#soshi abe

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[diaemusrealta]

I feel many people do not understand that the direction of Metroid Dread's soundtrack was decided by Minako Hamano —known for Metroid Fusion and Super Metroid's more ambient atmospheric tracks— and decided to pin all the "blame" on the new composers just because the music isn't meant to deliver dopamine instantly into your brain. Metroid music was never meant to be catchy melodies for you to listen to in your free time or on Nintendo playlists. Ever since the first game you always had really weird atmosphere's with strange as hell chords like Norfair (NES), Ridley's lair and Tourian. Then in Super you had tracks like Maridia or Upper Norfair, the Wrecked Shipyard.. The franchise has always excelled at this weird alien jazz-like chord structures and Metroid Dread carries that torch wonderfully. You can really tell Hamano was at the helm leading the composers Soshi Abe and Sayako Doi who did great! All the tracks fit perfectly in-line with the sound of the game preceding it (Fusion) while bringing in something fresh and unique to Dread itself. One my favourite soundtracks and need my obligatory rant about it on all my social medias ha ha

[supersmashbrospics]

Super Smash Blog - 9/25/2018

Today's Music You can now check out "Battle! (Steven)." Whether or not you struggled with Steven's steel type Pokémon, you're sure to enjoy Soshi Abe's arrangement!

[demifiendrsa]

Title them from Animal Crossing Happy Home Designer by Kazumi Totaka soundtrack sample

Battle! (Steven) from Pokemon Omega Ruby & Alpha Sapphire by Soshi Abe soundtrack sample

[nintendocompositions]

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[nintendocompositions]

Visit Original Link

[diaemusrealta]

Quick Metroid Dread Soundtrack Music Theory analysis

Ever wondered how Dread achieves that unsettling strange vibe to it, in its music at times? While it's hard to pinpoint —and it's on a track-to-track basis— here are some of the chords types I've noticed are pretty common in the metroid dread soundtrack which are key to it's unique feeling, fitting for ZDR:

Altered ninth chord/seventh sharp ninth (ex: C7#9)

Notable example are the brass stabs on Corpius' first phase theme. They are commonly voiced to sound dissonant having the #9 be placed right next to the 3rd in the chord. Sometimes ommitting the 5th for even more of a dissonant feel. Raven Beak's theme also features some of these in a more standard voicing.

Augmented Ninths (ex: Caug9)

While apparent from the get-go to people aware of theory that the Dread OST is fuulll of augmented chords. A lot of them have the added 9th (a trend). Notable examples: Hanubia's main choir line is entirely Aug9 chords being moved around in succession disregarding any sense of key for that uneasy vibe.

Augmented (ex: Caug / C+)

As mentioned before, the most common chord type on this OST which is a large reason for that unconventional unsettling "alien planet" feel it has. While not as tense as a diminished chord, using a bunch of augmented chords along with melodies either following a whole-tone scale or nonatonic augmented scale gives the soundtrack its trademark weird vibe.

Major Seventh, Flat Fifth (ex: Emaj7b5)

A slightly more regular chord at last, except with a twist! Most of these when found are voiced yet again to feel very strange and make you feel like something is wrong, befitting of your journey on ZDR. A hint of a normal chord but something is wrong... it's that flat fifth!

Dominant 7th Flat 9 Flat 5 (ex: F7#9#5)

A strange chord that actually can be quite harmonic depending on how its played and where on keyboard. Pretty common among gospel music pianists (where I learned the chord from). Notable examples: Cataris' piano smashes! (finally figuring out that chord was a mind-opening experience)

Other Music stuff:

- Dread LOVES chromaticism. A lot of notes are connected via chromatic runs downs. Notable example: Kraid's theme!

- One of Dread's biggest tricks up its sleeve is to use full chord as melody lines to accentuate those alien planet vibes. Especially notable in Raven Beak's theme.

- Many of the synths are often warbling between the intended pitch and nearest (slightly detuning the oscillators). Sometimes slowly being pitch-bent down as the note goes on. Notable example: Ghavoran's intro.