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Music in Pikmin 3: Difference between revisions
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{{DISPLAYTITLE: Music in ''Pikmin 3''}} | {{DISPLAYTITLE: Music in ''Pikmin 3''}} | ||
The '''music''' of [[Pikmin 3|''Pikmin 3'']] accompanies every mode of the game, from themes and cues during gameplay to scores of cutscenes and menus, in order to enhance the various moods of the game and to direct gameplay. Generally, the textural style of the music reflects either the technology of [[Koppai]], the scenic environment of [[PNF-404]], or the progression of the story and the quirky nature of [[Pikmin family|Pikmin]]. In the spirit of compositions for the [[Pikmin series|''Pikmin'' series]], this installment features dynamic music that adapts to what occurs in the game, using parameters such as what tasks Pikmin are carrying out, the time of [[day]], and the weather in a particular [[area]]. Between gameplay, pre-rendered cutscenes are scored by a Hollywood-style orchestra, and in-game cutscenes are textured by varied loops and cues of music. Compared with the music of the previous games, this game's music is much more atmospheric and ethereal; melody is only germane in establishing | The '''music''' of [[Pikmin 3|''Pikmin 3'']] accompanies every mode of the game, from themes and cues during gameplay to scores of cutscenes and menus, in order to enhance the various moods of the game and to direct gameplay. Generally, the textural style of the music reflects either the technology of [[Koppai]], the scenic environment of [[PNF-404]], or the progression of the story and the quirky nature of [[Pikmin family|Pikmin]]. In the spirit of compositions for the [[Pikmin series|''Pikmin'' series]], this installment features dynamic music that adapts to what occurs in the game, using parameters such as what tasks Pikmin are carrying out, the time of [[day]], and the weather in a particular [[area]]. Between gameplay, pre-rendered cutscenes are scored by a Hollywood-style orchestra, and in-game cutscenes are textured by varied loops and cues of music. Compared with the music of the previous games, this game's music is much more atmospheric and ethereal; melody is only germane in establishing {{w|leitmotif}}s in the game. This game's music also contains many more original synthesized instruments, to heighten the theme of futurism and to give the soundtrack personality. | ||
The soundtrack to ''Pikmin 3'' was composed by Asuka Hayazaki, Atsuko Asahi, and Hajime Wakai, under no official name. Like the previous soundtracks in the series, all the sounds are synthesized or samples attempting to mimic real instruments. This installment of the series features the most advanced sound technology yet, producing very realistic representations of real instruments. However, unlike [[Music in Pikmin 2|the music in the previous game]], this game's music is all pre-rendered, not played note-by-note in real time; this allows for new instruments, new textures, and new experimentation with sound, at the cost of a less flexible soundtrack. | The soundtrack to ''Pikmin 3'' was composed by Asuka Hayazaki, Atsuko Asahi, and Hajime Wakai, under no official name. Like the previous soundtracks in the series, all the sounds are synthesized or samples attempting to mimic real instruments. This installment of the series features the most advanced sound technology yet, producing very realistic representations of real instruments. However, unlike [[Music in Pikmin 2|the music in the previous game]], this game's music is all pre-rendered, not played note-by-note in real time; this allows for new instruments, new textures, and new experimentation with sound, at the cost of a less flexible soundtrack. | ||
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Heard when Charlie is attacked by the [[Vehemoth Phosbat]]. In a horror-film-like turn, high | Heard when Charlie is attacked by the [[Vehemoth Phosbat]]. In a horror-film-like turn, high {{w|Aleatoricism#Music|aleatoric strings}} and horn cluster chords put Charlie in a suspenseful environment. When he realizes the horror behind him, the music swells to a high-contrast cluster, but without any accent for a jump-scare; instead an ocean harp glissando leaves Charlie's story unfinished. | ||
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Heard when [[Alph]] wakes up in the pool of water in the [[Tropical Wilds]]. A mainly whole-tone texture accents Alph's awakening, with | Heard when [[Alph]] wakes up in the pool of water in the [[Tropical Wilds]]. A mainly whole-tone texture accents Alph's awakening, with {{w|col legno}} strings, a music box, and a clarinet playing the main gesture. A vibraphone and one other instrument travel the whole-tone scale, eventually closing into the early "Alph's Crash Site" theme. This other instrument is a cicada-like sound, which will also be present in the Tropical Wilds theme. | ||
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Heard when Alph explains rocketing into orbit at sunset to escape nocturnal predators. When Alph first hears the strange alien calls (of a [[Whiptongue Bulborb]]), his panic incites a | Heard when Alph explains rocketing into orbit at sunset to escape nocturnal predators. When Alph first hears the strange alien calls (of a [[Whiptongue Bulborb]]), his panic incites a {{w|Bernard Herrmann|Bernard-Herrmann-esque}} gesture in high strings and discordant brass. Afterwards an atonal loop plays, with a main synthesized sound and metal percussion that set the mood almost of a horror B-movie. It is clear that the music is trying to convey the strange sounds as the noises of an extraterrestrial being; the atonality suggests that this being means the player harm. | ||
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Heard when Brittany is spotted lying on the ground in the [[Garden of Hope]]. As Brittany was not expected to be found in such a dubious state, the music takes an atonal turn, with a horror-film-style buildup (and tambourine rattle) to a six-hit release in synthesizer and strings, in a way resembling the style of the [[Music in Pikmin 2#Final Floor!|"Final Floor!" theme]] of the previous game. One can also hear the first instance of a | Heard when Brittany is spotted lying on the ground in the [[Garden of Hope]]. As Brittany was not expected to be found in such a dubious state, the music takes an atonal turn, with a horror-film-style buildup (and tambourine rattle) to a six-hit release in synthesizer and strings, in a way resembling the style of the [[Music in Pikmin 2#Final Floor!|"Final Floor!" theme]] of the previous game. One can also hear the first instance of a {{w|flexatone}} in the ''Pikmin'' series. | ||
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Heard when a non-Red Pikmin suffers [[fire]] for the first time, | Heard when a non-Red Pikmin suffers [[fire]] for the first time, and when a non-Blue Pikmin is [[water|drowning]] for the first time. This four-note gesture is the same that introduces the [[Medusal Slurker]], albeit without the second cymbal crash. The theme may be distressing, but the small ensemble and high xylophone and synthesizer put the distress on the very small scale of the Pikmin. | ||
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Heard when the S.S. Drake prepares to land in the [[Distant Tundra]], but loses Brittany. To note is that at the beginning of this rendition of the "land in new area" theme that the cymbal crash is missing. It instead accents the S.S. Drake hitting an obstacle and losing Brittany. This perfect synchrony also includes the final note being a half-step higher than usual, to give the theme a whole-tone, ambiguous feel. Afterwards, a saw-wave synthesizer and | Heard when the S.S. Drake prepares to land in the [[Distant Tundra]], but loses Brittany. To note is that at the beginning of this rendition of the "land in new area" theme that the cymbal crash is missing. It instead accents the S.S. Drake hitting an obstacle and losing Brittany. This perfect synchrony also includes the final note being a half-step higher than usual, to give the theme a whole-tone, ambiguous feel. Afterwards, a saw-wave synthesizer and {{w|Gong|tuned gongs}} descend chromatically to aurally follow Brittany on her fall into the cave. | ||
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Heard when the leaders explain how to handle carrying Olimar. From the initial held note this new loop appears, controlled by cellos and a | Heard when the leaders explain how to handle carrying Olimar. From the initial held note this new loop appears, controlled by cellos and a {{w|goblet drum|doumbek}}. The violins waver in their notes slightly, which certainly makes the mood off-putting, but what really drives the tension home is the alien synthesizers that play. A ping-like sound and a synth bass play bits of the [[Mysterious Life Form]]'s theme, which at the moment sounds very strange but which will soon sound familiar. In fact, it could be said that the Mysterious Life Form's theme releases the tension accrued and sustained by this theme. | ||
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Heard when the [[Mysterious Life Form]] materializes inside the [[Formidable Oak]]. This is the most | Heard when the [[Mysterious Life Form]] materializes inside the [[Formidable Oak]]. This is the most {{w|aleatoric music}} in the game, beginning with the reversed sample of an ocean harp (to establish something wrong) and growing into a huge, rich, looping cluster of tension. High strings randomly rise while a horn cluster settles them, eventually just leaving a loop of low strings and horns playing imperceptibly together. The whole loop sounds like one sound, but it is a very rich texture that actually alienates the Mysterious Life Form. The dissonance of this cue makes the Mysterious Life Form seem more monstrous, and less adherent to anything else in the game. | ||
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Heard when Olimar is saved; the cutscene occurs this way no matter how much [[fruit]] was recovered. It begins with the Koppaites meeting Olimar, who is immediately characterized by the true [[Music in Pikmin 2#Leitmotifs|"Hocotatian" motif]] played resoundingly in trumpet (and later echoed in a horn section and a flute). The bold texture for Olimar contrasts with a softer, thinner texture for the awestruck Koppaites, in harp, thumb piano, and flute. This friendly texture stays for the remainder of the scene, as Olimar and the Koppaites exchange friendly dialog. One other element receives musical attention: the [[S.S. Drake#Cosmic Drive Key|cosmic-drive key]]: its appearance is almost comically chimed by a bell and the same choir used as a sound effect in the [[KopPad]]. | Heard when Olimar is saved; the cutscene occurs this way no matter how much [[fruit]] was recovered. It begins with the Koppaites meeting Olimar, who is immediately characterized by the true [[Music in Pikmin 2#Leitmotifs|"Hocotatian" motif]] played resoundingly in trumpet (and later echoed in a horn section and a flute). The bold texture for Olimar contrasts with a softer, thinner texture for the awestruck Koppaites, in harp, thumb piano, and flute. This friendly texture stays for the remainder of the scene, as Olimar and the Koppaites exchange friendly dialog. One other element receives musical attention: the [[S.S. Drake#Cosmic Drive Key|cosmic-drive key]]: its appearance is almost comically chimed by a bell and the same choir used as a sound effect in the [[KopPad]]. | ||
When the S.S. Drake lifts off, an immediate orchestral theme erupts with full strings and up-beat horn textures. An electronic drum kit kicks in with a cymbal crash and a synthesized texture plays the S.S. Drake accelerating into the atmosphere. Next comes an orchestral elaboration of the "Koppaite" motif, which only becomes richer and more victorious with time. When the leaders look back at the Pikmin from the air, the texture suddenly thins out to solo strings playing ''molto expressivo''. The texture builds as more strings and a | When the S.S. Drake lifts off, an immediate orchestral theme erupts with full strings and up-beat horn textures. An electronic drum kit kicks in with a cymbal crash and a synthesized texture plays the S.S. Drake accelerating into the atmosphere. Next comes an orchestral elaboration of the "Koppaite" motif, which only becomes richer and more victorious with time. When the leaders look back at the Pikmin from the air, the texture suddenly thins out to solo strings playing ''molto expressivo''. The texture builds as more strings and a {{w|mark tree}} enter the mix, until it all metamorphoses into a predominant version of the ''Pikmin 2'' motif, sung by Pikmin over strings. The orchestral texture barges back in to repeat this texture as an extended dominant, until the final resolving F major caps the whole scene's fade to black. | ||
As the S.S. Drake leaves PNF-404 in the next scene, the music slows to an ostinato of quiet violins and basses, while woodwinds and cellos voice a gesture dissimilar to any motif; it is clearly building up to something. This something is a resolution in G major, with mainly a trumpet and crotales voicing what resembles an inversion of the "Koppaite" motif, followed by a simple scalar gesture in strings and glockenspiel. This repeats three times before the next orchestral hit, when Charlie tells Alph to prepare cosmic drive. The orchestra builds in the dominant key as the sound of cosmic drive intensifies, even switching to strange substitute harmonies, perhaps in the style of | As the S.S. Drake leaves PNF-404 in the next scene, the music slows to an ostinato of quiet violins and basses, while woodwinds and cellos voice a gesture dissimilar to any motif; it is clearly building up to something. This something is a resolution in G major, with mainly a trumpet and crotales voicing what resembles an inversion of the "Koppaite" motif, followed by a simple scalar gesture in strings and glockenspiel. This repeats three times before the next orchestral hit, when Charlie tells Alph to prepare cosmic drive. The orchestra builds in the dominant key as the sound of cosmic drive intensifies, even switching to strange substitute harmonies, perhaps in the style of {{w|Gustav Holst}}. Finally, cosmic drive begins, and the orchestra hits several times in a whole-tone key of G, augmenting the weirdness of this science-fiction concept. A final triplet of hits from the whole orchestra plays before the S.S. Drake disappears in a flash; the music simply stops at this point, leaving one with the view and the aural nature of the void of space. | ||
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Heard after any of the epilogues, when the game is complete. This is by far the most varied of the credit sequences in the [[Pikmin series]]. Each scene in the credits' background has a different environment and different actions from the Pikmin, and the music adeptly scores each scene, while developing itself. The scenes are listed chronologically: | Heard after any of the epilogues, when the game is complete. This is by far the most varied of the credit sequences in the [[Pikmin series]]. Each scene in the credits' background has a different environment and different actions from the Pikmin, and the music adeptly scores each scene, while developing itself. The scenes are listed chronologically: | ||
*(0:00) [[Blue Pikmin]] are walking through rain in the [[Tropical Wilds]] while [[Yellow Pikmin]] take shelter under a stump. As the credits have just begun, the texture is very thin, with only a | *(0:00) [[Blue Pikmin]] are walking through rain in the [[Tropical Wilds]] while [[Yellow Pikmin]] take shelter under a stump. As the credits have just begun, the texture is very thin, with only a {{w|Hang (instrument)|Hang drum}} and pizzicato violin establishing the waltz and the first gesture. | ||
*(0:17) Blue Pikmin are idling in water in the [[Garden of Hope]]. The first gesture repeats with glockenspiel, harp, and bass pizzicato added. This adds complexity and development, before the gesture is briefly set aside for some more detailed scores. | *(0:17) Blue Pikmin are idling in water in the [[Garden of Hope]]. The first gesture repeats with glockenspiel, harp, and bass pizzicato added. This adds complexity and development, before the gesture is briefly set aside for some more detailed scores. | ||
*(0:34) A [[Red Pikmin]] attempts to chase a [[Yellow Spectralid]] in what is more clearly the [[Garden of Hope]]. Here the music takes a sidestep and scores this small scene with instruments from the Garden of Hope's theme, including an accordion and banjo. Its underlying development still exists, as can be heard in the underlying low clarinets and strings. At this point, the music is swung rather than a straight waltz. | *(0:34) A [[Red Pikmin]] attempts to chase a [[Yellow Spectralid]] in what is more clearly the [[Garden of Hope]]. Here the music takes a sidestep and scores this small scene with instruments from the Garden of Hope's theme, including an accordion and banjo. Its underlying development still exists, as can be heard in the underlying low clarinets and strings. At this point, the music is swung rather than a straight waltz. | ||
*(0:52) Several Pikmin watch as other Pikmin slide down the larger ice slide in the [[Distant Tundra]]. The music switches a new passage in a deceptively different key using the tuned gongs, jingle bells, and synthesized pad from the Distant Tundra's theme. This may sound like an entirely different turn, but the orchestra bassoon and strings can still be heard building behind it. | *(0:52) Several Pikmin watch as other Pikmin slide down the larger ice slide in the [[Distant Tundra]]. The music switches a new passage in a deceptively different key using the tuned gongs, jingle bells, and synthesized pad from the Distant Tundra's theme. This may sound like an entirely different turn, but the orchestra bassoon and strings can still be heard building behind it. | ||
*(1:08) Pikmin idle in tulips, until they begin hiding from back to front. The frontmost Yellow Pikmin does not notice the threat, and nearly gets eaten by the revealed [[Whiptongue Bulborb]]. The Pikmin rise out of the tulips one by one, and watch the Whiptongue Bulborb leave until a Blue Pikmin is caught by a [[Swooping Snitchbug]]. This long scene has two parts. The first is a buildup to the Bulborb's attack, in gracing woodwinds, piano, and snare drum. The texture becomes increasingly thick and accelerates until the Bulborb's attack is accented by a cymbal crash and timpani hit. The Bulborb's failure and departure characterized by the bassoon gesture from the [[Twilight River]] theme, the Pikmin begin rising from their tulips with whole-tone harp and glockenspiel. As each one rises, they make a small noise, and the high-register waltz texture plays their scale. As more of them rise, they begin to make noises in rhythm, and even start to sing the ''Pikmin 2'' motif, until a gesture in piano and | *(1:08) Pikmin idle in tulips, until they begin hiding from back to front. The frontmost Yellow Pikmin does not notice the threat, and nearly gets eaten by the revealed [[Whiptongue Bulborb]]. The Pikmin rise out of the tulips one by one, and watch the Whiptongue Bulborb leave until a Blue Pikmin is caught by a [[Swooping Snitchbug]]. This long scene has two parts. The first is a buildup to the Bulborb's attack, in gracing woodwinds, piano, and snare drum. The texture becomes increasingly thick and accelerates until the Bulborb's attack is accented by a cymbal crash and timpani hit. The Bulborb's failure and departure characterized by the bassoon gesture from the [[Twilight River]] theme, the Pikmin begin rising from their tulips with whole-tone harp and glockenspiel. As each one rises, they make a small noise, and the high-register waltz texture plays their scale. As more of them rise, they begin to make noises in rhythm, and even start to sing the ''Pikmin 2'' motif, until a gesture in piano and {{w|col legno}} strings abruptly accents the Swooping Snitchbug capturing the Blue Pikmin, ending the scene. | ||
*(1:50) A camera pan-through shows many different Pikmin in the Twilight River practicing singing the ''Pikmin 2'' motif and eventually harmonizing to the song. There are just enough Pikmin shown in the scene for all the voices in the tune, and their voices are wavering and arrhythmic enough to sound more like an ensemble of non-professional singers than an instrument. This is also the first instance of Pikmin harmonizing together, getting more and more accurate as the piece progresses and deceptively becomes more and more orchestral. By the end of this scene, a trumpet and full strings accompany the Pikmin. As a fun secret in the credits, the final Pikmin shown, a Blue Pikmin on a branch, appears to be conducting the song. It waves its arms and makes noises that resemble, "Two, three..." as a conductor might gesture in a | *(1:50) A camera pan-through shows many different Pikmin in the Twilight River practicing singing the ''Pikmin 2'' motif and eventually harmonizing to the song. There are just enough Pikmin shown in the scene for all the voices in the tune, and their voices are wavering and arrhythmic enough to sound more like an ensemble of non-professional singers than an instrument. This is also the first instance of Pikmin harmonizing together, getting more and more accurate as the piece progresses and deceptively becomes more and more orchestral. By the end of this scene, a trumpet and full strings accompany the Pikmin. As a fun secret in the credits, the final Pikmin shown, a Blue Pikmin on a branch, appears to be conducting the song. It waves its arms and makes noises that resemble, "Two, three..." as a conductor might gesture in a {{w|fermata}} such as this. | ||
*(2:15) A camera zooms out from a passageway in the Tropical Wilds to reveal a large amount of Pikmin sitting on various perches, becoming a chorus of harmonizing Pikmin. The orchestra reaches its climax here, with a cymbal crash and grand enharmonic substitution chords from the Pikmin. As the texture thins out to a final E♭ major chord in horns, the Pikmin voices disperse as the ''Pikmin 2'' motif is repeated one more time and a half. At this point the scene fades to black, and the final scene of the credits does not contain music (save for the sustain of the final note in the last scene). Since this scene is a cliffhanger for the [[Canon|canonical story]], it is played in complete silence to seal in the questions raised by it. | *(2:15) A camera zooms out from a passageway in the Tropical Wilds to reveal a large amount of Pikmin sitting on various perches, becoming a chorus of harmonizing Pikmin. The orchestra reaches its climax here, with a cymbal crash and grand enharmonic substitution chords from the Pikmin. As the texture thins out to a final E♭ major chord in horns, the Pikmin voices disperse as the ''Pikmin 2'' motif is repeated one more time and a half. At this point the scene fades to black, and the final scene of the credits does not contain music (save for the sustain of the final note in the last scene). Since this scene is a cliffhanger for the [[Canon|canonical story]], it is played in complete silence to seal in the questions raised by it. | ||
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'''Instruments''' | '''Instruments''' | ||
*'''Main version''': Piccolo, clarinets, glockenspiel, muted | *'''Main version''': Piccolo, clarinets, glockenspiel, muted {{w|almglocken}}, toy piano, detuned melodica, and jingling and hi-pass synthesizers. | ||
*'''Enemy mix''': Timpani, crash cymbals, and bell collection. | *'''Enemy mix''': Timpani, crash cymbals, and bell collection. | ||
*'''Task mix''': Baritone saxophone, metal tom drum, conga, and rotary organ. | *'''Task mix''': Baritone saxophone, metal tom drum, conga, and rotary organ. | ||
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The [[Garden of Hope]]'s theme is a beautiful representation of the season of spring. The textures are soft (the harp gestures especially delicate) and the melodic instruments and dynamics smoothly transition between each other. Interestingly, the Garden of Hope is the only area to have a different theme for the afternoon. The structure is the same, but different instruments surface and the chord progression changes in several areas. The afternoon theme also has an | The [[Garden of Hope]]'s theme is a beautiful representation of the season of spring. The textures are soft (the harp gestures especially delicate) and the melodic instruments and dynamics smoothly transition between each other. Interestingly, the Garden of Hope is the only area to have a different theme for the afternoon. The structure is the same, but different instruments surface and the chord progression changes in several areas. The afternoon theme also has an {{w|anacrusis}}, rather than a small separate intro. | ||
'''Instruments''' | '''Instruments''' | ||
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'''Instruments''' | '''Instruments''' | ||
*'''Main version''': | *'''Main version''': {{w|Overtone flute}}, fifes, bass {{w|marimbaphone}}, bamboo marimba, steel drum, metal tablas, cowbell, shaker, {{w|caxixi}}, concertina, and cicada-like synthesizer. | ||
*'''Enemy mix''': Timpani, snare drum, crash cymbals, and bell collection. | *'''Enemy mix''': Timpani, snare drum, crash cymbals, and bell collection. | ||
*'''Task mix''': Contrabass flute, african xylophone, conga, triangle, pad and bass synthesizers, and basses. | *'''Task mix''': Contrabass flute, african xylophone, conga, triangle, pad and bass synthesizers, and basses. | ||
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'''Instruments''' | '''Instruments''' | ||
*'''Main version''': Bassoons, handbells, shaker, acoustic guitar, accordion, pad synthesizer, and violin (also playing | *'''Main version''': Bassoons, handbells, shaker, acoustic guitar, accordion, pad synthesizer, and violin (also playing {{w|double stop}}) and viola. | ||
*'''Enemy mix''': Timpani, snare drum, crash cymbals, and bell collection. | *'''Enemy mix''': Timpani, snare drum, crash cymbals, and bell collection. | ||
*'''Task mix''': Congas, talking drum, synth bass, and several types of vocal synthesizer. | *'''Task mix''': Congas, talking drum, synth bass, and several types of vocal synthesizer. | ||
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Heard when any boss is defeated; this extended version is for the [[Vehemoth Phosbat]]. Unlike the [[Music in Pikmin 2#Boss defeated|previous game]] that took a major | Heard when any boss is defeated; this extended version is for the [[Vehemoth Phosbat]]. Unlike the [[Music in Pikmin 2#Boss defeated|previous game]] that took a major {{w|Picardy third}} upon beating a boss, this game's boss theme chugs to a rather dissonant halt. In this extended version for the Vehemoth Phosbat, violins continue after the main cue is finished, slowly and continually ascending as the boss tries to fly away. This small gesture builds the final tension for the Vehemoth Phosbat's collision with the large light bulb, which truly ends the battle. | ||
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The mid-boss themes also include new renditions of the same [[Music in Pikmin 2#Short attacks|cues used in ''Pikmin 2'']] for boss attacks and defenses, as well as a new rendition of the ending | The mid-boss themes also include new renditions of the same [[Music in Pikmin 2#Short attacks|cues used in ''Pikmin 2'']] for boss attacks and defenses, as well as a new rendition of the ending {{w|Picardy third]]. | ||
==Mission Mode== | ==Mission Mode== | ||
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;<span id="Obstacle removed">''Obstacle removed''</span>: | ;<span id="Obstacle removed">''Obstacle removed''</span>: | ||
Heard when an [[obstacle]], such as a [[gate]] or [[bridge]], is overcome. This jingle is very similar to [[Music in Pikmin 2#Obstacle removed|the previous game's obstacle jingle]] in that its structure resembles the | Heard when an [[obstacle]], such as a [[gate]] or [[bridge]], is overcome. This jingle is very similar to [[Music in Pikmin 2#Obstacle removed|the previous game's obstacle jingle]] in that its structure resembles the {{w|Charge (fanfare)|charge fanfare}}. In this game however, it has a noticeable echo, helping with the feeling of the sound being global. | ||
;<span id="Daytime chimes">''Daytime chimes''</span>: | ;<span id="Daytime chimes">''Daytime chimes''</span>: | ||
The [[Day#Sunset|Sun Meter]] makes various noises at quarterly increments throughout any day. At a quarter and three fourths through the day, the Sun Meter will briefly jump with a handbell ringing sound and a church bell chime, to accent the significant amount of time that has passed. At noon, the handbell and a two-note (A and F) chime on church bells play. Close to sunset, the HUD will display the message to gather stray Pikmin, accented by the [[whistle]] sound and church bells playing a chime similar to the '' | The [[Day#Sunset|Sun Meter]] makes various noises at quarterly increments throughout any day. At a quarter and three fourths through the day, the Sun Meter will briefly jump with a handbell ringing sound and a church bell chime, to accent the significant amount of time that has passed. At noon, the handbell and a two-note (A and F) chime on church bells play. Close to sunset, the HUD will display the message to gather stray Pikmin, accented by the [[whistle]] sound and church bells playing a chime similar to the ''{{w|Westminster Quarters}}'' half-hour chime, which in Japanese schools represents the beginning or end of a period. Inside of a cave, all of these chimes slightly modulate in pitch. | ||
;<span id="Pellet Posy flower">''Pellet Posy flower''</span>: | ;<span id="Pellet Posy flower">''Pellet Posy flower''</span>: | ||