Kōji Kondō (近藤 浩治, Kondō Kōji, b. August 13, 1960) is a Japanese composer a… Read Full Bio ↴Kōji Kondō (近藤 浩治, Kondō Kōji, b. August 13, 1960) is a Japanese composer and musician best known for his scores for various video games produced by Nintendo.
Biography
Kondō was born in Nagoya, Japan. He took to music at an early age, writing simple tunes for fun even when young. At seventeen years of age, he decided to pursue music professionally[citation needed]. He undertook classical training, and he learned to play several instruments[citation needed].
In the 1980s, Kondo learned that a company called Nintendo was seeking musicians to compose music for its new video game system, the Famicom (Nintendo Entertainment System outside Japan). Kondō had never considered writing video game music before, but he decided to give the company a chance. He was hired in 1983.
Kondō found himself in a totally different environment at Nintendo. Suddenly, he was limited to only four "instruments" (two monophonic pulse channels, a monophonic triangle wave channel which could be used as a bass, and a noise channel used for percussion) due to limitations of the system's sound chip. A fellow friend Daltonious helped him through his ordeal. Though he and Nintendo's technicians eventually discovered a way to add a fifth channel (normally reserved for sound effects), his music was still severely limited on the system.
Kondō has stayed with Nintendo through various consoles, including the Super Famicom (Super Nintendo outside Japan), the Nintendo 64, the Nintendo GameCube, the Nintendo DS and most recently the Wii. These later systems have vastly improved Nintendo's audio capabilities, and Kondo today composes music with CD quality sound.
Kondō attended the world-premiere of PLAY! A Video Game Symphony at the Rosemont Theater in Rosemont, Illinois in May of 2006. His music from the Super Mario Bros. and The Legend of Zelda series was performed by a full symphony orchestra. This event drew nearly four thousand attendees.
Musical style and influences
Kōji Kondō is widely acclaimed thanks to his unique partnership crafting the most recognizable themes and sound-tracks with industry giant Nintendo (and to his credit, a creatively fluent partnership with Shigeru Miyamoto). Fans and critics alike cite his greatest talent being his ability to craft melodies that while catchy and pleasant upon first listen, remain enjoyable even when looped over long periods of time and played through inferior sound equipment.[who?] His songs are certainly memorable; the title theme song to Super Mario Bros. retains its iconic status two decades after its initial release. Not unknown in the musical community, Mr. Kondō can count talent such as Paul McCartney among his admirers.[1] Kondō's music has been cited[citation needed] as being as integral to the Nintendo style as the game design of Shigeru Miyamoto.
Conversely, this familiarity is also the cause of most criticism of Kondō's work. Over nearly two decades in video game music, his style has changed very little. The themes of Super Mario Bros. in 1985 are little different from those of Super Mario Sunshine in 2002, although the earlier game sounds more primitive due to technological constraints. This need for sameness over the years is something of a double-edged sword for Kondo; when he did try something different, as in The Legend of Zelda: Ocarina of Time (1998), some criticised him for abandoning the themes and styles they have grown to enjoy.
"Super Mario Bros. Theme" has been on Billboard Magazine's Hot Ringtones chart for over one hundred sixty weeks, where it also hit #1.
Kōji Kondō's work shows at least three major influences: Latin music, jazz music, and classical music (mainly ragtime and march music), often with a strong cinematic flair. Latin is particularly evident in his bouncy themes throughout the Mario series, such as the soundtrack to Super Mario Bros. 3. The happy main theme has a slow, samba-like rhythm. The second theme offers a more up-beat, ragtime-like style. The Bowser theme would not sound out of place being played by a Mexican mariachi band. This influence also shows up in his more recent works, such as the Gerudo Valley theme from The Legend of Zelda: Ocarina of Time, a song with a certain stereotypical Andalusian flair. Kondō also has been influenced by classic rock, as the Deep Purple instrumental "April" bears a striking resemblance to the main title theme of The Legend of Zelda. Kondo even uses a riff from the song as the looping end section of the underworld/dungeon theme from the same game.
Kondō's more jazz-influenced pieces also come from a wide variety of projects. One of the earliest examples of this is his minimalist underground theme from the first Super Mario Bros. Saria's theme from Ocarina of Time sounds almost Dixieland in places. All of this is hardly surprising; Kondo lists the late Henry Mancini as one of his most admired influences.
Kondō was trained as a classical musician, and this shows in his more ambitious projects, such as the soundtracks to the Mario, Zelda, and Star Fox series[citation needed]. These pieces are distinctively cinematic, reminiscent of John Williams' work on Star Wars or Close Encounters of the Third Kind. The title theme to the 1986 The Legend of Zelda is grandiose for all its low fidelity. Several of Mr. Kondō's themes have been famously recorded with full orchestral backing, with several tours of his work featured highly in concerts presented world-wide[citation needed].
Kondō's work is also highly influenced by Eastern Asian music. His songs are predominantly melody-based with little supporting harmony, which is in keeping with the Asian tradition. This makes him somewhat unique among the most popular video game composers, as his counterparts such as Nobuo Uematsu and Koichi Sugiyama produce more Western-sounding compositions for their games.
Biography
Kondō was born in Nagoya, Japan. He took to music at an early age, writing simple tunes for fun even when young. At seventeen years of age, he decided to pursue music professionally[citation needed]. He undertook classical training, and he learned to play several instruments[citation needed].
In the 1980s, Kondo learned that a company called Nintendo was seeking musicians to compose music for its new video game system, the Famicom (Nintendo Entertainment System outside Japan). Kondō had never considered writing video game music before, but he decided to give the company a chance. He was hired in 1983.
Kondō found himself in a totally different environment at Nintendo. Suddenly, he was limited to only four "instruments" (two monophonic pulse channels, a monophonic triangle wave channel which could be used as a bass, and a noise channel used for percussion) due to limitations of the system's sound chip. A fellow friend Daltonious helped him through his ordeal. Though he and Nintendo's technicians eventually discovered a way to add a fifth channel (normally reserved for sound effects), his music was still severely limited on the system.
Kondō has stayed with Nintendo through various consoles, including the Super Famicom (Super Nintendo outside Japan), the Nintendo 64, the Nintendo GameCube, the Nintendo DS and most recently the Wii. These later systems have vastly improved Nintendo's audio capabilities, and Kondo today composes music with CD quality sound.
Kondō attended the world-premiere of PLAY! A Video Game Symphony at the Rosemont Theater in Rosemont, Illinois in May of 2006. His music from the Super Mario Bros. and The Legend of Zelda series was performed by a full symphony orchestra. This event drew nearly four thousand attendees.
Musical style and influences
Kōji Kondō is widely acclaimed thanks to his unique partnership crafting the most recognizable themes and sound-tracks with industry giant Nintendo (and to his credit, a creatively fluent partnership with Shigeru Miyamoto). Fans and critics alike cite his greatest talent being his ability to craft melodies that while catchy and pleasant upon first listen, remain enjoyable even when looped over long periods of time and played through inferior sound equipment.[who?] His songs are certainly memorable; the title theme song to Super Mario Bros. retains its iconic status two decades after its initial release. Not unknown in the musical community, Mr. Kondō can count talent such as Paul McCartney among his admirers.[1] Kondō's music has been cited[citation needed] as being as integral to the Nintendo style as the game design of Shigeru Miyamoto.
Conversely, this familiarity is also the cause of most criticism of Kondō's work. Over nearly two decades in video game music, his style has changed very little. The themes of Super Mario Bros. in 1985 are little different from those of Super Mario Sunshine in 2002, although the earlier game sounds more primitive due to technological constraints. This need for sameness over the years is something of a double-edged sword for Kondo; when he did try something different, as in The Legend of Zelda: Ocarina of Time (1998), some criticised him for abandoning the themes and styles they have grown to enjoy.
"Super Mario Bros. Theme" has been on Billboard Magazine's Hot Ringtones chart for over one hundred sixty weeks, where it also hit #1.
Kōji Kondō's work shows at least three major influences: Latin music, jazz music, and classical music (mainly ragtime and march music), often with a strong cinematic flair. Latin is particularly evident in his bouncy themes throughout the Mario series, such as the soundtrack to Super Mario Bros. 3. The happy main theme has a slow, samba-like rhythm. The second theme offers a more up-beat, ragtime-like style. The Bowser theme would not sound out of place being played by a Mexican mariachi band. This influence also shows up in his more recent works, such as the Gerudo Valley theme from The Legend of Zelda: Ocarina of Time, a song with a certain stereotypical Andalusian flair. Kondō also has been influenced by classic rock, as the Deep Purple instrumental "April" bears a striking resemblance to the main title theme of The Legend of Zelda. Kondo even uses a riff from the song as the looping end section of the underworld/dungeon theme from the same game.
Kondō's more jazz-influenced pieces also come from a wide variety of projects. One of the earliest examples of this is his minimalist underground theme from the first Super Mario Bros. Saria's theme from Ocarina of Time sounds almost Dixieland in places. All of this is hardly surprising; Kondo lists the late Henry Mancini as one of his most admired influences.
Kondō was trained as a classical musician, and this shows in his more ambitious projects, such as the soundtracks to the Mario, Zelda, and Star Fox series[citation needed]. These pieces are distinctively cinematic, reminiscent of John Williams' work on Star Wars or Close Encounters of the Third Kind. The title theme to the 1986 The Legend of Zelda is grandiose for all its low fidelity. Several of Mr. Kondō's themes have been famously recorded with full orchestral backing, with several tours of his work featured highly in concerts presented world-wide[citation needed].
Kondō's work is also highly influenced by Eastern Asian music. His songs are predominantly melody-based with little supporting harmony, which is in keeping with the Asian tradition. This makes him somewhat unique among the most popular video game composers, as his counterparts such as Nobuo Uematsu and Koichi Sugiyama produce more Western-sounding compositions for their games.
Title Theme
Kōji Kondō Lyrics
We have lyrics for 'Title Theme' by these artists:
Game & Sound Come on and light the fuse, He's a rocket and he's…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@joshwhite3479
When I hear this, I think of my late oldest brother. He had just turned 12 when OoT came out and it quickly became his favorite game of all time, but unfortunately he passed a few months later in ‘99.
After some time passed, my second oldest brother and my parents decided the time was right for another child and so I came along.
When I was old enough and after I had learned about my late brother, I was introduced to Zelda by my brother. My first game was Majora’s Mask, the 3DS remake.
I fell off of the series for a few years due to becoming busy with High School, so when BOTW first came out in 2017 I didn’t pay any attention.
I gave BOTW a shot in 2019 and during my first year of college…and it was all I played. I absolutely adored the feeling the game gave me, which was a feeling of adventure. When I told my mom about how much I loved BOTW, she told me that OoT was my late brother’s favorite game before he passed and we both shed some tears.
Whenever I hear this song, I think of only you, Kevin. I hope you’re looking down from wherever you are and going just as crazy over TotK as I am, if not more.
@naochi7052
I always feel immense peace when I listen to this song.
It helps me cry when I can't bring myself to.
The past few years have been hard on me, and just when I thought I was getting a little better these 2 months in particular have been crashing onto me. It will be my birthday in 13 days, and I don't want my birthday month to be ruined by these emotions.
The TLOZ tracks have always helped me. They're so peaceful and overall a work of art.
Thank you for helping me hold on for just a little longer!
@noway718
This almost sounds wrong without Epona galloping in the background.
@kornbread5359
No Way i can hear it... i was so little the memories are shrouded it makes it extra nostalgic
@somekid6273
When i was little i played it to the end but before it showed that weird vision thing i would start it because i thought it was scary
@davida472
And seeing the moon in the background.
@xtflogicalohio3044
I hear it. so clearly it's like someone is playing it right now. I leaned back in my chair, closed my eyes and listened for a moment. I dozed off. (slept at 3: 27, woke up at 4:44 PM.) I realised my hands had settled into the position I always held the N64 controller when I was sitting down to play. my thumb ached and I cried when I realised why: I had been constantly pressing a vibrant red "START" button on a Ocean Blue Controller that was no longer there to hold, that hadn't been held in my hands for years. I can still feel the well worn plastic, the smooth grooves worn into it and the other 3 from so many generations of my family playing games like this and GoldenEye. when I closed my eyes I heard the twinkle sound of navi moving around for the briefest moment. words cannot explain the bliss I felt that day.
@davida472
@@xtflogicalohio3044 Waking up at that time is not a coincidence. Look up the number. Numbers have meaning.
@evan2174
My uncle bought my brother and I this game for Christmas 1999. I wasn’t good at it so I just enjoyed watching my brother play it almost every day after school. I don’t think he ever beat the 2 save files that he had saved, mine being the 3rd. He passed away this past spring at 29 years old, and while I don’t have the cartridge back yet I’ll be damned if I don’t finally finish this game for the two of us.
@SpilledThrill
awe if u dont mind what happened?
@justinh3421
That’s heartbreaking, Im so sorry. Im glad you both got to share such great memories with this game.
@SpilledThrill
@@gotrejo bro not the time