Beerus's Approaching Shadow (Beerus and Whis)
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| Beerus's Approaching Shadow (Beerus and Whis) | |||
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| Tonality | C Minor | ||
| Length | 1:20 | ||
| BGM Data | |||
| Catalog Number | S-104 | ||
| Composition | Norihito Sumitomo | ||
| Theme Groups | Beerus | ||
| Debut and Release | |||
| Debut Year | 2013 | ||
| First Appears | Dragon Ball Z: Battle of Gods | ||
| Debut Release | Battle of Gods Original Soundtrack | ||
"Beerus's Approaching Shadow (Beerus and Whis)" was composed by Norihito Sumitomo for the film Dragon Ball Z: Battle of Gods. The track listing is #04 on the Dragon Ball Z: Battle of Gods Original Soundtrack released on 27 March 2013, and the Kanzenshuu catalogue number is S-104.
Overview
"Beerus's Approaching Shadow (Beerus and Whis)" is the first setting of the film's Beerus theme. It is only the setting; the theme itself (the melody) is not introduced until the next track, "Beerus's Approaching Shadow (Beerus's Prophetic Dream)". The theme gets an entirely new setting in "Beerus's Approaching Shadow (Vegeta's Unsease)", again without the melody, and the melody is reintroduced in that setting in "Beerus's Approaching Shadow (Seeking Out the Super Saiyan God)".
This setting consists of a ground bass with one brief transitional segment, accompanied by transient synth and a simple percussive beat.
This track is not used in any other Dragon Ball production, and there is no difference in its usage between the theater and extended versions of the film.
Compositional Analysis
The ground bass follows a phrygian 1-3-7-2 pattern: C-E♭-B♭-D♭. This pattern has 5 complete iterations before being interrupted by a transitional idea with one complete iteration and a modified second iteration leading back to the final tonic: F-G♭-E♭-C, F-G♭-E♭-D♭ C—. This would be consistent with C locrian (rather than phrygian) but it functions as a modulation, and the melody added in "Beerus's Approaching Shadow (Vegeta's Unsease)" has a prominent perfect 5th (G, instead of the G♭ of C locrian).
The melody added in the next track is not in phrygian mode, nor does it adhere to any other standard diatonic scale pattern. There is an occasional halo of background synth built on B♭. This is adjacent to the C minor tonality and its function is color.
External Links
Kanzenshuu: Music Database - Movie Soundtracks
References
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