An incredible orchestrated medley of Undertale songs that resurrected this blog from the dead. Exquisite arrangement with beautiful playing. Toby Fox himself tweeted about it on Twitter.
I have no words to say except that I love pretty much everything about this, and I highly recommend you give this a try if you like good things. It’s a little on the longer side. It is well worth the length.
Also the second half of the song is quite possibly my favorite Undertale performance of all time. It’s at least top five.
holy shit????????????????????????????????????????? this owns?????????????????????????????????????????
I was so ready to jump in and scream, “Of course both of those songs have those motifs!!!!!” But, after a listen, I remembered that Memory isn’t really present in Hopes and Dreams/Save the World. The main melody sounds… Similar-ish but not quite enough to constitute it being the same motif as Memory in my opinion. Here’s a rough transcription (Memory is transposed into Bb Major for ease of analysis).
I would consider the melody in Hopes and Dreams/Save the World to be an alternate motif for Asriel, as it’s also in Last Goodbye, Reunited, and the Full Menu theme. All of these are songs we don’t hear until after the final battle with Asriel.
As for the Your Best Friend portion, I think most can pick up on the motif in Hopes and Dreams at around the 1:19 mark. I’m sure you already knew that one, though c:
Thanks, notes!
Me and notes talked a little more in chat after he made this reply and…the only place in the game that that melody appears that isn’t True Pacifist exclusive, it seems, is during the last bit of “Once Upon a Time.”
So, it’s technically part of the “Once Upon a Time” melody, but…the first two segments of “Once Upon a Time” are quoted much more liberally, throughout the entire game. The third section, as Notes noted, appears only during and after the fight with Asriel.
My first thought was, “Wait, what about the other menu themes? There’s a bunch of them, right?” So, as I’m a crappy skeptic that needs to fact-check everything, I checked on that.
There are seven mus_menu, labelled 0-6. One of them is unused (shame, it sounded quite nice with the glockenspiel). Now, instrumentation is added whenever you befriend someone new, hence the various menu themes. However, even after the Alphys date, a True Pacifist exclusive, you still don’t get the C part of OUAT. It’s only after the Asriel fight that it appears in mus_menu6.
This is certainly strong evidence for the motif being strongly related to Asriel. I’m certainly willing to consider it. Nice observations, guys!
lets be real, alphys is the only reason any of these guys are singing vocaloid songs in the first place.
i think alphys’s voice is really cute, and sans is playing backup as l to the u to the k to the a because i think the rap parts are hilarious with his voice
This is interesting. It sounds like something dramatic being resolved, to me.
(This is an extended version of the track, looping for over 15 minutes. The track is not actually 15 minutes long, so don’t worry about having to listen all the way to the end.)
One thing I see somewhat disregarded sometimes when it
comes to analyzing Undertale is the fact that Toby Fox is a musician. Not only are there countless
ideas and emotions conveyed throughout the soundtrack of the game, but Toby
actually wrote all the music before
even beginning to code. (Source)
What does this mean?
The
music from the soundtrack can actually reveal some very important things.
Toby wrote the story for the game as a musician. Every motif you hear, all the titles, everything holds relevance. With this
knowledge, there has been a few passages in Toby’s songs that are very… VERY fascinating to me from a musical
standpoint. The most peculiar to me, by far, is the final eight measures of
Last Goodbye.
This is the final moment, the end of the opera, the
huge finish. But instead… Toby goes for a much more simple, quiet ending—just a
simple melody and counter point that holds the likeliness of the opening song:
Once Upon a Time. Upon my first playthrough of the game, these last few notes
felt… Unsettling to me, for lack of a better word… But why? What is so strange
about the notes Toby chose?
It’s because Toby chose to not end his bass voicing on
tonic. The big, final, “last” goodbye… It doesn’t feel very final, does it?
Right now, I’m sure there are probably some of you
scratching your heads. What is tonic? Well, allow me to explain. In music
theory terms, tonic is the first step of a scale. It’s the keynote of the key
you’re in. Almost ALL songs end on tonic, using what is called an authentic
cadence. If we go by the key Toby uses in Last Goodbye, the last note should be a B—which he does! But not in
the bass.
“What’s the big deal?” I can hear you asking. Well, in
order to really drive the ending of a song home, you end on what is called a I
chord. The most authentic sounding way to do this is to have the tonic sounding
in your bass voice (the lowest voice) and your soprano voice (the highest
voice). As I said before, nearly all songs end this way. I’m serious.
What’s even stranger than not ending on tonic,
however, is the note he did choose
for the final chord. It’s a C Natural,
which is very strange to end on in the key of B Major, since diatonically it
would be a C# in the key. So the last chord of the “last goodbye,” as we part
ways with our favorite goatbro Asriel, is made up of a B and C, two notes a
half step apart. Now, I’m gonna ask anyone that has a piano nearby: Go play
these two notes together. Go ahead. You don’t even need to be a musician. Here,
I’ll even show you the notes.
Doesn’t sound very good, does it? These two notes are
a Major 7th/Minor 2nd apart, which is very, very dissonant when played together at
the same time (which means it sounds bad). But Toby is a sorcerer, and he
manages to make even these two very strange notes sound good.
And yes, the song doesn’t
sound bad. It doesn’t sound bad at all! But it doesn’t have that final quality
to it—it doesn’t feel like this should be the final song we hear as we finish
such an incredible, emotional game.
Which brings us to the big question: Why? Why end the
last song like this?
This game isn’t done yet. Toby still has another song
planned, or perhaps… Maybe he can just finish one of his songs that he
intentionally… cut off?
Yes, the song that plays during the credits! It got
cut off, remember? It was leading up to that nice, final resolution! The happy
ending! The End! The End… Weren’t we about to see those very words before…?
So not only are we interrupted before seeing The End,
but our song got cut off! That was supposed to be it, right then and there! Had
it ended… I suspect it might have looked something like this…?
This was the most finished I could get it to sound… So
there’s obviously some modulating shenanigans going on to end up in the key of
Gb major, which I would love to
explain, buuut…! This is an Undertale blog! Not a music theory blog… As much as
I would love to dig into it, there’s not much point in explaining, but this would end on tonic because Toby does
some chromatic movement to change keys.
I can also hear you guys wondering… What about
Goodnight? The very last song on the soundtrack that was never even in the
game! Well… I transcribed it… And it doesn’t seem to end very finally, either…
Those roman numerals I wrote in is the chord—a ii⁷chord…
Which, uh… Is sadly not a I chord. Which does make me a little disappointed. I
thought for sure this was gonna be
the song to finish the game off once Toby added that fabled “fourth ending” we’ve
all been wanting. I can just imagine it playing during the stay with Toriel ending,
but now with Asriel, and maybe even Chara! But it doesn’t sound like a final
song to me… It strikes me as more of a transition
to something, maybe something happier? I’m not sure…
Anyways, while I try to finish this long rambling post
up and we’re still on the topic of music and Undertale, I just want you all to
recognize the song that plays when we finally reach The End screen. Memory,
Asriel’s theme. Toby could have picked any song, he could have chosen no song! But he chose this song so we
would keep Asriel in our hearts and minds, and as a reminder that “There’s
still one last person that needs to be saved.”
To quote Wikipedia: “A leitmotif is a short, constantly
recurring musical phrase associated with a particular person, place, or
idea.” Perhaps the best example of this in popular culture is in Star
Wars—when the Imperial March plays, you know Darth Vader is going to
show up. The Imperial March is a leitmotif that is associated with the character of Darth Vader.
UNDERTALE is full of leitmotifs that fit all 3 definition types.
There are leitmotifs that refer to certain characters, certain areas of
the game, and larger ideas and themes that run through the game as a
whole. My goal with this article is to show the different ways
leitmotifs are used in UNDERTALE, how they affect one’s experience with
the game, and how a game soundtrack can do much, much more than just
provide catchy background music.
On leitmotifs in the music of Undertale (with sound clips). OP’s post is only the link to Part 1; Part 2 is here.
I personally tend to wonder if the Ruins theme isn’t meant to reference the war itself and its related human-monster conflicts, as it’s most recognizable at key points related to that conflict (the Ruins where monsters first fearfully packed themselves in to get as far from the entrance to the Barrier as possible, Waterfall with its placards detailing the history of the war, neutral ending phone call where the conflict has failed to be resolved) and in Undyne’s fight (where Undyne’s anger at humanity for the ongoing effects of the conflict, and belief that your death will save monsterkind, fuel her determination to kill you- Undyne is effectively a soldier still fighting the Human-Monster war, even though it was long before her time!). It even sounds a bit like an old war song in Ruins, and a dirge in Waterfall. I could see some variation on the Ruins theme being an old Monster soldier’s drinking song.
Proposal: if Frisk and Chara each had definitive themes that were absolutely theirs, both would be built around the Undertale/Once Upon a Time leitmotif, similarly to the Ghost Fight/Dummy!/Spider Dance set.
So my headphone cable is dying and one channel keeps flickering out, but because of this I noticed something kind of neat.
One of the background beats in Here We Are is barking, the same barking used in Dogsong and whatnot.
honestly just really like undertale 