Grailz Beni-It's Not so Bad | LVKB Music
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YouTube video : Grailz Beni-It's Not so Bad
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Classical Music In Video Games
Ah, classical music has quite the pedigree! While its use in both advertising and animation is so widespread as to be almost cliché, video games have also featured their fair share of pieces over the years. Hello there, and welcome to the blog! and in this post I will be exploring the various ways in which classical music has been adapted for use in video games. While I don’t want to bore you, before I begin, I have two things I would like to bring to your attention:
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Firstly, I am using a very broad definition of classical music here. In precise terms, classical music refers to the period from 1750 to 1820. However, when I say “classical” here I am generally referring to the Western musical tradition spanning between 1550 up into the 1920s, and even then I will stretch the definition a bit further, as you shall soon see….
Secondly, and finally, I am most familiar with the various series made by Nintendo and so this post will lean heavily towards music featured in Nintendo games, although, I do also cover some other developers. Alright, with that out of the way let’s start for real!
The first two examples are ones where the music is diegetic, that is, music which actually exists within the video game’s setting and which can presumably be heard by in-game characters. There are a multitude of examples of this practice and many reasons why this is done. Some of these include providing the player with some choice as to what they can listen to, for example,
The Classical Radio station in "Fallout 4": [IN-GAME MUSIC - Wagner's "Faust Overture"] ....to using juxtaposition to create tension, as with the case of this unlucky fellow in "BioShock Infinite": [IN-GAME MUSIC - J.S. Bach's "Air on the G String"] This practice is very widespread and also fairly self-explanatory, so I shall swiftly move onto the next set of examples.
These are pieces of music which take inspiration from certain classical pieces. This can be done through several ways but one of the most common is quotation, where the melody of one excerpt is directly used in another. My first example of quotation is from the somewhat obscure "Yoshi’s Story" which was released in 1997 for the Nintendo 64. "Baby Bowser’s Lullaby" is the name given to the background music used for the game’s castle levels. To my ears at least, it takes quite a bit of inspiration from Tchaikovsky’s "Dance of the Sugarplum Fairy": [MUSIC - Tchaikovsky's "Dance of the Sugarplum Fairy"] [MUSIC - "Baby Bowser's Lullaby"] Additionally, I think it has some similarities with Satie’s "Gnossienne No. 1": [MUSIC - "Baby Bowser's Lullaby"] [MUSIC - Satie's "Gnossienne No. 1"] In addition to these classical references, the piece also has a striking similarity to the "Luigi’s Mansion" theme, so it should come as no surprise that Kazumi Totaka was the lead composer for that game as well.
In a franchise as long-running as the Mario series, there are plenty of examples of it using classical music for its own ends. For reasons I have never been entirely clear on, the classic invincibility theme first heard in "Super Mario Bros.": [MUSIC - "Invincibility Theme" from "Super Mario Bros."] ....was replaced in "Super Mario Land" with this: [MUSIC - "Invincibility Theme" from "Super Mario Land"] This is quite clearly the famous French dance number, the can-can: [MUSIC - Offenbach's "Infernal Galop"] This particular version actually originates from "Orpheus in the Underworld", an operetta composed by Offenbach in 1858, where the piece in question was originally called the "Infernal Galop".
This isn’t the only brush Mario has had with the can-can, although it is arguable if my other example actually counts as a "real" Mario game…. [AUDIO - "Hotel Mario" introductory cutscene] Yes, I’m pretty sure that the introductory theme to Hotel Mario was also inspired by the can-can, and I may be able to convince you too if I play them back-to-back: [AUDIO - "Hotel Mario" introductory cutscene] [MUSIC - Offenbach's "Infernal Galop"] The music used on the world map screen for World 3 of "Super Mario Bros. 3" was created by Nintendo veteran composer Koji Kondo: [MUSIC - "Theme of World 3" from "Super Mario Bros. 3"] About three years later, he would end up using this as inspiration for the Fairy Fountain Theme used in "The Legend of Zelda: A Link to the Past" and which would later become one of that series’ recurring leitmotifs. [MUSIC - "Fairy Fountain Theme" from "The Legend of Zelda: A Link to the Past"] Ultimately, this piece may take some inspiration from Chopin’s
Fantaisie-Impromptu: [MUSIC - Chopin's "Fantaisie-Impromptu"] Admittedly, this is a much more subjective example than those given so far and it may be simple coincidence, but I still believe it to be well worth pointing out. Still on the topic of Nintendo, Nintendo Land was one of the Wii U’s launch titles and is criminally underrated, but that is neither here nor there....
What is relevant is the track called Parade which I believe to have been influenced by Aaron Copland’s "Hoe-Down" from his 1942 ballet, Rodeo: [MUSIC - "Parade" from "Nintendo Land"] [MUSIC - Copland's "Hoe-Down"] Even the Pokémon series has taken inspiration from the classics as the original background music for Professor Oak’s Lab used in "Red", "Blue", and "Yellow" versions shares several commonalities with the "Chinese Dance", also known simply as "Tea", from Tchaikovsky’s "The Nutcracker". [MUSIC - "Professor Oak's Lab" from "Pokémon RBY"] [MUSIC - Tchaikovsky's "Tea - Chinese Dance"] This was also famously used for the scene of dancing mushrooms in Disney’s Fantasia. While many of these songs are individual pieces within a single game, some series are notable for how much of their music references other pieces. The "Mother" series, now localised as "Earthbound" outside of Japan, references songs from across quite a variety of genres but largely stayed away from classical for its first two entries.
This changed with the third game to which I could probably dedicate an entire video to due to the sheer number of composers it references. However, I will control myself for now and give a single example in the form of the battle music known as "Unfounded Revenge", which received a remix for Super Smash Bros. Brawl. [MUSIC - "Unfounded Revenge/Smashing Song of Praise" from "Super Smash Bros. Brawl"] [MUSIC - 3rd Movement from Shostakovich's 6th Symphony] I chose this piece for having a relatively obscure source, yet one which is also unmistakable, with it quoting portions of the 3rd Movement of Shostakovich’s 6th Symphony.
Shōgo Sakai was the composer for "Mother 3 " and also composed the next example on my list, "Fantasy Meadows", which plays on the track of the same name from "Kirby Air Ride". [MUSIC - "Fantasy Meadows" from "Kirby Air Ride"] [MUSIC - Johann Strauss II's "Tritsch-Tratsch Polka"] This piece has quite the hint of the "Tritsch-Tratsch Polka" about it, originally by Johann Strauss II and now frequently heard in many a comedy film. Keeping the younger Johann Strauss in mind, the original "Star Fox" for the Super Nintendo Entertainment System (SNES) featured a very bizarre hidden stage called "Out of this Dimension".
Such an incongruous level deserves an incongruous background track and the game does not disappoint, using the "Voices of Spring Waltz". [MUSIC - "Out of this Dimension" from "Star Fox (SNES)"] [MUSIC - Johann Strauss II's "Voices of Spring"] The level only gets stranger the longer it goes on for and so naturally it ends up culminating in a boss battle against a giant slot machine. The music for this fight also doubles down on the weirdness factor as it is actually a medley of folk songs. While these are technically not classical music they are historical tunes which are firmly in the public domain and so I still consider them to be within my remit.
Anyway, these three songs are "Yuki", a Japanese children’s song about snowfall: [MUSIC - "Slot Machine Boss" (Excerpt 1) from "Star Fox (SNES)"] ....the classic American spiritual "When the Saints Go Marching In": [MUSIC - "Slot Machine Boss" (Excerpt 2) from "Star Fox (SNES)"] ....and finally the German children’s song "Hänschen klein", that is, “Little Hans”: [MUSIC - "Slot Machine Boss" (Excerpt 3) from "Star Fox (SNES)"] This use of folk songs, and especially children’s songs, reminds me of another set of games, the first non-Nintendo series I’m going to cover here. This is the "Parodius" series, developed by Konami but admittedly pretty obscure as not a single entry has yet made it to the Americas. The series is notable for its extensive use of remixed public domain music.
Like the "Star Fox" example, this includes folk music from all over the world and it also gets a lot of use from classical music too. [MUSIC - "Space Hit Parade" (Excerpt 1) from "Gokujō Parodius"] [MUSIC - "Space Hit Parade" (Excerpt 2) from "Gokujō Parodius"] [MUSIC - "Space Hit Parade" (Excerpt 3) from "Gokujō Parodius"] [MUSIC - "What Are You Watching When You Hop?" from "Gokujō Parodius"] [MUSIC - "Lovely Otohmia" from "Sekushī Parodius"] [MUSIC - "The Dancing Panda" from "Gokujō Parodius"] However, it goes still further so that pretty much every genre has been covered, whether that be Big Band: [MUSIC - "In the Crane Game" from "Gokujō Parodius"] ....a little bit of Latin: [MUSIC - "Cooking Mambo" from "Gokujō Parodius"] ....or even Eurodisco: [MUSIC - "Please, Help Me!" from "Sekushī Parodius"] The "Parodius" series is one where nearly the entire soundtrack is made up of remixed classical pieces.
Another game which does this is "Little King’s Story" another niche little title, originally released for the Nintendo Wii back in 2009. Similar to the case for "Mother 3", I could probably do an entire video for both "Parodius" and "Little King’s Story" but to keep it brief, all I will say is that from its introduction to the tune of Ravel’s "Boléro" which is then immediately followed by the title screen and Elgar’s "Pomp & Circumstance March No. 1", the game clearly wears its classical heritage on its sleeve. Returning to the realm of platformer icons, the "Crash Bandicoot" series has also taken some inspiration from the world of classical music.
While Crash Twinsanity may continue to polarise the opinions of critics and players alike, one of its aspects that is nearly universally praised is its soundtrack. This was almost entirely done a capella by the group "Spiralmouth" and in it they covered three famous classical pieces which seamlessly fit right in thanks to the cartoony overtones of the series. Two of these pieces are ....the well-worn "Flight of the Bumblebee" by Rimsky-Korsakov: [MUSIC - "Bee Chase" from "Crash Twinsanity"] [MUSIC - Rimsky-Korsakov's "Flight of the Bumblebee"] ....and "On the Beautiful Blue Danube" another waltz by Johann Strauss Jr. [MUSIC - "Worm Chase" from "CrashTwinsanity"] [MUSIC - Johann Strauss II's "On the Beautiful Blue Danube"]
However, the third piece, used for a chase sequence featuring a nigh-unstoppable walrus chef, is actually taken from Felix Mendelssohn’s "The Hebrides" Overture, more popularly known as "Fingal’s Cave": [MUSIC - "Rusty Walrus" from "Crash Twinsanity"] [MUSIC - Felix Mendelssohn's "The Hebrides"] "The Wrath of Cortex", the game that immediately preceded Twinsanity, also appears to have taken some notes, with the aeroplane-based boss battle against Crunch having music that seems to quote Grieg’s "In the Hall of the Mountain King": [MUSIC - "Atmospheric Pressure" from "Crash Bandicoot: The Wrath of Cortex"] [MUSIC - Grieg's "In the Hall of the Mountain King"] This is more subjective than the "Twinsanity" pieces though, and I admit that I am likely slightly biased considering I use the same piece as my theme music! The final set of games I will be covering in this post is the "Five Night’s at Freddy’s" series, which, believe it or not, is actually what originally inspired me to make this post. While the series itself has something of a mixed reputation, what is undeniable is that it has made use of a few classical melodies, often in the form of music box tunes.
This has been true since the first instalment where the music box jingle which plays when the power runs out is the "March of the Toreadors" from Bizet’s opera "Carmen": [IN-GAME AUDIO - "Freddy's Music Box" jingle from "Five Nights at Freddy's"] [MUSIC - Bizet's "Toreador Song"] The second game continued this trend with the traditional children’s songs "My Grandfather’s Clock" and "Pop Goes the Weasel" being used as leitmotifs for the Marionette. However, this trend really reached its zenith in the third game. Each of the secret minigames required to reach the “good” ending have a stock music box loop as their background music. While some of them have still not been truly identified, most of them now have. [MUSIC - "BB's Air Adventure" from "Five Nights at Freddy's 3"] [MUSIC - Gounod's "Faites-luix mes aveaux"] [MUSIC - "Stage01" from "Five Nights at Freddy's 3"] [MUSIC - Tchaikovsky's "Scene X" from "Swan Lake"] [MUSIC - "RWQFSFASXC" from "Five Nights at Freddy's 3"] [MUSIC - Schubert's "Serenade"] [MUSIC - "Happiest Day" from "Five Nights at Freddy's 3"] [MUSIC - Brahms' Waltz No. 15 in A major]
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Well, that’s all I had planned to talk about for now, so thank you very much for reading and I really hope you've enjoyed it! This has been rather different to the content I have covered on my channel so far, but as both classical music and video games are rather close to my heart, this is a post I've wanted to make for quite some time now. and sometimes it is just good to change things up a little bit! If you have enjoyed the post then please consider sharing it around to spread the word. Moreover, if you would like to see more content from me then you may also want to consider subscribing. I always love hearing from the people who reads my post so make sure to make good use of the comment section below. Did I miss a piece out that you think should have been in the post? Do you disagree with something I’ve said? Whatever the case, let me know! Once again, thank you very much for taking the time to this post, and I hope that you choose to stick around to see where the channel goes. Until the next time we meet however: 𝘊𝘪𝘢𝘰!
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