AuthorPhilip Berardo

7 Classic Songs from the Nintendo 64

The Nintendo 64 may have had a smaller software library than previous Nintendo consoles, but it still had some quality titles. While the unfortunate lack of RPG’s compared to the SNES meant less legendary soundtracks (it’s tough to top Chrono Trigger and Final Fantasy 6), the N64 featured a number of memorable tunes from other genres. With plenty to choose from, here are seven classic songs from the Nintendo 64.


Bob-Omb Battlefield (Super Mario 64)

 Super Mario music has generally featured light and catchy tunes in the past, giving players the perfect tunes to run and jump around with. Super Mario 64 has a number of notable pieces (Dire Dire Docks is a personal favorite), but the very first level introduces perhaps the most recognizable track in the game.

The trumpet is the prominent instrument on display here, but there are also some memorable “doots” from a synth. This tune is easy on the ears and plenty of fun to listen to, making it the perfect introduction for the levels still yet to come. It’s even featured in several other stages in the game as well.


Spiral Mountain (Banjo Kazooie)

 Grant Kirkhope delivers one of his most iconic and downright brilliant soundtracks with Banjo Kazooie. Spiral Mountain acts as the tutorial level of the game, giving players a chance to learn some of Banjo and Kazooie’s moves.

The song itself begins with an upbeat banjo riff, before bringing in a xylophone, drums, and later a flute. Much like other tracks in the game, Spiral Mountain uses a variety of sound effects, ranging from bird chirps, to buzzing bees (which kind of sound like an elephant). It’s the perfect jolly tune to start Banjo’s adventure, and helps set the tone for the rest of the game.


Hyrule Field (The Legend of Zelda: Ocarina of Time)

 “I can go anywhere!” That’s probably what most Ocarina of Time players felt when they stepped foot into Hyrule Field for the very first time. Sure, the area is mostly barren aside from surrounding towns and Lon Lon Ranch, but the adventurous feel is not lost.

The song evolves from a triumphant, march-like tone, to a fairly dramatic display of blaring trumpets. You’d almost expect a boss to show up in the middle of the field, though luckily the area is safe from enemies during the day (well, except for those giant peahats). The music of Hyrule Field makes Link, and the player, feel less like an outsider in an open-world, and more like a true adventurer.


Credits Theme (Super Smash Bros.)

 There’s nothing quite like finishing a game, only to be greeted with a celebratory ending theme. Considered one of the best multiplayer games on the console, Super Smash Bros. also has a simple, yet still entertaining singleplayer mode. Players are given the challenge of defeating each of the characters in the game, in addition to a few mini-games, such as “race to the finish” and “target test.”

The mode concludes with a battle against Master Hand (who is, quite literally, a giant hand.) The reward is a credits sequence with an excellent rendition of the game’s main theme. It almost sounds reminiscent of the opening to an 80’s animated sci-fi television series. The main melody was even referenced in later Smash titles, including an appearance in the Final Destination theme from Melee.


Rainbow Road (Mario Kart 64)

Whether it’s your favorite Mario Kart level or your worst nightmare, there’s no denying the impact that this classic song has had on players over the years. It really makes you feel like your racing on a giant rainbow in the sky. The stage may be the most difficult in the game, but the song really helps make the experience feel less stressful. There’s even a great guitar riff that plays the main medley during the second verse, which only adds to the epic scale of this final stage. Nothing says “welcome to Mario Kart” quite like the uplifting melody of Rainbow Road.


Opening Theme (Star Fox 64)

 While this song is mostly recognized from Super Smash Bros. nowadays, it serves as the grand introduction for Fox and his squad on the Nintendo 64. When it’s not featuring talking dinosaurs, the Star Fox series deals with a galactic war between space animals and a giant monkey head (were the dinosaurs really that out of the ordinary in Adventures?)

This opening theme gives players the adrenaline rush they need before flying into action, dodging asteroids and barrel rolling through enemy fire. Not to mention, seeing the main characters run with such quick, silly motions is always a blast.


The DK Rap (Donkey Kong 64)

 What? You thought I’d just forget the quintessential rap track of the 90’s? The DK rap has no doubt influenced countless artists throughout the twenty-first century (because who wouldn’t be inspired by this masterpiece?)

All jokes aside, it truly is one of the most recognizable songs from the Nintendo 64. The track was even given a remix in Super Smash Bros. Melee a few years later. Sure, it’s incredibly cheesy, but that’s part of the fun. Besides, the lyrics are actually quite accurate with the game, since they mention several key abilities that the Kong’s can learn.

How Super Metroid’s Ominous Soundtrack Creates Immersion

When Nintendo released the original Metroid for the Nintendo Entertainment System back in 1987, it introduced a new level of non-linearity to gaming. Players were thrown into an open world, not unlike the Legend of Zelda did prior, and left to figure out where to go to progress. Along with an eerie, minimalist soundtrack, Metroid truly made players feel alone in an alien world. With the limitations of the NES sound capabilities, tracks were often simple, yet had rather creepy melodies. From the ominous tone of Kraid’s Lair, to the mesmerizing, yet haunting notes of Tourian, Metroid’s soundtrack knew how to create a sense of loneliness in its world.

Though Samus would see another adventure on the Game Boy with Metroid II, the series really hit its stride in the 16-bit era. With the launch of the Super Nintendo in 1991, Metroid fans would have to wait an extra three years before the release of the third installment in the series, Super Metroid. Luckily, the wait was well worth it; Super Metroid is considered one of the finest Super Nintendo games of all time.

With enhanced 16bit visuals, improved controls, and new abilities (not to mention a map!), Super Metroid was a huge step up from its predecessors. Perhaps one of the most iconic aspects of the game is its soundtrack; not only were there far more tracks than the NES original, Super Metroid utilized the Super Nintendo’s sound capabilities in incredible ways. The result is an immersive, atmospheric masterpiece that leaves the player isolated on an alien planet.

Though Super Metroid is far from a horror game in terms of gameplay, its atmosphere is perhaps one of the darkest and loneliest on the Super Nintendo. From the moment the player begins their adventure, the opening segment doesn’t use any musical melodies prior to the encounter with Samus’s enemy, Ridley. An ominous beeping noise and single droning note are the only sounds accompanying Samus. Even when exploring Crateria, the first main area of the game, the music consists only of droning vocal samples, and a low backing drumbeat. It’s as if the vocals are coming from the alien life that lives on the planet, warning Samus to pack up her spare missiles and get out of their home.

One comparison that can be drawn to the Super Metroid soundtrack and atmosphere is the 1979 sci-fi horror film, Alien. With its droning notes and eerie sound effects, the music of Alien often builds tension with minimalism. Some tracks begin quiet with little instrumentation, before introducing brief, loud melodies that last only a few seconds. Sure, the same can be said about most horror movies, but Alien is already a big inspiration for the Metroid franchise. One of the film’s tracks, “The Lab,” in particular sounds like it could fit right at home in a Metroid game.

While Alien’s soundtrack does create tension, the film has its fair share of jump scares as well. The scariest scenes are often more frightening from the unexpected nature of the moment, rather than the Xenomorph itself. Similarly, Super Metroid is all about setting the right tone for horror; the music itself is often more frightening than the actual environment or situation. That’s not to say there aren’t some creepy enemies in the game, but the stress from the slow, lingering vocal samples and noises are what really drives the atmosphere. This lonesome, chilling tone continues for the duration of Samus’s journey.

The final level of Super Metroid, Tourian, brings the soundtrack full circle, and uses noise samples in place of an actual musical track. It consists of bubbling lava and a grumbling sound, not unlike a hungry stomach (what has Samus had to eat all this time anyway?) Much like the beginning of the game, the final segment relies heavily on in-game sound effects, including the occasional shrieks of the Metroids themselves. The result is a familiar atmosphere that reminds the player of the beginning of their adventure.

Even during the first phase of the battle with Mother Brain, there is still no music present until the last segment. It’s not until the true final encounter that a loud, dramatic track begins to play. The notes are shrill and piercing, with Mother Brain screeching at the player with every chance she gets. This is the perfect way to give the player a final send off; it begins with an ominous lack of music, drawing Samus further into the lair of Mother Brain. Then, just when her adventure seems to be finished, the boss rises up once again (after unexpectedly growing legs) and begins one final attack.

Hmm, this ending seems a bit familiar…remember the finale of Alien? Just when it seemed like Ripley was going to make an escape without having to worry about the Xenomorph, it appears unexpectedly, hiding in the same escape shuttle. In a similar sense, Mother Brain returns even after it seems like she is no longer a threat. Ok, so this comparison may be a bit of a stretch, but Super Metroid does evoke a similar feeling in its last battle. The adventure isn’t over until Samus makes it off the planet in one piece, and the player won’t feel safe until they are certain they have escaped. One final victory song plays, with a rendition of Samus’s theme. It marks a triumphant conclusion to a game that previously provided pure isolation and terror, and stands as one of gaming’s greatest finales.



In Defense of Breath of the Wild’s Ambient Soundtrack

The Legend of Zelda series is home to some of the most iconic music in gaming. The franchise even debuted its own orchestral concert tour, Symphony of the Goddesses, back in 2012, just a few months after the release of Skyward Sword. No matter how each entry chooses to portray its world and characters, music is a reoccurring theme that holds many Zelda games together. This includes the use of playable instruments, such as the ocarina, wind waker, harp, and even wolf howling from Twilight Princess (ok, so that one was a bit eccentric). The series has often given players the role of performing specific songs to uncover secrets, satisfy an NPC’s musical needs, or even change the weather or time of day. Link has become quite the musician over the years, but his talents seem to have been lost in translation in his latest adventure, Breath of the Wild.

Unlike past Zelda titles, Breath of the Wild uses an ambient soundtrack composed of minimalistic tracks, often with soft piano or strings. Songs rarely build up to full-blown orchestral pieces, unless necessary for a dramatic cutscene or boss encounter. Likewise, there are no instruments for Link to play, and musical leitmotifs aren’t as common either. Admittedly, it can be a bit jarring to see such a lack of catchy, recognizable songs in the overworld of Breath of the Wild. However, there is an intentional choice to keep the music minimalistic in the game’s world, and it shows a connection to previous titles.

Let’s take a step back to some of the past 3D Zelda games. During the daytime, the overworld always has the same piece of music playing; whether you are exploring Termina Field in Majora’s Mask, or the Great Sea in Wind Waker, there is always a stand-out track accompanying you. When nighttime arrives, the music cuts out in favor of some quiet time (minus Link’s occasional grunts and “hiya’s!”). The use of silence enhances the tone of the night, signaling a sense of urgency for the unknown, especially when enemies are approaching. Wind Waker uses silence when exploring many of its random islands, while Ocarina of Time uses ambience for most of its dungeons. Even Ganon’s castle lacks music for its entire first section, and instead uses an ominous, eerie drone.

So if other titles have used similar musical elements before, what makes Breath of the Wild so divisive? Well, it may come down to expectations, and what some fans hoped to see from a new Zelda game. Putting music aside, remember the negative reception from Skyward Sword’s excessive motion controls and linearity? Or how about when people mocked the cel-shaded visuals from Wind Waker? It’s not out of the ordinary for fans to look at past Zelda games and expect certain aspects they loved make a comeback.

When compared to other Zelda titles, Breath of the Wild is more unconventional in its approach to world building, story telling, and, perhaps most notably, exploration. It shows the player as much as he or she chooses to see; the main quests can even be skipped altogether in favor of rushing to the final battle. There are only four main dungeons and no additional items to uncover after the prologue, which is a drastic difference from what fans are used to. Breath of the Wild is less concerned with guiding the player on an adventure, and instead gives them the ability to create their own journey. Sure, there is a story to tell, but it’s essentially optional.

The emotional value of music tends to be different for each listener, but it’s common for Zelda soundtracks to work toward evoking specific emotions. For example, it’s clear that the “Song of Healing” from Majora’s Mask is meant to be somber; this is notable from its minor chords and general slow tempo. Conversely, the shop theme from Ocarina of Time is a jolly tune that can easily make the player want to dance. In Breath of the Wild, ambient tracks don’t particularly have just one emotion to convey, because that isn’t really its goal. This is a game about nature (or “the wild”), and the ambient music builds a relationship between the player and the game’s environment. Just as the player has the option to explore the world at their own pace and limits, the music is often kept minimal, so as not to drive the player in one particular direction emotionally. Ambience is a universal musical style that helps build atmosphere, which can be interpreted in different ways.

That’s not to say Breath of the Wild can’t have clear emotions to portray in its soundtrack. One of the game’s most memorable songs plays when the player encounters a Guardian; a large, spider-like machine with devastating laser attacks. The result is a tense melody that fills the player with panic and dread. This element has appeared in all previous 3D Zelda games, where a suspenseful piece of music will play when an enemy is nearby. In this case, not much has changed, and if anything Breath of the Wild is even more dramatic with its enemy and boss encounters. Some of the enemies can defeat Link in just one quick attack! Still, it’s far more common for the game to keep its music simple and in the background, rather than a fanfare of upbeat instrumentation.

Nintendo has effectively shattered fan’s expectations for what a new, open-world Zelda game can be. Breath of the Wild doesn’t follow most of the series’ past conventions, and isn’t afraid to embrace new ideas. Yet at its core it holds a significant part of what makes the Zelda franchise so cherished. It creates a world where the player is free to explore and genuinely feel like an adventurer. This time, the music adds even more depth to the world, subtly permeating each region’s locale with mellow piano keys and windy breezes. Breath of the Wild may not have as many iconic, or even hummable music, but its soundtrack still builds one of the strongest immersive experiences in gaming today.

MGSO Interview with Alyssa Menes

When did you decide you wanted to start conducting music? What was your original inspiration?

“I actually wanted to be a drum major in high school senior year, but my family moved away from my old band so I couldn’t do it. I took a conducting class in college, but I was very shy and had some confidence issues. It was tough to stand in front of the class. Later on, UMDGSO (University of Maryland Gamer Symphony Orchestra) was playing my Kid Icarus piece and asked me to conduct a run-through, but I chickened out and couldn’t do it. I still think about that to this day, but over time, I’ve gotten over my fears and just said: ‘There’s nothing I can’t do! Screw it! I’m gonna do it!’ So I forced myself to start conducting and get over my fears.”


Why did you decide to focus specifically on game music? Was it mostly because gaming was a personal hobby?

“I love video games and game music. It has some of my favorite music in the world. I was inspired by University of Maryland’s Gamer Symphony Orchestra, so I wanted to bring that to New Jersey. I also saw a strong bond that people had over games and game music, which I’ve seen happen now with MGSO.”


How was the process of starting up MGSO?

“It was very difficult at first. I was one person with an idea, but it was a matter of getting people together to play so I could realize this idea. I started with friends I knew from MSU and got a few of them on board. In the beginning, I had around ten to fifteen people interested in performing with the group, but no place to rehearse! That was the toughest part. When I met Chris Erickson, that’s when we were able to find a place to rehearse. Our first show was at Digital Press, where we did a small ensemble performance. We had to sneak into some of the music rooms at Montclair to try and practice, but thankfully the school was on summer break at the time!”


What are some common misconceptions that people have about conducting?

“Some people wonder if it’s necessary to even have a conductor. So I always have to explain that yes it is. The conductor is the bridge from the music to the musicians. Also, the conductor helps keep the whole group on the same page about how the music should be played, thus unifying the group and their artistic intentions.”


How long have you been arranging music for? Was it before you started conducting?

“Besides a few little things in college, I didn’t start until 2012 with arranging game music. I was learning about orchestration a lot more and started with my Kid Icarus arrangement, and kept going from there. This was well before I started conducting seriously.”


What is your favorite part when arranging music?

“I really love reimagining music in different ways, such as orchestrating chiptune music, or interpreting a piece presented in one genre as something completely different. It’s fun to think of new parts to add when you’re arranging, while making sure you don’t take away from what made the original so great.”


Do you have any advice for upcoming arrangers or composers?

“Learn a lot about orchestration. I got a great book on orchestration by Nikolai Rimsky-Korsakov. Start small and arrange with an instrument family you are familiar with so you can begin understanding the basics of arrangement and how to voice a melody, chords, bassline etc. Then, begin incorporating other instruments. Learn about their range, learn what’s idiomatic on each instrument, so you can figure out which melodies are best suited to which instruments. Then, as you learn more and more about each instrument family, try to incorporate all of them into a fully orchestrated arrangement.”


Are there any instruments you wish you could play?

“I have a lot of trouble with violin. I can work my way around the other instruments in the string family, such as the contrabass, but I can’t play the violin yet.”


What is your favorite video game? How about favorite game soundtrack(s)?

“My favorite game and soundtrack is Kid Icarus: Uprising. Some of my other favorite soundtracks include Phantasy Star Online, Sam and Max, Shovel Knight, Super Smash Bros. for Wii U (aka Smash 4), Journey, Final Fantasy 6, Chrono Trigger, Pokémon X & Y, Until Dawn, and more.”


What was the last game you played that had an impact on you?

“There are two. Smash 4 is a big one, since I started competing in it. I was having some trouble in my life, and Smash 4 really had an impact on me. I learned a lot about myself and how I could develop more confidence and a positive mentality. I’ve also met a lot of wonderful people through playing Smash. It’s really fun to see how good you can get at the game and compete with people.

The other game is definitely Kid Icarus: Uprising. The story was really touching and the characters were all so vibrant and well-developed. At that point in my life, I wasn’t too happy with myself and where things were going, but the game really made me excited and got me to study music again. The music in the game was so inspiring. It made me want to make music for games, because at the time I wasn’t doing anything like that. That’s why I started studying more, and decided to start seriously pursuing a career making music for games.”


If you could meet one video game composer, who would it be?

“I would love to meet Hip Tanaka. He made a lot of classic NES music. He is my favorite game composer. Also, Yuzo Koshiro’s music really inspired me. We follow each other on Twitter, and he has even complimented my music before, so it would be so awesome to get to meet him and maybe even work with him!”