TLDR;
This video explores the musical scores of the two anime adaptations of "Fullmetal Alchemist": the 2003 series and "Brotherhood" from 2009. It highlights the distinct approaches of composers Oshima Michiru (2003) and Senju Akira (Brotherhood), examining how their musical choices reflect the diverging storylines and thematic focuses of each adaptation. The analysis covers key scenes and musical pieces, revealing how music enhances the emotional impact and storytelling of both series.
- Oshima's score for the 2003 series is heavily inspired by Western classical music, particularly the Romantic era, and often evokes a sense of historical and cultural context.
- Senju's score for "Brotherhood" aims for a more timeless and universal sound, uniquely encapsulating the world of "Fullmetal Alchemist" without direct historical comparisons.
- The video examines specific musical cues associated with pivotal moments and characters, such as the Elric brothers' childhood, the Amestrian military, and the tragic death of Maes Hughes, to illustrate the composers' distinct styles and their impact on the narrative.
Intro [0:00]
"Fullmetal Alchemist" is a universally beloved franchise with two highly-rated anime adaptations. The video aims to explore the music in both the 2003 adaptation and "Brotherhood," highlighting the differences in their scores by Oshima Michiru and Senju Akira. The goal is to understand and appreciate how these scores enhance the storytelling, especially as the two adaptations diverge significantly in their plots and themes.
2003 and Brotherhood [1:41]
The original "Fullmetal Alchemist" (2003) and "Brotherhood" initially follow the same story but diverge significantly later on. While debates exist about which adaptation is superior, both offer unique answers to the series' central questions and have distinct musical needs. The video aims to explore these musical differences.
The beginning, 2003 [2:22]
The 2003 adaptation opens with a scene that combines hope and dread. The music starts with a hopeful horn solo as Ed and Al prepare a transmutation circle. Oshima's score uses swirling harps and a full string orchestra to underscore Edward's enthusiasm as their alchemy creates a golden glow. However, as Ed narrates the dangers of alchemy, the music shifts to a frantic ostinato in the strings, with dissonant minor seconds and minor thirds, as the alchemic reaction turns ominous. The scene ends with Ed's screams and a menacing tubular bell, emphasizing the finality of death. This opening is hauntingly compelling, enhanced by the animation, sound, and Oshima's score. The cue "The Way Home" is significant, introducing both the series and its romantically inspired score.
The beginning, Brotherhood [5:01]
"Brotherhood" presents the same material differently. After a standalone side story in the first episode, the second episode delves into the brothers' history, leading gradually to the pivotal moment of their failed transmutation. The scene is contextualized by their mother Trisha's death, adding a new layer of meaning. As the Elrics prepare their transmutation circle, Senju's approach is much different, using only the sound of Ed reading chemical ingredients, creating a coldness. The active orchestral score is stripped away to silence. The alchemical reaction changes color ominously, accompanied by an uneasy alto flute and a string quartet playing jagged cluster chords, creating a sense of dread. As Ed arrives at the gate, Senju's score remains restrained, using small instrumentation like celeste, harp, chamber strings, and piano. In the aftermath, Senju unleashes the full orchestra with a haunting choral melody in a waltz-like rhythm, evoking a Gothic fantasy. Senju titles this track "Main Theme - The Fullmetal Alchemist," encapsulating the story musically, which contrasts with Oshima's approach of leaving the main theme open to interpretation.
2 Composers, 2 Approaches [8:13]
Oshima stated that director Mizushima Seiji envisioned a score inspired by Western classical music. Sound director Mima Masafumi provided her with inspirational music and direction to create musical themes for setting, character emotion, and story beats. This indicates an intention to invoke the real-world historical power of classical music. Senju, on the other hand, aimed to create music that flowed through the story from scratch, with a spirit both universal and timeless, unburdened by historical comparison. This highlights a fundamental divergence in directorial approach between the two adaptations.
Brothers/Bratja, 2003 [10:06]
While there isn't a track named "Main Theme" in the 2003 series, "Brothers" encapsulates the raw power of the story. As Ed tests his new limbs and Al his steel body, Oshima seamlessly weaves through four different modes to convey the brothers' conflicting emotions. The harp opens with an arpeggiated ostinato in D natural minor, broken by a wistful G major chord from the violin solo. The harmony transitions to F Lydian, evoking the childish naivety of the Elrics before their attempt at human transmutation. The piece crescendos to a B-flat major chord, cadencing strongly in F major, creating a triumphant feeling. It finally returns to D minor as the boys leave their burning home. Oshima's style is reminiscent of orchestral settings of English folk songs, bringing to mind the rural English countryside. The vocal version of the theme is called "Bratja," Russian for brothers, and is sung entirely in Russian. This evokes a sense of place, history, and nostalgia. The lyrics affirm these feelings through the words of Ed and Al. The track works strongly on an emotional, narrative, and meta-textual level, making it enduringly popular.
Trisha's Lullaby, Brotherhood [14:45]
Senju decided not to listen to any of the previous works to avoid preconceived notions, which was appropriate for his creative output and the adaptations at large. Instead, he creates his own sound world for Ed and Al's past. During "Brotherhood's" depiction of the same sparring scene, "Trisha's Lullaby" plays. It is somberly orchestrated for strings and choir, reminiscent of a Requiem Mass. Senju showcases a strong penchant for the functional harmony of the Baroque era, even utilizing the cycle of fifths. Oshima and Senju separately came to the conclusion to score Ed and Al's past with the human voice, showing how powerfully the voice can convey emotion. However, "Trisha's Lullaby" is in Latin, not Russian. Trisha sings to her children, and the use of Latin communicates a different tone, carrying a weight of ancient reverence. Latin is a dead language, no longer evoking a sense of place like Russian. Senju's usage of Latin makes "Brotherhood" stand apart as an epic fantasy. The theme from "Trisha's Lullaby" first appears earlier in the same episode as Ed reminisces about his upbringing, performed by balalaikas, an instrument commonly used in Russian folk music.
Central and the Amestrian Military [18:30]
The video transitions from the Elric's peaceful countryside upbringing to the heart of Amestris's military might: Central Command. This location is vital to the Elric's journey as joining the military is a necessary evil for Ed to gain knowledge about the Philosopher's Stone.
Amestris, 2003 [18:53]
In the 2003 series, the Elric's introduction to Colonel Mustang is underscored with the theme of Amestris. Oshima's musical interpretation of the military is brutal and ominous, with rigid snares, jagged low brass stabs, and a bleak melody played in unison throughout the strings and horns. This theme is directly related to the first theme heard in the show but with darker harmony and orchestration. This doomed musical depiction of the military has strong ties to the music of Shostakovich, who criticized the militaristic government of the Soviet Union. Oshima's decision to emulate Shostakovich reflects the totalitarian actions of the Amestrian government. Oshima also incorporates militaristic elements into other tracks, using snare ostinati, horn calls, and trumpet melodies to encompass a broader range of emotion for the military characters.
Nightfall in Central/Battle Scherzo/Amestris Military March, Brotherhood [21:04]
Senju's approach incorporates militaristic elements but not as harshly. In the first scene of "Brotherhood's" first episode, Mustang, the Fuhrer, and Ed and Al are introduced with a more optimistic cue featuring pastoral brass and martial percussion. Senju also accents acts of heroism with these elements, such as energetic brass fanfares in Mustang's battle against Lust. In the final arc, the track "Amestris Military March" is introduced as a propagandist anthem for the Amestrian military. The irony is that it's only used when Mustang's forces are mounting a coup against the Amestrian government, acting as a musical middle finger to the main antagonists.
Maes Hughes [22:20]
Maes Hughes is a memorable military character known for his charismatic attitude and love for his family. He becomes a father figure to the Elrics, inviting them to dinner and looking out for them. His sudden death at the hands of Envy has a significant impact on the story.
Parting, 2003 [22:58]
The 2003 series spends more time developing Hughes as a character, showing him as a cunning investigator, a caring father and husband, and a loyal friend to Mustang. After Hughes calls Mustang to dissuade him from getting involved in the laboratory five investigation, Mustang immediately catches a train back to Central, sensing something is wrong. Hughes is shot by Envy, who has taken the form of his wife. Oshima's score picks up as a flashback fades into view. The string orchestra plays descending lines, arriving at a giant E sus4 chord that doesn't resolve. A funeral march begins as the bases and cellos oscillate between A minor and D minor. The violins and violas carry the melody as Mustang and Hughes' family overlook his grave. As Alicia asks why her father is being buried, the harmony reaches a heartbreaking flat six. The melody is harmonized in sixths and joined by a stately horn call. The orchestra lands on a final A sus2 chord, again left unresolved, as Alicia cries out for her father. Oshima's secret in this cue, named "Parting," lies in her use of unresolved harmonies, making the track devastating.
Requiem for the Brigadier General, Brotherhood [26:09]
"Brotherhood" doubles the pacing of the plot, leaving little time to develop Hughes in the same manner as the 2003 series. The early episodes carry a more brisk tone, altering the impact of Hughes' death. "Brotherhood" shows Hughes dying more definitively in the phone booth after Envy shoots him. This reduces the shock of the moment and leads Senju to a more subtle cue. "Requiem for the Brigadier General" features a soft alto flute solo over subdued descending string accompaniment. The harmony features many suspensions but always resolves them. The harmony painfully reaches upward, resolving from major to minor in a sequence until it begins to fall back down. As Hawkeye consoles Mustang, who utters his famous "it's a terrible day for rain" line, the harmony reaches a resolute 4-3 suspension, firmly resolving in C minor.
Outro [28:55]
The contrast between Oshima and Senju's cues illustrates the difference in tone between the adaptations. Oshima's demonstrates pure grief with its unresolved harmonies, while Senju's represents closure with its firm resolutions. Following Hughes' funeral, Mustang and Hawkeye set out to investigate his murder. Senju's music plays perfectly into the moment with a subtle, stately farewell to Hughes. The video concludes by announcing that the analysis will continue in the next video, covering the homunculi, the Philosopher's Stone, and the dramatically different endings of the two series.