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For the first time in Fate franchise history, the original composer for Fate/stay night stepped up to the plate for a Fate anime adaptation, resulting in an utterly sublime score, incorporating both game music remixes and entirely new pieces for the anime.
- "Absolute Demonic Front"
, the adaptation's main theme the first track on the disc, is a frantic mix of violins and percussion, underlined by a few bouts of piano. Its most poignant use is during Ushiwakamaru's final charge against Gorgon, where she scores massive points with the fandom thanks to the perfect mix of choregraphy, emotion and music in the scene. - "The King Who Reigns", a brand new Leitmotif for Gilgamesh exclusive to the anime, is memorably used in several of Gilgamesh's big moments, such as his speech in episode 18, the reveal that he can control all 360 of his Dingirs single-handedly in episode 19,and finally his unexpected return in his Archer form during the battle against Tiamat in episode 20.
- It wouldn't be Gilgamesh without "The Golden King", and this arrangement has much greater instrumentation than the version from the game, adding more strings and percussion effects. The end result is something truly majestic.
- "Goddess of Venus". Ishtar now has a Leitmotif of her own, drawing heavily on Middle Eastern instrumentation and Space Ishtar's theme from the mobile game's Saber Wars II event. The end result is a theme that is both as whimsical and as ferocious as the goddess it represents.
- "Hero's Mission" is an extremely rousing track used during some of the most memorable Moments of Awesome in the series, with the biggest one being Quetzalcoatl unleashing her strongest attack at full power upon Tiamat.
- "Spartan Warrior", Leonidas's Leitmotif, boasts a proudly heroic tone befitting the wise warrior king.
- "Light Wind", Ushiwakamaru's Leitmotif. A theme mixed with strings and bells that's just as fast-paced as the character it represents. It plays prominently during Ushiwakamaru and Gorgon's first battle as she stalls the goddess long enough for her friends to escape.
- "Sun Goddess", Quetzalcoatl's Leitmotif, uses Mexican tones and instrumentation to further connect her to her culture and her love of lucha libre, and the end result is a catchy theme that's as upbeat as she is.
- "Flower Mage", Merlin's Leitmotif, begins with a peaceful harp solo before transitioning into a more heavy and faster-paced strings piece that samples from "Sword of Promised Victory". It helps to remind you that despite his whimsy, he is still one of the greatest sorcerers in human history, the one who gave Altria everything she needed to become a hero, and a candidate for Grand Caster.
- "Jaguar in the Jungle". The first half screams "jungle hijinks," which summarizes Jaguar Warrior's character quite well...then segues into a powerful and driving second half, to remind you that this goofball still has fangs.
- "Tell me" by milet serves as a special ending for Episode 16 after Siduri's death. It makes a return in Episode 19, when Kingu becomes the Chains of Heaven to slow down Tiamat.
- "Goddess of the Underworld", the haunting Leitmotif of Ereshkigal, eventually turns into a grand orchestral piece accompanied by a One-Woman Wail. It first appears during her clash with Mash's Lord Camelot, and again when she unleashes her in-game Noble Phantasm, Kur Kigal Irkalla, as a last resort in the final battle.
- "Wind of Karma", a darker and more foreboding version of Ushi's earlier theme, signifying her corruption by the Chaos Tide.
- "Beast II Battle", a superb remix of the original game soundtrack that plays as the real Tiamat first appears, and then again when King Hassan made her able to be killed, followed by a concentrated assault on her by all of Ritsuka's allies.
- And finally the anime's rendition of the "Fate ~GRAND BATTLE~", appearing in two of the most memorable scenes in the show: when King Hassan makes his first appearance in his true form, and when Gilgamesh cuts loose and uses Enuma Elish at its full power.
