"Soul for the Sword" composed by Ghost Cry Street by Tearful Bell Sound.
| Ghost Cry Street Tears Bell sound system responsibilities | Composed the ending theme |
|---|---|
| Sin Comes Uberich: Advent Sinners position | Music |
| Sin Comes Uberich: Advent Sinners position | Composer, arranger, and guitarist |
| Position at the Divine Tree Pavilion | Composer, arranger, and guitarist |
| Saya no Uta post | Composed the original BGM |
| Chaos Head position | FVCG-1093 Collection Composer |
| Chaos Head position | FVCG-1093 Collection This Track Arrangement |
Materials
In the public production materials for 'Ghost Cry Street: Tears Finished Bell Sound,' he is credited as composer of 'Soul for the Sword.'
Work in 'Ghost Cry Street: Tears Finished Bell Sound'
Composing music for Namida Jinrin Sound.
Divine Sin Descends: Uberich: Advent Sinners related productions
Yo Oyama credited the music for 'Uberich: Advent Sinners.' Yo Oyama participated in "Time-Space Ruins," credited as composer, arranger, and guitarist.
Productions related to the Sacred Tree Hall
Yo Oyama credited 'House of the Sacred Tree' as composer, arranger, and guitarist.
Productions related to Saya's Song
Yo Oyama credited the original BGM for 'Saya no Uta'.
Chaos Head related crafting
Yo Oyama credited himself as the composer for this track in the FVCG-1093 compilation. Yo Oyama credited the arrangement for this track in the FVCG-1093 compilation.
Scene cues and parallel music
When Dashan talks about game music, he uses scenes like lakes and forests to explain how the melody is formed. Soundtracks often proceed simultaneously with game development; early on, they may only provide brief text rather than finished game visuals.
From invited assistance to ZIZZ employees
Oyama recalled that around the time of "Phantom," Toshimichi Isoe, who had already collaborated with Nitroplus, invited him to help. At first, it was just assistance; By the time of the 2020 interview, he was already an employee at ZIZZ.
Recording instruments and recording space
Nitroplus wanted to include live recording instruments in the soundtrack. When the budget was limited, Dashan recorded guitar and bass at home. In the early days, ZIZZ's recording studio was set up in Isoe's home, about the size of two tatami mats, but later there was a larger space to accommodate the rhythm section.
A joint trial of songs by the black-and-white diva
The white and black divas of "Refrain Chord" each have six songs. Yo Oyama first created a sample of a pair of songs, and after receiving approval from the producers, gradually added the group; He unified the tempo for each piece and the basic structure of each section of sixteen bars.
White starts with a major key, Black starts with a relative minor key. When composing together, he retained one piece as the foundation and adjusted the harmony of the other, allowing both pieces to remain as equal main melodies together.
Assign singers with fixed pitches
The combination constraint prevents Dashan from freely raising or lowering a semitone as in typical recordings. He and the producers allocated songs based on vocal range, black-and-white character direction, and the singer's previous works.
The melodies of the two songs are different
"Shadow and Boundary" experiments with EDM writing at BPM 196; "Kyoka Sengetsu" uses a more unstable scale, with Chihiro Yonekura delivering a sinister vocals. When the latter is paired with ordinary ballads, the scale must also be adjusted.
Five additional arrangements from the reissue album
When the original soundtrack of "Gadurin" was reissued, Yo Oyama created new arrangements for five tracks not included on the old album. He repeatedly tried to approach the rustic sound quality of the past, avoiding major differences in sound quality on the same CD, while also hoping to preserve the sound that still sounds interesting today.
The handover between early music and game data
In his early days, Yo Oyama used Kamon Music to create game music, then submitted MIDI data or tapes, which the game company's team transcribed and produced the sounds. The transcribed notes, chords, or rhythm may sometimes differ from the original; In retrospectives, he chose to honor these voices that have already been released and are familiar to players.
Related entries
- Related works:Ghost Cry Street, tears spent, the bell rings
- Song credit:Soul for the Sword
- Participated Works:Ghost Cry Street, tears spent, the bell rings
- Related songs:Namidi Jin Bell Sound System (Ghost Crying Street Song)
- Participated Works:Sin Falls Uberich: Advent Sinners
- Participated songs:Time and space ruins
- Participated Works:The Pavilion of the Sacred Tree
- Participated songs:The solitude of a bird in a cage
- Participated Works:Song of Saya
- Composed BGM:SILENT SORROW
- Participated Works:Chaos head
- Featured Tracks:Town Vanguard
- Featured Tracks:Shogun
- Featured Tracks:Last Battle
- Producers who invited me to assist with music work during the Phantom era:Isoe Jun said
- In the 2020 interview, the music team he joined was:ZIZZ STUDIO
- Lyricists who use their own vertical sheet music to align the vocals:Katsuo Kawazumi
References
- Nitroplus：Soul for the Sword
- Nitroplus: Tears Exhausted Bell Speaker
- NBDR Games: Divine Sin Comes produced and cast
- ERCR: Sacred Tree Mansion - Production and theme song
- ERCR: Saya no Uta 2003 production chart
- AniTone Music: Chaos Head Audio Series Complete Box Signature Track by Track
- ele-king: Yo Oyama from Progressive Rock to Game Music (Page 2)
- Compile Heart: ZIZZ STUDIO Production Interview, Part 1
- Compile Heart: ZIZZ STUDIO Production Interview, Part 2
- ele-king: Yo Oyama from Progressive Rock to Game Music (Page 1)
- MusicBrainz: Produced track by track for the Saya Song Original Soundtrack
Data compiled on: 2026-10-12.