Editing 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 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.

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.

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.