Lustre, the Moscaic and the Fire Opal. Their difference is only their appearance and price.

DragonTooth Metallic LustreMetallic Lustre, the one on the left, refers to lustre glazing, which allows ceramics to have a metallic appearance. Due to organic variations during the glazing process, the details of each metallic lustre are unique. The golden Opal Fire on the upper right is a different variation of this process, resulting in an absolutely stunning exterior!

The newest addition to the family is the mosaic, shown on the bottom right, which simulates dragon scales and also features the coloration of the metallic lustre.

Despite their metallic appearance, the Dragon Tooths are in fact ceramic ocarinas.


Playing StyleDragon tooth Mosaic

What I like the most about the Dragon Tooth is the way you hold it. Normally, transverse ocarinas are held sideways, which looks beautiful but puts stress on your wrists and makes them hurt over time.

This instrument is different in the way that you hold it more like an inline ocarina (like a regular flute) but not entirely. It is somewhere in between, giving it the beauty of a sideways held transverse ocarina, while being comfortable to your wrists. This makes the Dragon Tooth the most comfortable transverse ocarina I have ever played!



All versions of the Dragon Tooth come with a long detachable metal chain, which I usually put around my neck and under one arm. Also, they come with a booklet, containing a beautiful origin myth for the ocarina as well as sheet music for 13 melodies.

Please not that these ocarinas may be sold out at different times. Once you make your choice, don’t wait to get it, or you may have to wait weeks, if not months for that particular version to be available again!



The Dragon Tooth ocarina captivates by its design and organic coloration. It is well conceived ergonomically and has never given me any wrist pain like most other transverse ocarinas do after some time.

Overall, they are two of the highest quality ocarinas available, yet more affordable than most professional instruments I’ve seen.

Personally, I prefer the mosaic style due to its beautiful scales and reflecting surface.

All versions of this instrument have my stellar recommendation!


May the music be with you,


Ocarina History

The history of the ocarina goes far back in time. It illustrates nicely how individuals can make a difference in the world. If only one of the pieces in this story were out of place, the ocarina wouldn’t be as famous as it is today.

Ocarinas are becoming more and more popular and have entered a new age. Let’s take a close look at where all of this began and follow the trail of this amazing instrument through the ages!

A lot of research has been done on the history of ocarinas, which are more generally called vessel- or globular flutes. Although I will be using it, the name “ocarina” is actually the name given to modern vessel flutes with a fipple mouthpiece.

Archaeological findings have shown that vessel flutes are over 12,000 years old, with the oldest clay whistles found in Central Africa going back more than 30,000 years. This means the ocarina is the latest version of the oldest instrument of mankind. Perhaps one could even call it the grandfather of all music!

Throughout the ages, vessel flutes have permeated cultures all over the world, traveling from one continent to the next via trade, conquest and word of mouth. Over the millenia, they have changed in shape, size, range, design and popularity.


Prehistoric Ocarinas

The picture above shows an animal effigy ocarina from the El Bosque Phase of the Central Atlantic Watershed, 100 B.C. – 500 A.D.
The one on the right is from Tairona, Colombia, 1000 – 1500 A.D. and depicts a deity, wearing a feathered headdress and ceremonial clothing.

Early civilizations of pre-Columbian America, such as the Mayans, Aztecs and Incas, all had their own kind of music and engaged in rich musical traditions. For thousands of years, these ancient cultures made single or multi-chambered vessel flutes and whistles from a variety of materials – most notably clay.
Depending on their design and the acoustic properties of the material, these early flutes were capable of harmonies that amaze ocarina makers to this day. It is comparable to a Stradivari violin, whose secret is the wood that was used to make it.

Pre-Columbian America wasn’t the only home of vessel flutes. Similar instruments were found in Egypt, India and Central Africa, where the oldest findings were made.

The modern rise of the ocarina to world wide fame can be traced back to only two main sources, one of which were the flutes made in ancient China, starting as early as 7,000 B.C.

These instruments are known as the Chinese xun (pron.: “si-un” or “syun”) and were rediscovered in the mid-twentieth century. They have no mouthpiece, which means they are no ocarinas – but vessel flutes still. Ever since their rediscovery, vessel flutes have experienced a steady increase in popularity throughout East Asia, where they are now more popular than in any other part of the world.


Medieval German Ocarinas

In 15th to 16th century Germany, at the end of the middle ages, the gemshorn was a popular instrument and one of the most unusual members of the ocarina family. It was made from the horn of a chamois (Gemse in German), goat or other suitable horn, so its design was long instead of globular. Again, this shows how different vessel flutes can be. It is one of the things that makes the ocarina special.

Gemshorns are similar to blowing horns, which don’t have finger holes in them, but a big open hole at the end. You know these kinds of instruments from the movies – just think “Lord of The Rings” and a certain horn that was cloven in two.

Like all vessel flutes, a gemshorn does not produce harmonic overtones. Unlike the Chinese xun, it has a fipple mouthpiece, which means it can be regarded as an early ocarina.


The Ocarina Comes To Europe

While the gemshorn saw no further development and died out by the time of the 16th century, the Chinese xun never made it to Europe at all. Ocarina-like vessel flutes thus remained unknown to early Europeans and played no role in European music. It makes you wonder how Mozart might have used them, had they only been available!

In Europe, the ocarina developed independently from Asia. It was first introduced to Europeans by the Spanish conqueror Hernán Cortés.
In 1527, a few years after the Spanish conquest of the Aztec empire, Cortés sent a group of Aztec musicians and dancers to perform for Emperor Charles V.
Due to their stellar performance, the group rose to fame overnight and was sent through Europe to perform in every corner of the land – eventually even for Celement VII of Rome. Being traditional instruments, vessel flutes were always an important part of these performances.

Legend has it that a Roman baker was so enchanted by the sound of the Aztecan vessel flutes that he began to make simple copies of them in his oven. Although the new flutes were not on par with the Aztecan original, they grew in popularity and were soon made by other bakers and craftsmen throughout Europe. They were mainly sold as novelty items and regarded as collectibles or children’s toys rather than serious musical instruments. For over 340 years, vessel flutes remained popular this way.


Birth Of The Modern Ocarina

One day in 1853, a seventeen year old Italian brick maker by the name of Giuseppe Donati had an idea. Improving upon the concept of Aztecan vessel flutes, he completely redesigned and extended them from playing only a few notes to a full diatonic scale. Being a brick maker, he would simply burn his clay flutes in the same oven he normally used to make bricks.

Because the shape of his new instrument bared resemblance to the body of a goose, he named it “little goose”, which translates into Italian as “ocarina”. It was only now that the modern ocarina was born and given its name.

Soon, Donati went on to design more ocarinas in many different sizes, allowing them to play higher and lower scales. For the first time, vessel flutes became versatile enough for ensemble playing and thus entered the realm of professional musical instruments.

Giuseppe Donati is not only the father of the modern ocarina, he also made it popular and built its reputation among musicians. He founded a group called “Gruppo Ocarinistico Budriese”, which went on to perform ocarina music throughout Italy.

As people became increasingly aware of the ocarina and its growing reputation as a concert instrument, more craftsmen began to make them. To distinguish Donati’s instruments from others, they were called “Budrio ocarinas”, after Donati’s home town.

Now, word began to spread beyond the borders of Italy to the rest of Europe and eventually to America.

Thank you, Giuseppe.


Back To America

Around 1900, the European ocarina found its way back to the continent it originally came from, this time as an adult. In the states, Donati’s ocarina design became known as the “Sweet Potato” due to its shape and sweet sound. It was sold in Sears mail order catalog and soon became widely popular among people of all ages.

During World War I, American soldiers brought plastic and metal ocarinas with them to lift their morale whenever they had the opportunity to play. By the time of World War II, the US army had recognized this development and issued plastic Sweet Potato ocarinas to soldiers throughout the war.

At the same time back home, Bing Crosby and Bob Hope played the ocarina in “Road to Singapore” while singing “When the Sweet Potato Piper plays”.


Japanese Improvements And Impact

In 1928, on the other side of the world, Donati’s ocarinas were being improved upon. Japanese craftsman Takashi Aketagawa began making ocarinas that were able to play three additional semitones, allowing them an even wider musical versatility.

However, these improved ocarinas remained mostly unknown until 1985, when Nomura Sojiro provided the documentary “The  Great  Yellow River” with outstanding ocarina music.

Because the documentary was a great success, awareness of the ocarina exploded almost over night. Sojiro became a sensation throughout Asia, inspiring millions of people to start playing the instrument.

Have a listen to Sojiro’s music from the documentary – it’s fantastic!


English Developments

In the 1960s, people all over the world had a fascination for folk music of all kinds. Being the latest version of an ancient instrument, the ocarina was predestined to have another time in the sunlight during these years.

More importantly, the ocarina family was given a new member! In 1964, English mathematician John Taylor developed a 4-hole ocarina that was capable of playing a whole eight-tone scale. Presumably, Taylor calculated the necessary hole sizes and fingering combinations in order to allow for 8 notes to be played on the small number of holes. This is known as the English fingering system and is now used for 4- to 6-hole ocarinas everywhere.

I have a clear idea of such a creation process, because I have developed a program that calculates ocarinas from the ground up. For example, if I wanted to make an instrument with 16 holes that plays any 24 notes I want it to, my program would calculate the necessary hole sizes and best fingering combinations. Nowadays, a computer can do it all – but back in the 1960s? I can tell you, it would be a very tedious and time consuming thing to do by hand.
Well done, Mr. Taylor!

Taylor’s ocarina is generally called the “English Pendant” and has received much love for its simple design and portability.

I highly recommend these 6 hole pendants, particularly as your first or second ocarina. Zelda fans should go with one of these pendant ocarinas instead.


The Legend Of Zelda: Ocarina Of Time

To this day, the Japanese video game company Nintendo cultivates a small number of game series that have been extremely successful ever since their inception in the 1980s. One of them is The Legend of Zelda, which plays in a classical fantasy world and has a charm and feeling unlike anything I have ever seen.

In 1991, Nintendo released “Zelda: A Link To The Past” for their SNES console, which was a blockbuster in its day and also my own introduction to the series. There was one particular item in this game, called “the magic flute”. It enabled the hero, Link, to call a bird that would carry him around the kingdom. Interestingly, this flute was actually a blue ocarina, but few people ever knew it.

Many years went by and the SNES was replaced by the N64, which brought gaming into the realm of 3D. I vividly remember the excitement on the video game market because of the new technology.
Meanwhile, word gets out that Nintendo is working on the successor of A Link To The Past. Its working title was “Zelda 64” – the first 3D game in the Zelda world.

Everybody was thrilled and hyped to the brink, because it was known even before the console itself was available. And people knew it would be a blockbuster like the gaming industry had never seen.

Finally, in 1998, it was released as “Zelda: Ocarina of Time”. If you are a gamer and never played it: do so. It is the Citizen Kane of gaming, because it has held the throne of best video game of all time for 14 years, until it was replaced in the charts by Super Mario Galaxy in 2012.

Nothing could prepare the ocarina community for the massive impact the newest Zelda game had. Most gamers actually thought the instrument was an invention by Nintendo, and many still believe that today. Nonetheless, the ocarina suddenly found itself in the middle of a huge, thirty year old fandom that will never let it go.

Catapulted into the lights of pop culture, the ocarina has been thriving ever since. In particular, ocarina of time replicas are among the most sought after ocarinas of all.


The Bottom Line

This is how the ocarina reached world wide fame and recognition. Starting with the old tribes and civilizations that first made vessel flutes for traditional music, over Giuseppe Donati’s revolutionary work and Nomura Sojiro’s stellar performance all the way to Zelda into the hearts of a new generation. And finally, into the Internet. Right here. Hello, we have reached the present :)

May the music fill your heart,




How Ocarinas Work (Part 1)

Ocarina Physics

Dear Ocarinist,

On this page and in part 2, I strive to thoroughly explain how ocarinas work right down to their fundamental physics.

Ocarinas have never been well explained by anyone in the ocarina community, while questions related to ocarina physics come up time and time again. I’ve seen many people express the wish that someone with expertise in physics wrote about this topic and settle it once and for all.

Being both a physicist and an ocarinist, I’ve decided to do this here and leave nothing out. This page is meant for laymen as much as for people savvy in physics, so that everybody gets something out of it.


Questions I answer in this article

  • How does the physics of an ocarina work?
  • Why do the finger holes have different sizes?
  • Why are there large and small ocarinas?
  • When and why does an ocarina change its pitch?
  • When and why does the loudness of an ocarina change?



Below, in section 1, I give you my derivation of the ocarina equation.
In section 2, at the end of this page, I quickly discuss the solution of the ocarina equation.
In section 3, in part 2 of this article, I explain what we can learn from it. Among them are some things I have never seen anyone discuss before.


Ocarina Physics

Section 1 – The Ocarina Equation

Whether you are savvy in physics or not, you should be able to get something out of this. I try to explain it in such a way that you can follow along, even if the equations mean nothing to you. If not, make sure you read part 3 one page 2 of this article, where I discuss what we learn from the results.



Air Column

Imagine an ocarina without holes except for the aperture, or mouth hole.

If we blow into the windway, the air column within it will start to move inwards. By blowing air inside, we increase the pressure in the chamber. This will push the air back out again, until the pressure inside is back normal. However, the air needs a moment to react to changes, so it won’t stop immediately and keeps on moving, until more air has left the chamber than we blew in.

Since the pressure outside is now larger than inside, some air is pushed back into the chamber, but it will overshoot again. This motion continues to go back and forth – it is an oscillation in the air pressure, which is exactly how sound is defined.

How fast the air column in the windway is moving depends on the ocarina. If it moves fast, we have a high frequency or high pitch. If it moves slowly, then the pitch is low.

Let’s call the displacement of the column at any point in time x(t). We need to determine this function, because if we know how the column moves, we know what sound an ocarina makes.


The Derivation

Ocarina Sketch

The air inside the ocarina occupies the volume V at a pressure p, which depends on time. The length of the windway is l, and the area of the hole is A.

Notice how the available volume inside (at the bottom of the animation) is changing due to the motion of the column. In general, we have

(1)   \begin{equation*} V=V_0 + A\cdot x(t) \end{equation*}

where the inner chamber has the constant volume V_0, and the column gives or occupies the volume A\cdot x(t) as it moves back and forth. (Note: volume = area times height)

Next, we need a law that governs the gas itself. More precisely, we need a law that governs how the volume of the gas is connected to its pressure – this is called an equation of state. For that, we need to recognize what kind of process is happening here.

Since we are describing sound, we know that one vibration of the air column takes only a fraction of a second. We can assume the process is too fast for heat to be exchanged between the air particles. Any thermodynamical process where no heat is exchanged is called adiabatic. An adiabatic process is governed by the following equation of state:

(2)   \begin{equation*} p\cdot V^\kappa = const. \end{equation*}

where \kappa is just a number, depending on what kind of gas we have. For dry air at 20°C or 68°F, we have \kappa=1.402

Now comes the technical part where I have to work with this equation. What I’ll do is reformulate this into an equation that describes the motion of the column – meaning it gives us x(t). Only the mathematically adept people will be able to follow this part, as I don’t want to simplify and thus take away from it. Anyone else, just don’t worry about it or scroll down :)

Take the time derivative of equation (2) to get rid of the constant on the right hand side. Then divide by V^\kappa to get

    \[ \dot{p} + \frac{p \kappa}{V} \dot{V} = 0 \]

Note: In physics, time derivatives are written as dots on top of the symbols.
Replacing \dot{V} by A\cdot\dot{x}(t) from (1) gives

    \[ \dot{p}+ \frac{p \kappa}{V} A\cdot\dot{x}(t) = 0 \]

This equation isn’t linear and its solution can’t be expressed as a function – it can only be solved by a computer algorithm. So as we always do in physics, we make a simplification to linearize this equation.

Instead of p and V in the second term, we  take only the pressure and volume p_0 and V_0 at rest. In other words, we neglect the small changes due to the motion of the column. Simplifying it this way doesn’t even produce an error in the end result. I’ve tested both.

So, we now have our linearized equation

    \[ \dot{p}+ \frac{p_0 \kappa}{V_0} A\cdot\dot{x}(t) = 0 \]

which can be integrated over time to find the relationship between pressure and air column position

(3)   \begin{equation*} p + \frac{p_0 \kappa}{V_0} A\cdot x(t) = 0 \end{equation*}

We want an equation that just has x(t) in it, so we need to get rid of the pressure entirely. We can do this by expressing it in terms of the force producing it.
Pressure is defined as a force F acting on a surface, meaning p = F / A.

Force is defined as mass m times the acceleration a of that mass. Acceleration is the second time derivative of the position x(t)

    \[F = m a = m \ddot{x}(t)\]

And the mass of the air column is the air density \rho times the volume. The volume of the whole column is l\cdot A. Putting all of this together gives

(4)   \begin{equation*} p = \rho l \ddot{x}(t) \end{equation*}

where A cancels. Finally, we can put (4) in for the pressure in (3) to get

(5)   \begin{equation*} \ddot{x}(t)+ \frac{p_0 \kappa A}{V_0 \rho l} \cdot x(t) = 0 \end{equation*}

This is the ocarina equation.


Section 2 – The Solution Of The Ocarina Equation

Anyone having done undergraduate physics will recognize the ocarina equation as the equation of an harmonic oscillator. An harmonic oscillator is a system that, if displaced, experiences a force trying to bring it back to its original rest position. Such a system could be a log bobbing on water, a tree branch waving in the wind, a pendulum, or the air column in an ocarina :)

Solving this type of differential equation is straightforward and the first thing a physics student learns at university, but I won’t bother you with it. Instead, I’ll give you the solution and rewrite the ocarina equation in a simple form

(6)   \begin{equation*} \ddot{x}(t) + \omega^2 x(t) = 0 \end{equation*}

where \omega is the angular frequency at which the column oscillates.

The solution of the above equation is the function x(t). It is

(7)   \begin{equation*} x(t) = \frac{v}{\omega}\cdot sin(\omega t) \end{equation*}

where v is the velocity of the air going in – that is how hard you are blowing. The factor v/\omega in front of the sine function is the amplitude (loudness) of the ocarina.

Normal frequency f and angular frequency are connected in this way: \omega = 2 \pi f

The frequency is what we wanted all along, because it is the pitch of the ocarina. Comparing (5) and (6) we find

    \[ f = \frac{1}{2 \pi} \sqrt{\frac{p_0 \kappa A}{V_0 \rho l}} \]

With this we have determined both the pitch and loudness of the ocarina.


Move on to part 2 of this article to find out what all of this means and what we learn from it about ocarinas.

Don’t miss it,



Zelda Songs and Ocarina Sheet Music

zelda-ocarinaThe Legend of Zelda is a very musical series. Several of the games are actually focused on it and feature an outstanding soundtrack. Zelda music is beautiful and is sure to bring any fan into a state of nostalgia – let alone kindling a lust for adventure!

Below, I’m listing two CDs filled with professional ocarina music, playing Zelda songs. In addition, there are 2 booklets I recommend for Zelda sheet music. If you are looking for an ocarina of time replica to play with, click the link for my review of the best ones available.



1. My Recommendation For Zelda Music CDs

The ocarina masters of STL ocarina have produced a number of beautiful ocarina music CDs, two of which feature music from the Zelda series. I love these two!


Echoes of Gerudo Valley


Echoes of Gerudo Valley features 13 beautiful songs from The Legend of Zelda played on the ocarina by three professional ocarina players. It also includes Play-Along-Tracks so you can join in with your own ocarina!


1. Zelda’s Lullaby
2. Song of Time
3. Saria’s Song
4. Bolero of Fire
5. Midna’s Desperate Hour
6. Dragon Roost Island
7. Ballad of the Windfish
8. Gerudo Valley
9. Kakariko Village
10. Kokiri Forest
11. Song of Storms
12. The Great Sea
14. – 26. The background music of the above songs, so you can play the ocarina yourself.

Click here to find it


Ripples Of Lake Hylia


Ripples Of Lake Hylia also features 13 songs from The Legend of Zelda performed by a professional Trio of ocarina players. Like the Gerudo Valley CD, it includes Play-Along-Tracks so you can join in with your own ocarina.

1. Stone Tower Temple
2. Dark World
3. Aryll’s Theme
4. Deku Palace
5. Ordon Village
6. Kaepora Gaebora
7. Lake Hylia
8. Shop Theme
9. Linbeck’s Theme
10. Outset Island
11. Kotake and Koume
12. Sheik’s Theme
13. Termina Field
14. – 26. The background music of the above songs, so you can play the ocarina yourself.

Click here to find it



 2. My Recommendation For Zelda Sheet Music

STL ocarina is known for its Zelda themed ocarinas, but they also have a great collection of sheet music that I’d like to show you. Especially the first one.


Zelda Sheet Music for Ocarinas and Treble Instruments

zeldasheetThis songbook is the ultimate collection of Zelda songs that will keep you busy for quite a while. It features songs from three of the best installments of the series. You can play these with any ocarina that has 9 or more holes.

If you are looking for songs from Zelda -Twilight Princess, check out the other songbook below!


Songs in this book:

From Ocarina of TimeFrom Wind Waker From Majora’s Mask
  • Ocarina of Time
  • Kokiri Forest
  • Market
  • Epona’s Song
  • Lon Lon Ranch
  • Sun’s Song
  • Shop
  • Requiem of Spirit
  • Horse Race Goal
  • Seria’s Song
  • Hyrule Field Main Theme
  • Sheik’s Theme
  • Kepora Gebora’s Theme
  • Nocturne of Shadow
  • Mini Game
  • Serenade of Water
  • Song of Time
  • Temple of Time
  • Kakariko Village
  • Bolero of Fire
  • The Title Theme
  • Minuet of Woods
  • Song of Storms
  • Prelude of Light
  • Shooting Gallery
  • Legendary Hero
  • Grandmother
  • Puror Island
  • Clock Town: Day 3
  • Song of Guru-Guru
  • Music Box House
  • Sonata of Awaking
  • Song of Healing
  • Woods of Mystery


















Click here to find this songbook.


Zelda sheet music from the Twilight Princess

twilightsheetThis little booklet features songs from the Twilight Princess, which are missing in the big collection above. These songs are best suited for ocarinas with 12 holes or more.

  • Title Song
  • Rutela’s Theme
  • Midna’s Theme
  • Illia’s Theme
  • Lake Hylia
  • Hyrule Field
  • Ordon Ranch
  • Ordon Village

Click here to find this songbook.


And as always, thanks for reading!