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Realm Overworld
Toru Minegeshi
The Legend of Zelda: Spirit Tracks
Spirit Tracks is not the best Zelda game (though by no means the worst), but its music is truly outstanding in the series. The composers chose to diverge from the standard Zelda music formula; the themes of this game do have callbacks to the previous entries, but they are decidedly their own thing; look, for example, at the main theme of this piece.
Instead, outside of some chords, a sixth appears to be used wherever one might expect a fifth. I think this gives the music a more open feeling, fitting the intent they had of making the world seem large, ready to be explored.
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Where the series' iconic overworld music opens with a two-note descending fifth motif, which remains intact even in divergent incarnations like Twilight Princess's overworld, Spirit Tracks instead opts for a two-note ascending sixth, which maintains the _feel_ of the original while introducing a wildly different piece. In fact, the descending fifth motif seems conspicuously absent from this piece entirely. In fact, there are very few fifths in this track at all.