Music for a Tragic Prince:
-Paul “Wallace” Esch, Instructor of Music
Instrumentation, Theory, Composition and World Music.
From bleeps and blips, to full 27-piece orchestra, the music of Castlevania
(AKA Akuma Jo: Dracula, which translates directly to “Demon Castle”) has
celebrated the most dramatic changes in music style, composition, and quality.
What has made this landmark series stand out musically from the rest? What are
the influences that spawned songs like “Bloody Tears”, “Key Largo”, and
“Vampire Killer”? When did we move from “Video Game Music” into “Art Music”,
and where is it going from here?
This is an examination of those questions and more. From here on, we
will examine the movement of the series from a musical standpoint, how it has
changed, and what this all means. We will see how the music of the Baroque,
Rococo, and Romantic era has played a large part in the music we have enjoyed
for years. Also, I prefer to call the titles by the original Japanese name, but
I realize that most of us (including myself) grew up with the name Castlevania,
so I’ll use both. I hope you enjoy reading this as much as I enjoyed writing
it!
-Wallace
Bleeps
and Blips:
Castlevania
one, two, and three
The 8-bit revolution: Nintendo was becoming a giant in the video game
industry, and companies like Konami were in need of composers to write music
for their next product. From here on our journey continues, as we look at how
game music has developed.
Writing music for video games at the time was a limiting experience for
composers. Not only was the hardware extremely crippled, but the purpose of the
music was nothing more but to fill in the background. Composers didn’t have the
freedom to write big scores full of emotion and power. Just a quick few pieces
where needed and that’s it. The composer had little to no voice as to where a
certain track would go and so forth. As long as the music was “appropriate and
not too distracting”, it was OK.
Castlevania 1 is (unfortunately) a perfect example of early game music
composition. Although we have come to love several of the tracks from this
first installment (probably because of their familiarity) it is still a game
where the music has little effect as far as importance to the quality of the
game. Although you might disagree, you must realize that, at the time, little
attention was paid to the importance of the soundtrack presentation. However,
today we have been enlightened to the importance of music in games, so we can
look back with a new appreciation to work that was then, neglected. So let us
continue in this fashion.
Castlevania 2 was among the
first batch of games to show a heightened awareness of the need for good music
composition in a game. Until now, most music was written in common time or 4/4
time. In other words, four beats in a measure, and mostly consisting of four
measure sections. But now we begin to see 3/4, and 6/8 time signatures used. A
definite break from video game music tradition.
Perhaps the most celebrated and loved piece “Bloody Tears”
made its debut in this installment. Along with “Bloody Tears” comes a plethora
of wonderfully melodic tunes that correctly embody the ambiance of the game.
For the first time, the composers were being consulted as to where specific
music will go, and what would be best to set the mood. The first step in good
video game music has begun.
Castlevania 3 followed in the same footsteps of its predecessor. Taking
a larger step in the direction of compositional quality, Castlevania 3 was
making a good reputation for the series. People were starting to notice that
the series was endowed with a certain musical quality that, for back in it’s
time, was incredible.
Both Castlevania 2 and 3 owe much of their inspiration to the early
Baroque music of the 18th century. While not entirely based on this
style of music, distinct influence can be heard in several pieces, like “Bloody
Tears, and “Vampires Beginning”(from Castlevania 3 intro). We will talk more
about Baroque influence later, where it becomes more apparent in later
installments of the series.
The series goes portable, and with that we are given three new
installments. First off, the Gameboy still severely limits options to the
composer. Fewer sound channels are available than the Famicom (Nintendo 8-bit),
and the actual instrumentation is still severely limited. So, like before,
composers are given a technically challenging task yet again to come up with
satisfying music on a limited PCM sound chip.
Castlevania adventure was yet a trough back to the first title. The
music composition seems to simply function. Although appropriate, the music
seems to offer little in the way of great artisanship. However, Belmont’s
Revenge is granted with a wonderful score. As far as the limitations of the
hardware and instrumentation, the composition if the music itself is quite
remarkable. One that stands out particularly is “Chromatische Phantasie”,
which, analytically speaking, is very similar to many of Bach’s and Mozart’s
Harpsichord concerto’s. Complex and intelligent, this composition is a great
work of art in the series.
Castlevania Legends was given a combination of classic arrangements that
gave us that nostalgic feeling, as well as some new work that was both
functional, and well put together. Although not as profound as Belmont’s
revenge, the music works well as a means, but in my opinion, does not stand
very well by itself.
Great
inspiration:
Baroque,
Rococo, and Romanticism.
The
Score of Castlevania 4.
Welcome to the era of the 16-bit machines, and 8-bit PCM sound chips.
The Super Famicom was released as the Super Nintendo, and we were blessed with
not only one of the best games ever, but in my opinion, one of finest sound
scores EVER in a video game. Castlevania 4 (Akuma Jo: Dracula) was a
milestone in the field of electronic gaming music. Just re-released in 1999 on
disc in Japan, the compositional genius of the Konami sound team can now be
enjoyed by fans of the series everywhere (as long as you know where to import
it).
So why is the score of Castlevania 4 so important? Like I said before,
music in the early days always took a back seat to the graphics, and had little
musical integrity in and of itself. The music did little for the actual game,
except function, (faster, harder music for the boss, and typical
"Adventure" theme for the level) and makes the game sell-able. Few
games at this time, had music with the ability to not only function and set an
appropriate mood, but also stand alone as compositions themselves. Castlevania,
and also worthy of note, Actraiser (Super Famicom) and Gate of Thunder (PC
Engine Super CD), were some of the first with these qualities.
The PCM of the Super Nintendo was rather uncharted and new at the time,
but what Jun Ferando was able to pull out of it technically, emotionally, and
effectively is incredible. I have yet to hear better instrumentation on the
SNES than that used on Castlevania 4. But besides all of the technical work
achieved, this particular score is incredible at creating a dark and foreboding
ambiance that is responsible for the general “feel” of the game. Like a movie
score, the music correctly and effectively supports the context, and situations
of the game. However, unlike lots of movie scores, save the work of John
Williams and Wojciech Kilar, the music can stand on it’s own as art. Each piece
is full of an unusual amount of profound musical integrity, so much that I use
it in my own teachings as examples of modern-day art composition.
The music of the Baroque era, at its zenith in the 18th
century, and the Rococo era shortly after, is found throughout the soundtrack.
Use of techniques called 4 voice leading (type of chord movement), pedal
melody, where one note repeats under a distinctive motive or “riff” (Bloody
Tears), secondary dominants (also a part of chord movement), and non-harmonic
tones like suspensions and passing tones. These are just a few of the
techniques employed by Bach, Mozart, as well as other composers of the Baroque
and Rococo era. These techniques are used to add color, change of key
(modulation), and make the music flow. These techniques of music theory are
employed in Castlevania 4 throughout. Listen to some of Bach’s work, and you
will hear distinct influence in many of the pieces.
Romanticism was an advent of simpler movement in music composition.
These included less ornamentation, and more emphasis on the actual melody, with
often times beautiful chord progressions under it. Like the use of Baroque, so
is Romanticism applied to the score. One that stands out is the music at the
cave before the waterfall, and the waterfall itself in stage 3. Simple yet
beautiful melodies, harmony, and progressions with use of harp, piano, and
strings are the forte. All in all, a great feet for game soundtrack history.
The
Lost Soul:
Akuma
Jo: Dracula X
Rondo
of Blood.
The PC Engine. One of the greatest game systems to ever grace the earth
(in Japan anyway). With the use of the Super CD system, composers had the
chance to make full blown scores with no limits but the imagination, and they
did! 1993 came along, good music was being composed for the system (Lords of
Thunder being one of my favorites), and Konami released what has been called
the greatest Akuma Jo game ever: Dracula X, Rondo of blood (circle of blood).
Unfortunately, the United States never picked up this title, but to the few who
actually imported a copy, or have had the pleasure of playing it, you know why
many consider it the greatest of the series.
Dracula X has a unique mixture of music styles. Not only do we have some
great arrangements of classic themes that we all know well and love, but some
new work that has a distinct Japanese/Euro Pop sound to it. At the time,
American pop music was making its way into Japan at an exponential rate.
Influence like this is definitely seen in both the new work, and the
arrangements of the older pieces. A definite contrast to the earlier games.
Rondo of Blood is not without other influences though. The orchestral
pieces, like the boss music, and Dracula’s theme, are perfect examples of
Romanticism, and modern composition. Changing time signatures and great
classical instrumentation accompanies these works. But the piece that stands
out the most, is the soprano solo heard at the options screen, Kyrie eleison.
Kyrie eleison, is the Greek word for “Lord
have mercy”, used as a response during Catholic mass. This phrase is
repeated throughout, stretching each syllable out to form separate phrase
movements. Easily the most striking moment I have ever experienced in a video
game. It not only suits the game, but it sets a very serious mood from here on.
Never before has a composer used voice in this manner for a game score, and in
great tradition, it will be done again in its sequel: Akuma Jo: Dracula X,
Nocturne in the Moonlight.
Sega’s
Hunters:
Vampire
Killer
Megadrive
(Castlevania
Bloodlines)
The Genesis (Megadrive) gets its first taste of the Castlevania series.
Although many people where unhappy with this installment, one aspect was rather
impressive, the music. Although the Motorola PCM is a bit weak, the actual
composition of the music is very impressive.
Easily the most influenced title by the Baroque and Rococo periods, this
title has much to offer as a good example of classical composition. The use of
pedal melody and traditional instrumentation, as far as the Genesis hardware
goes, pays proper homage to the Baroque and Rococo masters. Truly some
masterful composition at work, we get a real wonderful taste of Baroque influence
here. We again, get some arrangements of classic Castlevania music, and plenty
of new pieces to keep us happy.
Although this may not be the best in the series, the music alone is
worth the effort. I would like to hear arrangements of the music for actual
orchestra, because I think the music could benefit from a better PCM, or actual
instrumentation. Still, it is a great example of Baroque and Rococo music in
the series.
The
Shadow of Blood:
Dracula
XX
(Castlevania
X)_
A loosely based version of Rondo of blood, the Super
Nintendo’s Castlevania X contains the same music from its inspiration, except
with the instrumentation of the SNES PCM. Not a bad job considering that the
music was originally on CD. Again, the same things apply as in Rondo of Blood,
so I don’t want to be too redundant, but just to say that the work from
translating a CD quality score to PCM was done very well.
Of
the Son:
Akuma
Jo: Dracula X
Nocturne
in the
Moonlight.
Of all the Akuma Jo: Dracula games, Nocturne in the Moonlight boasts the
greatest variety of music textures, styles, and applications. Easily one of the
most wonderful scores to ever grace a video game or movie, the score is both
profound and functional. A perfect sequel to its predecessor: Rondo of Blood,
we are greeted in Dracula X tradition by a most haunting and beautiful tenor
and soprano solo entitled “Prayer”. The
phrase “Key Largo” is voiced repeatedly throughout this short piece. Also used
in Catholic Mass, Key Largo is the Greek term for “May your ascension into heaven be blissful”. A rare combination of
medieval chant, mixed with polyphonic and homophonic voicing (independent
melodies and harmony together), is used here. A great example of composer
freedom in composition, and score writing.
One piece that stands out my mind, Is “Wood Carving Partita” (The
Library stage). A wonderful piece that puts the harpsichord in the spotlight,
this is perhaps one of the most profound works in any Castlevania. Easily the best example of Rococo music in
the series, the movement in the piece is both complex and technically
astounding. “Requiem of the Gods” (Holy Chapel) is a great Baroque choral
piece, and “Crystal Drops” (Water Channel) is a wonderful fusion of techno and
Jazz. All this said, the music enhances the distinct feeling and ambiance of
each area, as well as providing a tapestry of incredible music genius.
A second release of the game appears on the Sega Saturn. Included here
are some arrangements of “Vampire Killer”, “Bloody Tears”, and a new version of
“The Master Librarian”, which adds some wonderful Arabic instrumentation to the
piece. “Bloody Tears” is arranged in two styles of Heavy Metal, and “Vampire
Killer” includes two dance style arrangements, and a surprising 50’s swing/
Louisiana Dixieland arrangement, complete with full brass and piano! Dixieland
is a style of Jazz mixed with Blues, often times used in traditional Louisiana
ceremonies like Mardi gras, community gatherings, good times, and even funerals.
Two new tracks are included: “C. Chonell” and a track for the “Trial of
Maria”. “The Trial of Maria” comes in
the form of a crashing symphonic suite. Heavy on strings, and very much like
the work of Brahms and Tchaikovsky, this piece fits well with the existing
soundtrack. “C. Chonell” is a masterful Pipe-Organ concerto, straight from the
Baroque Era. A truly wonderful work, especially technically, this piece lends
itself to create a dark, yet mysterious mood for the ambiance. One of the finest
works in gaming music today.
Each piece in NITM, like Castlevania 4, is composed with an idea to the
game, but at the same time, stands alone as its own identity. Again we are
blessed with a soundtrack of musical complexity, and quality that surpasses the
usual standards of game music composition.
A
Depart from Tradition:
Dracula
Apocalypse
(Castlevania
64),
And
Legend of Cornell
(Legacy
of Darkness)
Castlevania enters the 3-D realm, and many are skeptical, and
disappointed. Should the series stay 2-D, (I say yes, but, that’s not what I’m
here to debate) or is 3-D the natural evolution? Fortunately, neither of these
things affects the music. However, what we do have here is essentially two of
the same game, with some added music and arrangements to “Legacy of Darkness”.
So because of this, I will treat the evaluation as one game to save time, and
sanity.
The N64 PCM, a sound chip that is rarely used to it’s potential.
Fortunately, the Castlevania 64 series uses the PCM well. The instrumentation
is wonderful, and compliments the game well. The choices of music style are,
again, primarily Baroque in nature, and at times mixed with Classical and
Rococo. Some Pieces of note are “Invisible Sorrow” (the cave), which is a
combination of Baroque movement and classical rhythm textures, and “Annex:
Silent Madness” (the manor), a perfect example of classical harpsichord music,
and the use of pizzicato from the late 18th century.
Along with this, we hear phrases of “Bloody Tears”, as well as
arrangements from Rondo of Blood. The soundtrack CD features some arrangements,
as well as a beautiful bonus track called “A night in Peace and Quiet”, very
beautiful, and very full of emotion and color. Legend of Cornell introduced new
music that departed from the use of Baroque and classical themes. Although not
quite as symphonic as its predecessor, the music functioned well, and added
some interesting textures to a game that is basically, a “directors cut”.
However, some pieces where added as arrangements from Nocturne in the
Moonlight, and gave a small nostalgic ambiance to the game.
Again, while not entirely as symphonic as it’s predecessor the pieces
that are come to us with wonderful power and conviction. All in all, a great
use of the N64 PCM, and a good soundtrack score for the series. Both games are
a good example of the work put in by the Konami sound team.
A
return:
Akuma
Jo, Dracula: Circle of the Moon
After a long wait, we return back to the
2-D roots of the series. We are given a new hero, a classic formula, and great
music. New to the world of hand-held gaming is great sound, and Circle of the
Moon is a fine example of the Game Boy Advance’s PCM capabilities.
We open with the familiar “Kyrie” from
the PC Engine “Rondo of Blood”, and then an arrangement of the main theme from
the Nintendo 64 titles. A wonderful setup for the introduction, it sets the
mood properly. Again, we are blessed with great sound from a small handheld. We
are also introduced to a wonderful variety of new music, encompassing many
styles. Much of the music featured here is from the Romantic period. Most unusual to the series is the
introduction of Spanish classical music.
Mostly made of large string sections,
this often times obscure and looked over form of classical music ads a unique
texture to the score. Not to be confused with “Flamenco”, classical music from
the world of Spain is passionate, energetic, and tells the story of a proud
people.
Again, a large portion of the soundtrack
is driven by lush and encompassing string sections. Accompanied with brass and
timpani, these are traditional to orchestra music and often times used in movie
scoring.
Mixed with arrangements of classic
Castlevania music, and music inspired by the era of Romanticism, the Spanish
composition takes a leap as a renegade change in game music. Again, the music
of the Dracula series takes game composition into new ground. Hopefully this
tradition will continue in the further installments of the legacy.
A new Belmont is
Born: Castlevania: Concerto of the Midnight Sun (Harmony of Dissonance
While opinion is divided over
the compositional quality in “Concerto of the Midnight Sun”, it’s hard to
ignore the drastic change in instrumentation choice, when compared to that in
Circle of the Moon. While Circle of the Moon uses an impressive instrument set
(especially for a hand held system), Concerto of the Midnight Sun uses a
disappointing arrangement of low quality, 8-bit sounds to bring the soundtrack
to life. Yes indeed, the graphics are nothing short of excellent, but according
to the producers, the sound had to take a back seat for the visuals to take
place. This reminds one of the values in early video game music production;
where the music really is of little importance, except to merely function.
The music in this title
tries to formulate itself under the ideals in “Nocturne in the Moonlight”, but
it unfortunately falls short of its goal. A few tracks have been composed by
Nocturne in the Moonlight’s original composer, which are very wonderful indeed,
but it makes one wonder why Konami did not hire him to do the entire
soundtrack. This is not to say that Concerto of the Midnight Sun is without
some quality works, but most of them contrast too much with the game play
elements, making an unbalanced whole. Contrast can make a wonderful ambiance,
but it must be the right use of
contrast to be effective.
Revival: Castlevania Chronicles,
the MSX versions.
Released just recently on the Sony
Playstation, the MSX Castlevania returns with the original version, and an
arranged version with a new Simon Belmont, Dracula, and some cosmetic
re-fittings. The original version offers us three soundtrack options: the
original MSX PCM, and two arranged versions.
For the time, the MSX computer had a
strong PCM. While not as profound as the Super Famicom sound set, the MSX was
capable of doing decent sound synthesis. Strings, drum channels, and piano
where replicated fairly well, and lend themselves well to the soundtrack.
The original sound track is a
collaboration of classic works (Vampire Killer, Bloody Tears), and new works
that while good, seemed merely to function as a background. Opinion is of
course divided on the subject, but it seems to lack the integrity of most the
others when compared side by side. Especially considering that this, and
Dracula 4 where released within a short time of each other. The two arranged
soundtrack are from Roland midi sound sources. Both with their own flare, each find
a way to modernize the classic compositions
The arranged version of the game includes
a soundtrack primarily in the style of Electronica, or Techno. Electronica got its start as a combination
of underground Chicago trance, and European electronic experimentation. While
other forms of music inspired Electronica and Techno, it’s hard to tell exactly
what and where, although many competent theories are present, such as Rap and
German underground. Most techno these days is void of melody and much depth,
simply because anyone with a decent sound program can link sample upon sample
into a string and call it Techno. There are however, some deep-minded Techno
composers left today.
The arrangements are done well, and the use
of instrumentation keeps it from sounding too “Pop”. While most are
arrangements of the same music, the music in the cave is drastically different,
bringing us a great example of LA and London Trance Techno. Smooth, and
slightly melodic in nature, the music lends well to the watery ambiance of the
stage.
Some Q&A
Over time, many people have E-mailed me
with great questions concerning the music of Castlevania. Here are some of the
most common questions I am asked:
1. Q:
Where can I find Music that is similar to the music in Castlevania?
A: Music
of the Baroque and Rococo period. The work of J.S. Bach is s great place to
start looking. Also look at:
Paganini
Mozart
Beethoven
Ravel
Carl
Phillip Emanuel Bach
Not all of these composers are from the
Baroque era, but their music has landed some inspiration in the music of the
series. For some modern day composers, try:
James
MacMillan
John
Tavener
Wojciech
Kilar
Joe
Satriani’s classical works such as: “Midnight”, “The Forgotten: Part one”, “Tears
in the Rain”, and “Baroque”.
2. Q: I
play an instrument, how can I learn to play music like this?
A: Lessons
in classical music from a good teacher. Take the time to find the right one for
you! Good communication with your teacher is important.
3. Q: I am
trying to write music like the kind in Castlevania. How do I do this, and how
can I be a better composer?
A:
Education in the style, an understanding of the language, passion and bravery.
Lessons will help you to know more about the style of music you want to
compose, theory lends as a great tool in composing and understanding the
language. The passion will drive you, and the bravery is for pushing the limits
of what you can do.
4. Q: The Guitarist
Y. Malmsteem: does Castlevania music steal from him, or vise versa?
A: They
are both heavily influenced by classical music, and both use many of the same
techniques from this period of time. This lends to them sounding very similar
at times. Do they “Steal” from each other? No. Take any music of the period,
and you will hear many of the same things between the works of different
composers.
5. Q:
Where can I get a list of all the Castlevania soundtracks?
A: This
site!
6. Q: Do
you compose?
A: Yes,
constantly! I mostly compose for Orchestra, solo instruments (lots of Guitar),
duets and quartets in many world styles.
7. Q: Can
I E-Mail you a question?
A: Of
course! My E-Mail is: X_Raziel_X@Hotmail.com
I’ll get
back to you as soon as I can. I have a lot of students and teaching to do, so I
usually can’t respond right away, but I will get back to you!
8. Q: Why
do you have such negative feeling toward the U.S. version of Nocturne in the
Moonlight (Symphony of the Night)?
A: Any
time a work of art is edited or changed from its original form to conform to a
particular audience, we are left with an empty shell of what once was. It’s an
insult to our intellect, and our right to enjoy something in its purity. When
Nocturne in the Moonlight went through its localization, many elements were
lost, changed, and censored. Fortunately, more and more companies are beginning
to understand this, and are more prone to leave elements intact. Still, the
majority of the games that are released stateside are changed and edited in
some form beyond translation.
9. Q: Is
there official sheet music available for the Castlevania series?
A:
Unfortunately, no. As soon as I hear otherwise, I will update this dissertation
with the info on how to get it!
Conclusion
Thanks to the hard work of some great composers, video game music as a
whole has become an integral part of the gaming experience. The transition from
background noise to full four-voice choral is an exiting change in the game
soundtrack evolution. Because of this, we will be treated to more scores of
techno, full orchestra, and ethnic music to accompany our ecstasy of gaming.
Akuma Jo: Dracula was one of the firsts to help this revolution come
about. At the time, little did we know that down the line, game music would
mutate into an art in and of itself. Hopefully, as new installments of the
series arrive, they will keep in this tradition of intelligent, profound, and
encompassing music scoring. Often times, a great score can make an average game
great, and for me at least, good music is one of the factors of which makes a
game great.
Remember, music is the soundtrack to our lives, and it is meant to be
primary, not secondary and in the background. Be aware of your musical
interests, why you like what you like, and what is important to your tastes
musically. Whether its chamber music, or the Castlevania scores, music is part
of the human condition, so enjoy it, appreciate it, and respect those who share
their craft with us.
-Paul “Wallace”
Esch