Music (Pikmin 2)
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The music of Pikmin 2 accompanies every mode of the game, from themes during gameplay to scores of cutscenes and menus, in order to provide a more engaging and focally directed experience. Generally, the textural style of the music reflects either the game's new mission from Hocotate, the organic overworld of PNF-404, or the specific visual theme of a cave; by vastly varying its unique instrumentations, register, and rhythms. During gameplay, each piece of music sets the mood for the particular environment, and adapts dynamically to what tasks Pikmin are carrying out, the identity and condition of the controlled leader, and the time of day. Some tracks even adapt specifically to the actions of bosses. Between gameplay, pre-rendered cutscenes are scored with a large orchestra, and in-game cutscenes are scored with small ensembles. In general, compared with the music of the previous game, the soundtrack of Pikmin 2 is less melodically driven, and more atmospheric, although this iteration of the game contains quite a few leitmotifs, or musical gestures that become associated with characters or ideas.
The soundtrack to Pikmin 2 was composed by Hajime Wakai. It is not an official album, unlike Pikmin Worlds. All the compositions of this game consist wholly of synthesized sounds or samples attempting to mimic real instruments. Although compared with the previous game, the technology used to mimic these instruments is more advanced and can cover a wider collection and range.
Leitmotifs
These are small gestures that reappear throughout the game suggesting ideas or setting moods.
Menus
As with the previous game, whether or not the menu themes of this game have strong, memorable melodies depends on how often the player will likely visit the menu. However, unlike the previous game, the melodies shine right from the beginning of the theme, rather than well into it.
The main theme of the game. An oboe now shines through with the melody adapted from the figure used in the first game's main theme, and develops it briefly. After the accompaniment dies down to a glockenspiel, the track reverts to a loop of environmental noises until attraction mode is triggered or an option is selected.
Heard while selecting a save file. This is the same track used for the save game selection in Pikmin; it still has the straight-ahead rhythm and suspended 4 harmonies that complement the idea of recording and selecting data.
Heard in the 2-Player Battle menu. This wartime-esque theme has a strong melody of fourth and fifths with fanfare-like arpeggiating trumpets to promote the imminent battle. As the theme progresses, the harmony gets more intense; from soft strings and glockenspiel, to stable horn intervals, to both plus bugling trumpets.
Heard in the Challenge Mode menu. This theme actually uses the same motif as the 2-Player Battle theme, disguised under a different rhythm in the accompaniment. Eventually the theme takes on its own identity under a new chord progression, and then the marimba becomes the center instrument for a time. Overall the register is higher and the instruments smaller; even the snare drum is a small piccolo snare. The piece keeps relatively the same intensity for its duration, as this mode is not about combat, but cooperation.
Heard in the options menu. This theme is entirely synthesized, with a melody not present until late in the track on a sine-wave-like lead (since the options menu is not likely to be frequented). Instead, most of the tune is a C drone in pad strings, an arpeggiating square wave, and quick, evolving chords on a flute-like synthesizer. This structure is a bit similar to the theme of The Forest Navel, but again, nothing in this theme is as prominent or developmental.
Heard in the high scores menu. This extremely subtle theme is a jazz waltz, complete with brushed swinging drums, a walking bass line, and a celeste playing a quaint, quiet, almost childish melody. This piece is definitely passive, but still provides a pleasant ambiance to viewing high scores.
Heard in the bonus menu of cinemas. This is a simple playful waltz played on steam calliope, an instrument that was usually reserved for circus acts or riverboats but could sometimes find itself at a theatre in the early 20th century. Eventually joined by accordion, electric bass, and a simple bass drum and snare kit, the tune becomes a sort of polka waltz. However, this polka section was probably not considered likely to be heard; not much time is spent in the Bonuses menu.
Heard in the area selection menu. This strong theme is a re-elaboration of the motifs in the main theme, mostly performed on flute. Booming contrast between the low basses, harmonies in mid-range horns and strings, and high flutes and celeste makes this one of the most orchestral loops in the game, which also earned it and the area selection theme in the first game an orchestral arrangement and performance in the "Symphonic Legends" orchestral game music concert.
Heard in the Piklopedia or treasure hoard. This quiet theme in 5/8 time signature has a low melody on fretless bass, enhancing its subtlety. As the theme goes on, the bass gets more ornamental in its style, but the piece mainly stays at one intensity level, so as not to distract from the articles to be read. This theme also contains instances of the "cymbalesque" synthesized instrument from the first game, used as complements to the harmony.
Heard after the Hocotate ship blasts off for the night and the results of the day are posted. This is the same end of day theme used in Pikmin, along with a similar background cutscene and menu. Once again, the natural environment below has been left temporarily, and as such the instrumentation changes to more synthetic pads, leads, and percussion. The piece works well as a theme to communicating with Hocotate.
Heard after a geyser is used to exit a cave. Militaristic snare drum is combined with cinematic strings and treasure-associated synthesizers to demonstrate that a mission is most certainly complete. It can either function as a celebration of victory if many treasures were salvaged, or an ironically didactic tune if the mission was aborted or if many Pikmin were lost. If the cave is completed in this menu, and the player waits for 3 minutes and 50 seconds, Totaka's song will be played in C. This only happens in the GameCube version of Pikmin 2.
Heard after 10000 Pokos have been collected. This quiet theme on celeste and pad strings is a reprise of the day results theme, as though contemplating the final day's results. Again, as this is music for viewing statistics, it has little intensity to it and mostly stays out of the way of the menu.
Heard after the story is complete. This theme begins as a regal fanfare not unlike the theme heard when the S.S. Dolphin is completely rebuilt, again signaling the end of the game. Then, as the final statistics are on screen, the fanfare dies down and resolves to the same quiet tune from the debt completion menu.
Cutscenes
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To do: Check whether enemies alone can count toward the best End of Day theme playing. |
The cutscenes have widely different purposes and contexts, and so their scores have many different types of instruments and moods. The pre-rendered story cinemas of the game have a Hollywood-style sampled orchestra to score them, albeit not always using the full orchestra. In-game cutscenes have smaller ensembles with more specific or esoteric sounds to capture more specific moods and to subtly control the efficacy and meaning of the Hocotate ship's monologues.
Heard during the attraction mode if the main menu is left idle long enough. Very different from the first game's attraction mode theme, this theme is simply African drums and percussion along with a modal melody on a flute and a Pikmin making small noises to the beat. The entire track has a low pass filter, probably so as not to distract from the video. But the high register of the melody and Pikmin's voice convey the scale of the pre-rendered cutscenes very well.
Heard during the introduction cutscene, which plays upon starting a new game, or occasionally during attraction mode. This orchestral suite begins with the "Hocotatian motif" elaborated, until its regality is abruptly silenced by booming percussion as the S.S. Dolphin is struck by a meteor. A brief major turnaround in the strings recaps the events of Pikmin, and the S.S. Dolphin escapes to Hocotate, during which the motif returns triumphantly before faltering off into an augmented cliffhanger.
The next scene, in which the Dolphin approaches Hocotate, includes a simple background of suspended chords in the strings and a droning synthesizer, while horns play the motif one last time. The President's monologue about Hocotate Freight's debt has no score, to focus attention on the President's words. Then a brief tuba-like sound effect characterizes the spaceship that takes the S.S. Dolphin, and a series of string stabs drives in the severity of the company's debt. As Captain Olimar drops his souvenir, a flute dramatizes the its rolling to Louie's feet, and this augments into a brief arrhythmic section characterizing the characters' confusion over the bottle cap. When the Hocotate ship abducts it, short whole-tone runs in the strings build tension until a crash of cymbals reveals the artifact is worth 100 Pokos. A sort of word painting ensues as the debt is lifted by 100 Pokos, causing a melodic line to ascend up to a harp glissando.
As the President gets the idea to send Captain Olimar and Louie to PNF-404, the Hocotatian motif returns, echoed throughout the orchestra as the intensity builds. Finally as the Hocotate ship blasts off this motif metamorphoses into the "success motif," this time focused on adventure. It develops to a climactic point as the ship warps through space and dodges a meteor, and then quiets down as a bell-like synthesizer and a horn section introduce PNF-404 with the "Pikmin 2 motif".
Heard after the opening cinema during a new game. This intro to PNF-404 begins with the Hocotatian motif as the ship flies in for a landing. The hits by tree branches are Mickey-moused, or synced exactly with the music. Specifically, they are synced with strings playing col legno, until a bell and chromatically descending flute match Louie's ejection from the ship. Chromatic english horn and xylophone score the struggle of the ship to regain balance, until it lands and the score ends on a whole-tone glissando from the harp, leaving the mood in limbo.
Heard when Captain Olimar whistles the first 5 Red Pikmin to his side. A calm tonal acoustic guitar gives this score charm, while a marimba directly plays the Pikmin 2 motif, to first triumphantly introduce the Pikmin.
Heard any time the ship gives information to the player unrelated to any recent discovery. This seems to be the cutscene score on which all other ship dialog cutscene scores are based. The introduction during which the catalyst of the dialog occurs is a simple melody on marimba, sometimes accompanied by hand percussion in cutscenes farther from the ship. After the introduction, time freezes and the ship begins explaining. During this time, a looping texture plays, since the dialog can last indefinitely. Simple, background pad instruments and electronic percussion (plus hand percussion like castanets) connect the ship's character to the dialog and to the lesson this cutscene teaches.
Heard when control is first switched from Olimar to Louie. A simple yet uncertain theme without much melodic material addresses Louie's confusion about his surroundings. A handbell over a viola drone reinforces the wintry theme of the environment.
Heard whenever an undiscovered Onion is within view. Pikmin-based cutscenes seemed to be limited to certain instruments, so that the cutscenes can group together. Again a marimba and acoustic guitar are prominent, and the Pikmin 2 motif is played again with flute highlights. A loop then occurs over the ship's dialog about Onions, using synthesized pad instruments and electronic percussion to connect the ship's character to the dialog. Yet these instruments are still playing the Pikmin 2 motif; again this is a Pikmin-based cutscene, even when the ship intervenes.
Heard when a new type of Pikmin is discovered. This theme is quite multi-layered; it has marimba and trumpet playing a call and response of the Pikmin 2 motif, underneath which a celeste and english horn play polyrhythms. After all the instruments but the celeste relax into a held G major chord, the piece smoothly transitions to the same synthesized loop as the new Onion discovery cutscene (above), since the ship has begun its dialog.
Heard whenever the Courage Reactor or any treasure from the Explorer's Friend Series is discovered. This theme plays the success motif in high piccolo and flute, while tubular bells and piano accent the rhythm, rather like in the end of day theme. Then the piece becomes another ship's dialog loop: a pad-based music bed with elements of the success motif mixed in on an oscillating synthesizer.
Heard when Olimar and Louie reunite, when Pikmin destroy their first gate, or whenever a clog is removed outside of a cave. This is the most recognizable rendition of the success motif, performed with a sizable ensemble of brass, woodwinds, and strings. Then the theme becomes the same loop as the special treasure discovery theme (above), if the ship says anything. The ship does not address a clog being removed.
Heard whenever a normal treasure or the first berry of one type is brought to the ship or research pod. This little orchestral iteration of the Hocotate motif is heard the most out of any iteration. It is followed by a small and high vibraphone gesture when the name of the treasure appears; this synchronization is broken if the cutscene is rushed by pressing A / A. Afterwards, another looping texture of synthesizers plays the main gesture of the end of day theme (below).
Heard at the end of a day on which less than 2000 but more than 0 Pokos worth of treasure have been collected. This is a shortened version of the end of day theme from Pikmin, with the melody beginning right away.
Heard at the end of a day on which 2000 or more Pokos worth of treasure have been collected. This remix of the normal end of day theme adds a triumphant trumpet to the melody, shimmery vox synthesizers to the harmony, and timpani to the percussion.
Heard at the end of a day on which no Pokos worth of treasure have been collected. This skeleton of the end of day theme has a much less intense muted trumpet and accordion share the melody, and a marimba and bass extension (impossibly low) handle the otherwise complex harmonies of the normal tune. The untuned percussion remains the same, however.
Heard when all Pikmin have been lost, or when all Pikmin that entered a cave have been lost. While arguably not as lamenting as the first game's extinction theme, this theme can still convey a feeling of guilt with Pikmin-cutscene-specific instruments such as acoustic guitar, and with a gradually decreasing tempo. The fact that the piece is short also aids its punctuation of a sad mood.
Heard when a leader loses all of his health. A small discordant arpeggio between tubular bells, glockenspiel, and pizzicato basses interrupts the normal flow of gameplay, after which a synthesized bass improvises on an octatonic scale, and ends on D, which is not in the scale or in the harmony. The atonality of this small score drives home the realization that a grave error was made.
Heard at the automatic end of a day on which a Pikmin extinction has occurred or both leaders have fallen. A vibraphone and organ bass play the end of day theme over A minor, which devolves into a descending cello line and ending. The only percussion instruments in this version of the theme are a soft tam-tam and one brief instance of crash cymbals.
Heard when a cave is discovered, when the additional sublevel or the geyser is discovered in the Emergence Cave, when Violet or Ivory Candypop Buds are discovered, or when a Burgeoning Spiderwort mold is discovered. This initial melody on flute is a small reference to a section late in the area selection theme. The loop that follows is unlike the usual ship's dialog textures, with an impossibly low celeste covering the bass and no dominating melody or motifs.
Heard when a cave is entered. This daring mood gets an adventurous rendition of the Hocotate motif, through booming tuba and basses contrasting with the high, intrepid melody in trumpets.
Heard when the leader(s) and Pikmin land on a sublevel. Again a subtle reference to the area selection theme in muted cellos and glockenspiel plays, along with some electronic percussion. The progression of the piece does not lead anywhere, allowing the mystery of the sublevel's structure to build tension.
Heard when a cave's interior is seen for the first time, or when a Challenge Mode sublevel is seen for the first time. This is a slower, weirder mix of the explanation theme, built mainly on intervals of fifths and on major 7 (omit 3) chords, rather than on triads. Instead of the multifaceted percussion in the explanation theme, a simple hi-hat is used; all to introduce cave gameplay, which is more confined and concentrated aesthetically and practically.
Heard when the leader(s) and Pikmin enter the hole to a deeper sublevel. This is a reiteration of the cave entering theme, re-orchestrated for organ and a small string crescendo. It is less intense, since the surrounding environment is now a cave and not the overworld.
Heard when the Spherical Atlas, Geographic Projection, Prototype Detector, or Five-man Napsack is collected. This is a more victorious, more heavily orchestrated version of the normal treasure collecting theme, with a horn section elaborating the Hocotatian motif to an unexpected A major resolution. Afterwards the normal treasure collection loop is played as the ship explains what other uses these treasures have.
Heard when a geyser is used to exit a cave. A triumphant trumpet section plays the success motif, which ends in an ascending glissando on the harp, whisking the Pikmin and leaders out of the cave.
Heard when the leader(s) and Pikmin return from a cave to the landing site. This quaint theme on pizzicato strings, DX electric piano, and muted cello presents a nice transition and reintroduction of the overworld, while its plagal cadence assures the player of the group's safety as they land unscathed.
Heard in the area selection menu when a new area has been unlocked. This is simply a small anacrusis to the area selection theme, but as it adds layers and mounts melodic intervals over a snare drum roll, it makes the area selection theme, which is unchanged, seem more intense than usual.
Heard before the first day in a new area begins. This is a slower, more evenly distributed variation of the Hocotate motif, played by a wind ensemble (brass and woodwinds). All the sounds blend well into a background, a theme easily streamed by the ear as the eye takes in a new environment.
Heard when 10 berries of one type are collected. This slight variation on the special treasure collection theme uses synthesizer pads and leads for the initial melody, and stays closer to the original Hocotatian motif. The softened attack and release of these synthesized instruments makes the whole theme less harsh, and rounder, in keeping with the look of the new spray. Afterwards, the usual treasure loop repeats.
Heard when the ultra-spicy spray is used for the first time. This instrumental variation on the normal success theme adds a dulcimer-sounding synthesizer and synth bass to the mix; their odd textures warp the general sound of the success motif, matching the unexpectedness of the Pikmin's new strength. Afterwards, the usual success loop plays.
Heard when a Pikmin drinks nectar for the first time, regardless if flower Pikmin already exist due to time spent as a seed. This happy rendition of the Pikmin 2 motif mixed with the "success" motif features both the chipper natural instruments played during a Pikmin type discovery and the stranger synthesizers played during the ultra-spicy cutscene, all evenly distributed across odd rhythmic patterns. Eventually the intro ends on a C suspended chord that plays the Pikmin's new strength. The strength of this theme is subtler than the ultra-spicy theme, since the strength of a flower Pikmin is subtler than the strength of a Pikmin under the effects of ultra-spicy spray. Afterwards, the success loop plays, instead of a Pikmin 2 motif loop.
Heard when a Pikmin is suffering from fire, jets of water, or poison for the first time (after 2 seconds of suffering), and when an enemy consumes White Pikmin for the first time. The Pikmin 2 motif is mentioned here, but the brass instruments trying to play it seem to fail and squeak arbitrarily. Meanwhile a dissonant marimba and percussive tubular bell form the rhythm underneath. After this chaotic intro, the ship addresses how to save the suffering Pikmin over a distressed pad loop. An oboe plays arpeggios of the harmony's minor major ninth chord, while the pad strings are predominantly minor, a tense turn from the usual ship's dialog loop.
Heard when any treasure in the Explorer's Friend Series after the Five-man Napsack is collected (besides The Key). Another remix of the treasure collection theme, this time beginning on the highest key of G major rather than F or D major. The horns are less elaborate and stick closer to the original motif, and the bass drum and cymbals are generally louder and more spacious. The change in special treasure themes was probably brought about because, after the White Flower Garden, the remaining caves of the game were designed to be completed in any order. After the intro, the normal treasure collection loop plays.
Heard when The Key is collected. A unique rendition of the treasure collection theme replaces horns and woodwinds with a harpsichord and the dulcimer-esque instrument from the ultra-spicy spray theme. The strange unexpected sound of this theme reflects the strange unexpected effects of The Key.
Heard above ground when any 10% increment of the debt is paid off, excepting 100%. Muted horns make a rightful fanfare of the Hocotatian theme, accented by crash cymbals and a timpani roll. The fanfare is made even more effective since gameplay is stopped for it.
Heard when the Waterwraith first appears on a sublevel of the Submerged Castle other than the final sublevel. This cutscene begins with the normal boss battle intro, but then lapses into a looping music bed as the ship warns of the Waterwraith's threat. This bed contains echoing textures of dissonant marimba, percussive underpinnings from a gong and bell, and most importantly, atonal drones from a double bass with extension. The combined effect sounds quite alien, like the mood set by the Waterwraith.
Heard above ground when 100% of the debt is paid off, or when every treasure in the game is collected. This fanfare begins like the debt milestone theme, but eschews the Hocotatian motif for an even more victorious arpeggio of A major. Along with a more active cymbal and timpani is a chime from tubular bells, further enhancing the gravity of this particular milestone.
Heard immediately after 100% of the debt is recognized as paid off. This pre-rendered cinema brings back the full Hollywood orchestra to score it. It begins with a triumphant, almost memorial rendition of the "success" motif, with the texture growing thinner and thinner as the goal of the story switches from collecting treasure to returning to Hocotate. As such, in the following scene, the Hocotatian motif is heard in brass over a quiet but intense ostinato high in the strings and marimba. As the ship gets closer, this texture is silenced by a dramatic major 7th run in piccolo. The piccolo returns to play the ship's spinning propeller, and another run is heard as Captain Olimar looks back at PNF-404. Tubular bells and harmonies in the horns disguise an inverted iteration of the Pikmin 2 motif, while Olimar seems regretful to leave. The cut back to Olimar's expression is accented by a large crash of E minor, but the progression is cut short when Olimar realizes Louie is missing. Louie's empty seat briefly scored by a lone vibraphone arpeggiating F# major (still over the key of D), the whole orchestra cuts back in with a crash and flourish as the ship warps back to Hocotate. Panning back to PNF-404, the excitement of the orchestra recedes with another iteration of the Hocotatian motif and one final run through the piccolo. The piccolo subsides all commotion, and one last slow iteration of the Hocotatian theme in D with trumpets and vibraphone directs the player's attention back to Louie, stranded on the planet.
Heard after the debt recovery cinema. This ensemble piece features some of the most well-rendered instrument samples in the game; as the composition stands out from the rest of the game, this piece probably had a considerable amount of work done on it alone. The main figure is a descending arpeggio of a major 9th chord, heard first in a pizzicato string quartet, and then throughout the rest of the piece on the main instrument, piano. As the idea develops, a string section fills in harmonies behind the piano, and the chord progression swirls around G#/A♭. After the development slows down (at around 1:08), the texture changes to a B♭ minor 7th turn with an accent on the offbeat. The main theme of the waltz returns after an elaboration of that turn, and as the texture thins out with a ritardando, the piece ends with the established motif halfway completed, leaving Louie's fate ambiguous as the cutscene fades to black.
Heard when the player decides to return to PNF-404 and search for Louie. This score is more about the humorous President than the search for Louie, as evidenced by the quirky effects the orchestra uses. Hocotate Freight's triumph is scored by a tuba playing the Hocotatian motif, and as the President gets the idea to return to PNF-404 for more treasure, the rhythmic figures and registers mount like they did when the President was first inspired in the opening cinema. However, when the President turns to address Louie, the orchestra abruptly stops with a comic muted trumpet fall. Afterwards, a small ensemble of horns, piano, and rudimentary snare drum build the small tension for the conclusion that the President will accompany Olimar instead.
Heard immediately after every treasure in the game is collected. After an unexpected view of the ship's engine blasting off, a quiet scene ensues in which the ship is ascending, to a slow, mournful rendition of the end of day theme in violins. The final note transitions to scoring the strange occurrence of lights on the planet's surface, using pad synthesizers, handbell, and echoes of a Pikmin group singing along to the Pikmin 2 motif, until natural instruments return in a resolution when Olimar realizes the Onions have accompanied him. Pentatonic glissandos on the harp play the red Onion's movement in particular. The Hocotatian motif returns when the ship reappears, with its pilot now overjoyed. As the ship rises above the atmosphere, returning to Hocotate, one last development of the success motif returns with full orchestra, jingle bells, and a choir-like pad, until a fade to the surface of PNF-404, with a drone-like harmony in violins and violas as cellos and celeste calmly salute the Pikmin 2 motif a final time in C, the end of which signals the end of the game.
Heard in a cinema unlocked when every challenge in Challenge Mode is perfectly completed. This score is exactly the attraction mode theme from the first game. This choice is comical because although Louie's dark secret is rather vexing, the music is cheerful and simplistic, which makes the whole cinema appear jocular or even teasing.
Areas
The areas of Pikmin 2 have very dynamic themes, more so than any other game in the series. Normally the themes are minimalistic, atmospheric, and with little to no percussion, so as not to detract from gameplay. But parameters such as the time of day, Pikmin count, condition of the leaders, and the leaders' actions affect what extra tracks or changes are added to the music, making the music enhance the gameplay. Specifically, these parameters are:
- Enemy mix: If the active leader is near an enemy, a unique repetitious instrument or mix will be added to the music suggesting alarm or caution.
- Combat mix: If the active leader is noticed by an enemy or is engaging an enemy, a unique drum or percussion track will be added to the music.
- Task mix: If the active leader is near Pikmin carrying out a task such as breaking down a gate or building a bridge, a unique complement to the music will be added. This can vary greatly from theme to theme.
- Treasure mix: If the active leader is near Pikmin carrying a treasure (only treasure works, no other carried items trigger this), both the task mix and a new instrument complementing the melody (or main instrument) will be added to the music.
- Spiderwort mix: If the active leader is near a Burgeoning Spiderwort, slow strings or pad synthesizers will add harmony to the music.
- Sunset version: When the sunset warning occurs, the music will change to a calmer, thinner remix on music box alone. This is the only parameter to completely replace the music; all the other parameters still apply to this sunset theme.
- If the active leader is Captain Olimar, the rhythm of the theme is straight-ahead, exactly on beat. If the active leader is Louie or The President, the rhythm is swung, even if the time signature is irregular.
- If the active leader's HP is less than 50%, the music's tempo will be slowed to 70%.
- If the active leader takes damage, the music is garbled momentarily.
- If the active leader's group of Pikmin started out at more than 9 but dwindled to 9 or less due to deaths, the main instrument will skip notes in the theme.
The emboldened instrument names are considered the main instruments.
Valley of Repose
The Valley of Repose features what is technically a very slow waltz on handbells, in which the melody is hidden under complex harmonies. The theme plays on the wintry environment, but unlike the first area's theme in Pikmin, it does not seem to address learning the gameplay of controlling Pikmin. The theme thus becomes more of a background piece, an enhancement to the visual landscape, until the player returns to the Valley of Repose to explore beyond the water obstacle.
Instruments
- Main version: Harp, handbells, sleigh bells, and pizzicato cello.
- Enemy mix: Synthesizer resembling a mini concertina.
- Combat mix: Timpani, crash cymbals, and hi-hat, tom-tom set.
- Task mix: Bamboo marimba.
- Treasure mix: Bamboo marimba and mandolin.
- Sunset version: Solo music box.
This area has no Burgeoning Spiderworts, so there is no Spiderwort mix.
Awakening Wood
The Awakening Wood vastly contrasts the distant textures of the Valley of Repose. A brass march is put first and foremost, representing the commanding and organizing of Pikmin, and less about the scenery; even the complements to the music help this theme. However, the thin, minimalistic textures and high-registered bridge of this piece do help convey the small scale of the area.
Instruments
- Main version: Oboe, horn section, muted trumpets, cornet, marimba, and violins.
- Enemy mix: Bell-like synthesizer.
- Combat mix: Crash cymbals, splash cymbal, cowbell, tabla (bass), and various metal drums or parts struck with sticks.
- Task mix: Tubas, timpani, and cellos.
- Treasure mix: Piccolo, tubas, timpani, and cellos.
- Spiderwort mix: Pad violins.
- Sunset version: Solo music box.
Perplexing Pool
The Perplexing Pool returns to supplementing the scenery and less of the gameplay by itself. The texture beneath the melody is repetitious and ethereal, and combined with the melody the regular theme lacks much low register. However, the piano's hard attack in the melody keeps the theme from getting too distant.
Instruments
- Main version: Acoustic guitar (chorus effect), piano, organ-like synthesizer, bell synthesizer, and triangle.
- Enemy mix: Xylophone.
- Combat mix: Bass drum, timbales, shaker, ride cymbal (bell), and crash cymbal.
- Task mix: Acoustic guitar and fretless bass.
- Treasure mix: Steel drum, acoustic guitar, and fretless bass.
- Spiderwort mix: Pad violas.
- Sunset version: Solo music box.
Wistful Wild
- Olimar's version
- The President's version
- Olimar's sunset version
- The President's sunset version (begins at 0:56)
The Wistful Wild has a wistful march for its theme, if anything representing the struggle the leaders are going through to rescue Louie. The drone in C, the acoustic guitar rhythms, and the sarod resemble The Forest Navel's theme, but without percussion and with a somber cello melody this theme becomes less exploratory. The theme is almost threatening, to warn the player of the more dangerous fauna present in this area.
Instruments
- Main version: Quena (or other end-blown flute), bassoon (or other double-reed bass woodwind), acoustic guitar ensemble, sarod, and solo cello.
- Enemy mix: Chiptune synthesizer.
- Combat mix: TImpani, metallic snare drum, and hi-hat, although all these instruments are processed.
- Task mix: Piano, hi-hat, and pizzicato double bass.
- Treasure mix: Accordion, piano, celeste, hi-hat, and pizzicato double bass.
- Spiderwort mix: Pad sopranos.
- Sunset version: Solo music box.
Caves
Bosses
2-Player Battle
Minor jingles
These small jingles indicate specific in-game events, but do not interrupt gameplay itself.
Heard after gameplay begins on the final sublevel of a cave. This drastically intense jingle immediately builds tension about what could lie on the final floor. The jingle is mostly synthesized bass jumping up intervals and stepping down half-steps, which makes it bear a slight, uncanny, and perhaps intended resemblance to part of the underground theme in Super Mario Bros.
Group move & monologue: Heard when the player directs Pikmin using group move. Like the first game's group move jingle, this jingle has a bugle call structure reminiscent of the assembly call. However, unlike the first game, this jingle has three sections instead of two, and while the first section is tonal and coherent, the latter two sections take radical turns into atonal patterns. The end of the third section eventually brings the melodic line back to the beginning key, so that the loop can begin again. The current leader determines the key and instrument of the jingle. For Captain Olimar, an oboe plays the jingle in E. For Louie, a clarinet plays the jingle in G. For the President, a low bassoon plays the jingle in F.
All monologues in the game are introduced a four-note jingle of C#, A, B, E. The key never changes, but depending on who is giving the monologue, the instrument playing the jingle changes. Olimar's notes and Olimar's journal begin with Olimar's instrument, the oboe. Louie's notes begin with clarinet. The ship's dialogs begin with a synthesized bell. Mail from the President or the the President's wife begins with bassoon. Any mail from Olimar's family or Louie's family and any spam mail begins with a sine-wave-like instrument.
Obstacle removed: Heard when an obstacle, such as a gate or bridge, is overcome. This jingle is very similar to the first game's obstacle jingle in that its structure resembles the charge fanfare. However, the last note is different from the previous game: it is a non-diatonic #4 scale degree, making the whole jingle sound odd and even comical, since the expected ending gets slightly bent.
Pellet Posy flower: Heard when a Pellet Posy grows into a flower and pellet. A small square wave can be heard playing a C dominant 7 arpeggiation, no matter what size or color the pellet becomes. This chipper jingle adds character to the Pellet Posy, making it a more vibrant flower and not just a gameplay tool.