Overview
Key: C# minor
Time: 4/4,120 bpm
Length: 34 measures (1 minutes, 8 seconds)
General Description:
Guile’s Theme (a.k.a. America’s second national anthem) was written by Yoko Shimomura-sensei, aptly titled for its role in accompanying Guile’s stage in Street Fighter II. According to this piece, the spirit of the red-blue-and-white would sound best as a synth-driven melody in natural minor played over variations of the classic VI-VII-i minor progression in a through-composed manner. The piece is proud, passionate, and resilient; featuring unexpected turns in rhythm and harmony that leave the audience wanting more.
Analysis Highlights:
The Signature Intro Section
A synth brass section belts the unforgettable two-note riff (m.1) over a i-VI-IV-v vamp in C# minor. To compliment the melody, Shimomura-sensei adds a parallel counterpoint played a minor-sixth below. Further down, the drums outline the beat with quarter note kicks/snares, and a rumbling electric bass locks in the tempo with root notes on the downbeat and aggressive 16th note fills on beats 3 and 4.
The IV-v turnaround (m.3) is particularly interesting. Beyond the new inclusion of a second chord in the latter half the measure, the instrumentation picks up (hi-hats on the off-beats, new bass riff), and the melodic rhythm is suddenly displaced, combining to build significant tension.
The melody further features a syncopation on the “ah” of the second beat (2-ee-&-ah) jointly emphasized by the synth brasses, bass, and kick drum. This unexpected beat adds an immense forward push in the music; it is a technique that will be revisited throughout this composition.
Energized, the riff repeats at m.4 to present another turn around on m.6, renewing the tension once more before launching into the piece’s main melody.
Melodic Somersault
The melody is extremely catchy. I believe it may be attributed to its’ guileful simplicity: It is built from repeated variations on two rhythmic motifs set to diatonic notes in C# minor.
Motif 1 (m.7, 11, 13, 15 16, 19, 23, 27, 28, 31)
A long note followed by a syncopated string of three note. It provides much needed respite in this hectic piece and showcases the forward tendencies inherent in the harmonic progression (next section).
Motif 2 (m. 8-10, 11, 24, 25, 32)
Beyond the long notes on beats 1 and 2, this motif has a signature syncopation on the “ah” of beat 2 (2-ee-&-ah). Similar to its’ effect on the intro riff, this provides a sense of urgency to push the music forward.
The two motifs also share similarities in a string of 3 notes (8th, 16th, 16th) starting on the “&” of the 3rd beat, a key feature that carries the melody forward to the next measure. The “ah” of the 4th beat is also noticeably empty, which both builds anticipation for and delineates the pulse of the downbeat. This is used to great effect in Section D (m. 23), in which the space becomes occupied by a syncopated note for the next measure, signifying a noticeable rise in tension.
Stringing Combos
The minor VI-VII-i progression (A – B – C#mi) is heavily featured through the piece: a classic combination of Sub-Dominant (VI, sets up tension) – Dominant (V, tension) – Tonic (i, release) that provides musical motion. Interestingly, the VI-VII movement may be equated to a IV-V progression in its’ relative major key, which would lead the audience to anticipate for a resolution at the major I chord (thanks to the D# leading tone). The presentation of the minor i chord (major vi chord), thus, serves as an unexpected subversion that resolves the harmony without putting it to a complete stop.
We can further observe methods used by Shimomura-sensei to maintain harmonic motion in context of the VI-VII-variations:
Section B features a i-VIma7-VII-vmi7 progression.
The presence of the Vmi7 extends the tension in the chord cycle to build directionality in this starting section, as well as push through the progression starting from tonic without the full resolution of a V7. The melody also adds to this by alternating between chord and color tones on the downbeat (i.e. root and 3rd on m. 8, 10, 12, 14; 7th and 9th on m. 9, 11, 13).
Section C changes to a VIma7-VII-i-imi7.
The transitory vmi7-VI7 (m.14-15) change nudges the piece forward, and is accentuated when the melody is heard over the shifted harmonic bed (e.g. Motif 1 over Ama7, as opposed to the previous C#mi). The momentum is maintained with the addition of the imi7 – the b7 is not quite a leading tone, but it still pushes for the root-note resolution. New 16th note arpeggios also add color notes to downbeats to provide tension. (e.g. G# over Ama7 at m.15 and m.19, G# over B at m. 16 and m. 20). As a cherry on top, the signature riff also returns occasionally to reinvigorate the audience.
Section D adapts a i-vmi7-VII-III movement before closing the loop with two VIma7-VII-I changes.
In terms of functional harmony, m.23-26 jumps between tonic and dominant, then back, generating significant tension. This is paired with the aforementioned use of syncopation to create a suitably dramatic, but brief, climax to the piece. Measures 27-34 returns to the core VI-VII-I to accompany the melodic resolution and prepare the piece for a new cycle.
Thank you for checking out my analysis on Guile’s Theme. Let me know what you think on Twitter!