Editing Music in Pikmin 2

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{{page title| Music in ''Pikmin 2''}}

The '''music''' of [[Pikmin 2|''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 [[Music in Pikmin|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 {{w|leitmotif}}s, or musical gestures that become associated with characters or ideas.  

All the compositions of this game consist wholly of synthesized sounds or samples attempting to mimic real instruments. Although compared with [[Pikmin (game)|the previous game]], the technology used to mimic these instruments is more advanced and can cover a wider collection and range.

*Hajime Wakai and Kazumi Totaka's differing equipment can be used to determine which of the two composers was responsible for each particular song, as their songs will use samples recorded from their respective synthesizers. Hajime Wakai uses the [[Assets used in the Pikmin series#Kurzweil K2500|Kurzweil K2500]] and [[Assets used in the Pikmin series#Roland SC-88|Roland SC-88]] synthesizers, while Kazumi Totaka primarily uses samples from the [[Assets used in the Pikmin series#Yamaha S90|Yamaha S90]].{{cite web |https://docs.google.com/spreadsheets/d/1s5wRceP34gaPr-CkNSnnlaCSEID5HjWTX4TSR_OxeqA/|Detailed spreadsheet that documents sound sources used in the series, maintained by fans|Google Sheets|rname=spreadsheet}}

*''Pikmin 2''{{'s}} sequenced music uses a bank system to hold instrument programs. Songs exclusively use instruments from either bank 4 or bank 5, belonging to Hajime Wakai and Kazumi Totaka respectively. Samples from the Roland SC-88 and Kurzweil K2500 exist exclusively in bank 4, while the Yamaha S90's instruments are within bank 5.

Using evidence obtained from all of the methods above, every song's composer has been identified, and listed within this article.

Heard in the [[bonuses menu]]. This is a simple playful waltz played on {{w|Calliope (music)|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 bandoneon, 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 [[Piklopedia and Treasure Hoard menu]] screens. 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 same [[Music in Pikmin#The Distant Spring|synthesized cymbal]] instrument heard in the first game, used as complements to the harmony.

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 {{w|Mickey Mousing|Mickey-moused}}, or synced exactly with the music. Specifically, they are synced with strings playing {{w|Col legno|''col legno''}}, until a bell and chromatically descending flute match Louie's ejection from the ship. Chromatic oboe 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 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's dialogs|ship dialog cutscene scores]] are based. The introduction during which the catalyst of the dialog occurs is a simple melody on xylophone, 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 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 oboe play {{w|polyrhythm}}s. 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 a normal [[treasure]] or the first [[Burgeoning Spiderwort|berry]] of one type is brought to the ship or [[Hocotate ship#Research pod|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 xylophone gesture when the name of the treasure appears; this synchronization is broken if the cutscene is rushed by pressing {{button|gc|a|wii|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 no treasures have been collected. This skeleton of the end of day theme has a much less intense muted trumpet and accordion sharing the melody, and a xylophone handles the otherwise complex harmonies of the normal tune. The untuned percussion remains the same, however.

|internal=ff_annihi.w.32.c4.ast

Heard at the automatic end of a day on which a [[Pikmin extinction]] has occurred or both leaders have [[Leader#Leader is down|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 gong and one brief instance of clash cymbals.

Heard when [[The Key]] is collected. This unique rendition of the treasure collection theme replaces the winds with a harpsichord and ringing bell, enhancing the image of the golden key with an element of class, suggesting a feeling of luxury, or even wealth.

*'''Enemy mix''': Harpsichord.

At the beginning of the first day, no music plays in the area. After [[Louie]] first plucks a [[Red Pikmin]], the area theme plays, but as a completely non-dynamic version of the Olimar version of the area's sunset theme. After the two leaders are reunited, the area's theme plays as it normally does on any other day.

*'''Main version''': Bell synthesizer, '''piano''', chorused electric guitar, '''vocal synthesizer''', and triangle.

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 sitar resemble [[Music in Pikmin#The Forest Navel|The Forest Navel's theme]], but without percussion and with a somber melody on a contrabass this theme becomes less exploratory. The theme is almost threatening, to warn the player of the more dangerous fauna present in this area.

*'''Combat mix''': Timpani, and distorted snare drum, timbale shell, and tom-tom samples.

*'''Task mix''': Pulse-waves (with a modulating wah-wah filter added).

*'''Enemy mix''': Harpsichord.

Caves often tend to include more purposely synthetic-sounding instruments, since the landscape is likewise more unfamiliar than general [[area]] terrain. Although instruments in cave themes may sound like a particular natural instrument, there are timbres that distinguish this instrument as synthesized. For example, the main instrument here mimics a trombone, but still has enough differences in attack and cutoff to be an independent sound. This theme also uses the same tabla groove from "[[#Fire|Fire]]", though the tabla has been swapped for an electronic one, and the bass tabla has been replaced by the same bass instrument used in ''[[#Emergence Cave 2|Emergence Cave 2]]''.

As another example of synthetic instruments mimicking their real-life counterparts, this theme's main melodic wind instrument was created with {{w|physical modeling synthesis}}, which is a unique form of sound synthesis that attempts to replicate the natural noise and intricacies of real-life acoustic instruments. Although this lead may not be designed to sound like any exact blown instrument, the timbre does slightly resemble a sort of single-reed.

 

A pulse is implied in this piece, but a meter to organize that pulse is not as definable, especially when the percussion is randomly ordered. The highly varied instrumentation and erratic timing of patterns may influence the mixed and random selection of enemies on these floors.

*'''Main version''': '''[[Assets used in the Pikmin series#Expansion boards|Synthesized wind lead]]''', '''[https://www.youtube.com/watch?v=0BON1hkygaw davul]''', '''[https://www.youtube.com/watch?v=gjJ7EBjhh-s maman]''', fretless bass, and timpani (the side of the drum is struck).

*'''Combat mix''': Metal bowl and [https://www.youtube.com/watch?v=0BON1hkygaw davul].

In the main game, this theme is exclusive to the [[Frontier Cavern]]. This theme's noticeable waltz rhythm is rigidly defined by a strict harmony in harp-like synthesizer. The structure is also very rigid, consisting of a randomly selected gesture from the flute, and a randomly selected response from harpsichord.

*'''Enemy mix''': Pitched metallic "bong" sound effects.

*'''Combat mix''': Hand cymbals, and Native American drum and shaker.

This interesting piece in a 3/4 time signature is tied with ''[[#Concrete 3|Concrete 3]]'' for most popular, and is only heard in tile-themed sublevels. This piece actually uses water drop samples as percussion, and not only steady percussion but a randomized percussion solo, as though the drop samples are a pitched instrument. Meanwhile the melody is based off of random tri-tones, the interval made by splitting the octave in half.

*'''Main version''': '''Steel drum''', water drop samples, and electric piano synthesizer.

|linko    = https://www.youtube.com/watch?v=UvsOXzKYqs4&list=PLwyW5mbdZMGN8mGTqvDhsBs37SW4TkHcw&index=56

|linkl    = https://www.youtube.com/watch?v=Xp9mFAYQG1k&list=PLwyW5mbdZMGN8mGTqvDhsBs37SW4TkHcw&index=57

Named after this theme's simultaneous debut with the first [[Jellyfloat family|Jellyfloat]] encounter in the [[Shower Room]]. This theme is in 7/4 time signature, punched in by an electric piano playing a repetitious gesture that seems to mimic the movement of this theme's associated floating enemy. Some random notes on the electric piano are sustained, and the melody this time is quite noticeable since the general texture is easy to follow and repeats often the same way.

In the main game, this theme only occurs in room-based sublevels with wooden block layouts. The music is once again intentionally overcomplicated, and this time the multiple colors used in the music complement the unusual and toy-based landscape. Although the texture is thin, the ensemble for this theme is rather sizeable, for a cave theme. This theme is also in 3/4 time signature, best established by the task and combat mixes.

This simple theme accompanies one particular layout with a wooden toy railroad. The theme itself sounds toylike, and takes a much more chipper, less atonal mood than other themes in the game, or even in the [[Glutton's Kitchen]]. The organ gestures are randomly selected, but each gesture is so similar that the general melody easily becomes recognizable.

<nowiki>*</nowiki>A [https://www.youtube.com/watch?v=jba2WjhHZAM&list=PLwyW5mbdZMGP4hZDf_mvHbXZUA5wb0O3r&index=36 variation of this theme] plays exclusively on the fourth sublevel of the [[Glutton's Kitchen]], with the internal name <code>new_08_1.cnd</code>. This version replaces the bell sound effect with a rapidly oscillating FM sound that occasionally skips notes. This unique corruption upon the original theme effectively removes its strongest tie to the railroad motif, and instead scores the presence of the sublevel's threatening [[Spotty Bulbear]].

*'''Main version''': '''DX electronic organ''', '''{{w|Roland TR-808|TR-808}} congas''', and a '''panned railroad crossing bell''' (or an '''oscillating FM synth sample''' in the altered version).

*'''Main version''': '''Modified bass piano samples''', '''hand cymbals''', '''baritone saxophone''', glassware clink, '''xylophone''', and an electric piano sample rising in pitch, resembling the sound made by a Pikmin ready to be [[throw]]n.

This theme is very similar to "[[#Jellyfloat|Jellyfloat]]", with a mostly synthesized ensemble and an irregular time signature conveyed by one repeating gesture. Although the scenery of the sublevel, an underground submerged stump, does help this particular synthetic theme feel more organic. Interestingly, the tempo, drum kit, and tablas (along with their groove pattern) are identical to what's used in "[[#Fire|Fire]]". The shared instruments superimpose a 4/4 rhythm on the irregular gesture played by sine-waves.

*'''Main version''': '''Sine-wave''', '''two chorused trombone-like synthesizers''', and '''synth bass'''.

<nowiki>*</nowiki>The bass drum can only be heard if the current sublevel's song was either  ''[[#Soil 1|Soil 1]]'', ''[[#Soil 2|Soil 2]]'' or ''[[#Soil 3|Soil 3]]''. Due to an oversight, the bass drum sample is not automatically loaded into memory within Challenge Mode, so it must have already been loaded in from the previous song for it to sound.

Heard when the opposing leader takes too much damage and falls. Dissonant muted trumpets play a frivolous version of the "leader down" gesture from the main game, again leading into the default march. Louie's damage victory is also swung.

Heard in the instance that both sides simultaneously lose all their Pikmin. A stripped-down version of the normal Pikmin extinction default theme plays on solo xylophone and bell cymbal. In this condition, both Pikmin chants are heard, although Louie's chant interestingly sounds more interrogative and soft-spoken.

Heard in the instance that both leaders take too much damage and fall. A stripped-down version of the normal leader damage default theme plays on xylophone, bell cymbal, and organ. In this condition, both Pikmin chants are heard, although Louie's chant interestingly sounds more interrogative and soft-spoken.

Heard when the player directs Pikmin using [[swarm]]. Like [[Music in Pikmin#Swarm|the first game's swarm jingle]], this jingle has a bugle call structure reminiscent of the {{w|Assembly (bugle call)|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]], a toy horn plays the jingle in E. For [[Louie]], a clarinet plays the jingle in G. For [[the President]], a bassoon plays the jingle in F.

As explained [[#Areas|above]], area and cave themes dynamically change according to several factors, like interaction with enemies. When the player is near an enemy, the "enemy mix" is added; the "combat mix" is only added when an enemy is performing specific actions or animations. This table explains the reasons for the combat mix, as well as extra notes about either the enemy mix or combat mix.{{cite youtube|yvSxqvDJ9bo|of a hacked game that better shows off the enemy and combat mix triggers for bosses}}

Heard when visiting the level selection menu for any of the three different mini-game types. This theme is very similar to the music for the [[#Area selection|area selection menu]] in ''Pikmin 2'', sporting a drone and even a snare drum pattern identical to the one in the aforementioned theme. A rendition of this song with the instruments from ''Pikmin 2'' also partially appears in an obscure [https://youtu.be/-QYR86VMF4w?t=75 Japanese trailer] for the game.

Heard in any of the "Plucking Pikmin" mini-games. This is simply a rendition of the [[#Challenge Mode menu|Challenge Mode menu theme]]. The mini-games lack the threat of a clock and allow the player to complete the puzzles at their own pace, so a dynamic theme that changes intensity throughout likely isn't desired.

Heard in any of the "Marching Pikmin" mini-games. Used here is a simpler rendition of the [[#Awakening Wood|Awakening Wood's theme]], once again depicting the commanding of ''Pikmin''. The e-Reader's crude instrument set also helps depict these mini-games as more playful.

Heard in any of the "Connecting Pikmin" mini-games. These mini-games reuse the [[#Valley of Repose|Valley of Repose's theme]]. Since wandering enemies are uniquely present in these levels, the theme's complex progression helps convey some uncertainty.