Music in Pikmin: Difference between revisions

{{page title| Music in ''Pikmin''}}

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The '''music''' of {{p1}} accompanies every aspect of the game, from the gameplay to the [[cutscene]]s and [[menu]]s. Generally, the textural style of the music reflects the futuristic world of [[Hocotate]], the organic environment of [[PNF-404]], and/or the small scale and nature of the [[Pikmin family|Pikmin]] themselves, by varying instrumentation, register, and rigidity of rhythm. During gameplay, the music sets the mood of the area and dynamically adapts its intensity according to what is happening on-screen, albeit to a lesser degree than the following games in the [[Pikmin series|series]]. During cutscenes, the music is predetermined and functions more linearly and punctually. While all of the music in ''Pikmin'' is melodically driven, no established melodic gestures seem to become motifs; that is, none of the soundtrack's unique melodies (besides perhaps the main theme's melodic gesture) become more important to the game than the rest, unless the melody is heard over most of the 30 [[Day|days]].

''Pikmin'''s soundtrack was also released on CD under the title "[[Pikmin World]]". This official release features some minor changes to the music. In addition to the higher quality on the CD, in most instances, many sounds are now panned towards a specific speaker, instead of being centered.

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== Cutscenes ==

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Heard after beginning a new game, accompanying the [[Cutscene#Opening|prologue cutscene]]. This eclectic soundtrack begins in space, with synthesized drones and patterns gravitating around C to set the mood that the protagonist of the game is from an alien planet. [[Captain Olimar]]'s idling ship seems to produce a small hi-pass waltz in D♭, almost as though he is listening to a radio. This hint of D♭ resounds in a dramatic string section when a passing meteor approaches; the strings quiet down as the scene cuts back to the [[S.S. Dolphin]], but the drone of C gets more intense as hand percussion and an alarm sound effect join in. Finally as the meteor strikes the ship a cymbal roll and a leaping gesture on marimba and pizzicato strings warp the previous ethereal drone into chaos. The strings descend across stinging triads far from C as the ship plummets to [[PNF-404]]. Finally as the camera cuts to the sky and ground another cymbal roll changes the tempo and genre to an orchestral rock beat in D minor with another alarm sound overlay. The drums and orchestra simultaneously cut out to a residual ring when the ship crashes; as the entire cutscene has no sound effects on its own, this sudden {{w|tacet}} during the expected sound of a crash landing produces a wholly suspenseful effect, only to be resolved when the first [[day]] begins.

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|name = Meet the Pikmin

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Heard when Captain Olimar plucks a new type of Pikmin. This theme stresses curiosity, by way of a transposed melody. That is, the marimba establishes a key of G major, while the exotic synthesizer playing the melody is playing in A♭, making the theme not dissonant but odd. The perfect mood set for a player who did not expect a Pikmin to be plucked from the ground.

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|name = Finding of Parts

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Heard when Captain Olimar discovers the [[Main Engine]]. Triumphantly ringing through flute, piccolo, vibraphone, french horn, and two synthesized sounds used in the [[#Today's Results|Today's results]] theme, this short scalar melody aids both the understanding of how Pikmin can help and of how [[ship parts]] are important.

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|name = Power-Up!

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|name = Level Complete

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Heard when a [[day]] ends and Pikmin are returned to their Onions. The tone of this piece is very conclusive, yet also builds enough tension through augmented chords and strong melody that the player eagerly awaits the S.S. Dolphin's liftoff by the end. The reverb in this theme is more prominent and more polished than in other cutscenes, most likely since this theme is to be heard at the end of every day.

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Plays when the S.S. Dolphin departs after day 30 with all mandatory ship parts but without all 30 ship parts. Flute, strings, vibraphone, marimba, and piano reprise the theme of the Sunset cutscene, with a more conclusive air and a slower tempo, although this reprise does not play the final note. Instead, the scene cuts to three curious Pikmin watching the S.S. Dolphin depart, and the music changes to a progression of loosely connected major and minor chords that sum into a feeling that the events portrayed are not the end of the story. The following cutscene uses the Epilogue theme.

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Heard when the S.S. Dolphin departs after day 30 without all mandatory ship parts. The beginning of the cutscene is the same as the Epilogue theme, but this theme is heard when the S.S. Dolphin is shown trying to escape the atmosphere. The theme begins the same way as the successful theme, but synthesized chromatic noises, again resembling alarms, intervene as the S.S. Dolphin slows its ascent. Finally the apex of the Dolphin's flight is accented by a dissonant synthesized glissando, after which all music cuts out and the ship falls.

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Heard after the final analysis of the [[Cutscene#Bad ending|bad ending]]. This bouncy theme sets a mood of failure and the request to try again more than it predicts the fate of Captain Olimar. A piano and some comical instruments play a frivolous tune, passively complemented with the motivic Native American bass flute from the game's main theme. Xylophone and marimba descend the chromatic scale as [[Olimar as Pikmin|Olimar as a Pikmin]] descends from the Onion. Then, the main motif of the game resurfaces in flute and trombone with a very jocular feel, before resolving and ending with Olimar planted in the ground. This theme's joyous mood helps indicate that this ending is roughly a joke, and not to be considered the serious, canon ending.

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Heard after the S.S. Dolphin is completely repaired. The Sunset theme is reprised, more closely in instrumentation than the neutral departure, but veers off-course and elongates as Captain Olimar addresses a goodbye to the confused Pikmin one last time. The augmented conclusion of the theme still occurs when Olimar enters the Dolphin, and the D♭ major 7 chord on which it ends is extended back to the Pikmin as they attack a [[Bulborb|Spotty Bulborb]]. As they latch on, the theme cleverly combines both the beginning of the Sunset theme and the melody and piano of The Final Trial theme, until the final pan upward to the sky.

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|name = Credits

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A playful theme that immediately reassures the player that Captain Olimar is safe after he crash-lands at [[The Impact Site]]. The high-pitched melody carried on glockenspiel and pizzicato violin also accent the tiny stature of Pikmin as they are discovered.

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A calm theme that highlights the natural wholesomeness of the wilderness of [[The Forest of Hope]], while still remaining simple and steady enough to encourage the player getting used to commanding Pikmin. This theme's distinct lead instrument is sampled from the Kurzweil K2500's "Malletoo" patch.

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With a widening scope of exploration, a new visual landscape, and three types of Pikmin, [[The Forest Navel]]'s theme can afford to sound more exotic. The principal of this theme is a chordal instrument upon a droning C, unlike the previous two areas with a solid melody over C major. The faster tempo may also encourage the player using this area to discover more efficient ways to organize Pikmin.

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[[The Distant Spring]]'s theme is the most ethereal in the game, having no easily definable rhythm until the enemy mix fades in. Its sounds are all soft and distant; the music is no longer trying to aid a rhythm of gameplay, but is instead resigning and forcing the player to explore the huge area and solve tasks on their own. It features a cymbal-like melodic instrument from the Kurzweil K2500, which will make a comeback in the following games of the series.

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The gentle, calm, and predominantly major music of the game so far suddenly takes a sinister turn in [[The Final Trial]]. Although the melody and some accompaniment are a chipper skipping tune, the texture underneath it is a bass drone in F and a chromatic glockenspiel that does not fit in wherever the piece goes. And whenever combat ensues, the piece becomes even more suspenseful with low piano octaves that accent at weird times.

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|name = Finding Lost Pieces

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