Steve Goldshein, Alex Abraham and Jeff Williams (and his daughter Casey) are just plain incredible at what they do. Every episode has a versatile soundtrack that makes the show all the more worth it to watch. From soft piano reprises and tear jerking pieces from episodes like "The Stray" to might-as-well-be-making-a-music-video from the team fights in "Players and Pieces" and "Painting the Town", the music has a life of its own and brings both the fight animations and the voice acting up to a much higher level. Honestly, it's much more challenging to find examples of pieces that aren't examples of awesome music than to find ones that are. Nevertheless, the list below showcases some of the best and brightest work from the RWBY soundtrack.
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Warning: Spoilers Off applies to these pages. Proceed at your own risk.
- The trailer music:
- Red Like Roses (Red Trailer).
- Mirror Mirror (White Trailer).
- From Shadows (Black Trailer).
- I Burn (Yellow Trailer). The remix for "I Burn" is also amazing.
- A theme is being established too. In the main series, the characters' portions of "Red Like Roses" play during scenes where they say something that reflects a key aspect of who they are:Ruby: If I'm so special, I can help... Right?
Blake: You're wrong. There's always another choice.
- The Yellow Trailer contains techno remixes of "Red like Roses", "Mirror Mirror", and "From Shadows" before it caps off with "I Burn". But as the trailer ends, it gives out part of a final song: "Gold". Like "I Burn", it's also about Yang, showing her often hidden side as Ruby's loving big sister.
- Special mention to "Red Like Roses Part II". Awesome battle music, heartbreaking lyrics. The song was actually so popular that the version that played during Episode 8 was released as a single before the OST came out. The full song wasn't even finished at the time. The finished version just expands the awesomeness and tragedy. The second verse is of the missing person, who tries to justify her actions while begging the first singer not to live her life as she did. The third verse, a duet, becomes an angry argument between the two which ends with:Every nightmare just discloses
It's your blood that's red like roses.
- The opening theme, "This Will Be The Day", is pretty awesome. Same for the acoustic version included on the Volume 2 soundtrack.
- "I May Fall", which plays through the credits. It's Aragorn's Return of the King speech in song form. When it was finally used in-show during Velvet's reveal of her weapon and abilities it easily went up at least three levels of awesome.
- The most emotional song of Volume 1, "Wings". It's the credits song for final episode, "Black and White", and the movie cut. It is incredibly moving.
- Jaune and Pyrrha's theme is a serene, atmospheric piece that perfectly counterpoints their scenes together.
- "Time to Say Goodbye", Volume 2's Opening Theme, noticeably has a certain Serial Escalation on "This Will Be The Day". The latter was encouraging one to Dare to Be Badass. The former goes farther by explaining, there's no waiting for the right time. Take your roles as heroes or people will die. Even if you're not sure that you're doing the right thing...Are we heroes keeping peace?
Or are we weapons
Pointed at the enemy
So someone else can
Claim a victory...
- While the food fight between RWBY and JNPR at the start of volume two has a great tune to it on its own, it also incorporates snippets of the themes for each member of RWBY depending on who's center stage during the fight before reaching its climax with a bit from "Red Like Roses". That theme is part of a 9 minute song called "Best Day Ever". Even better, the portion that plays when Ruby ends the fight is now the theme for Rooster Teeth Animation!
- The ending song of "A Minor Hiccup" named "All Our Days", a beautiful follow-up to Volume 1's "Gold" about Yang's love and admiration for her little sister.
- During Team RWBY's fight with Torchwick's Atlesian Paladin mecha in "Painting the Town," a rockin' blood-pumping song called "Die" kicks in when Yang's power kicks in to turn the tides against Torchwick. The full version is even better.
- During the Rooster Teeth Extra Life live stream, Jeff Williams released the full version of Shine, used when Team JNPR perform a cheesy, yet awesome dance number in "Dance Dance Infiltration". Going off of the lyrics, it's about Pyrrha's feelings towards Jaune, and how grateful she is for having him in her life.
- Team JNPR gets another romance song in Boop, which is about Nora's feelings for Ren.
- "Dream Come true" is another one for Team JNPR, specifically for Pyrrha and Jaune. Not only is it catchy, it's hilarious since it's basically Pyrrha singing "Notice Me Senpai!" It even manages to squeeze a little dig at Weiss in, about which she is less than happy.Why don't you, Forget about the little chick in white? / She don't care about you and she's so uptight.Weiss: Hey!
- "Caffeine" is a dynamic rock song that perfectly highlights how badass the members of Team CFVY are, playing as they easily wipe out swarms of Grimm. It may also have contributed to Coco instantly becoming an Ensemble Dark Horse. Not to mention how many songs out there are about going crazy on caffeine, even a small rap about coffee.
- "Sacrifice". Aside from notable lyrics and music, it is famous for causing mass debate among fans over every line's meaning.
- The Volume 3 soundtrack includes an absolutely beautiful (and tragic, considering the events that happen in the volume) acoustic rendition of "Time to Say Goodbye", similar to the arrangement of "This Will Be The Day" on the Volume 2 soundtrack.
- "When It Falls", the new opening theme. Not only does the song take a darker tone musically from the past two openings, but also visually and thematically. It has no qualms in showing that this will be the world's Darkest Hour. After "Fall", this opening easily fits with the tone of the volume. And if you thought the intro version was foreboding, read the released full lyrics. Seems like it's promising widespread military conflict, the decimation of the entire civilization of Remnant, socio-economic collapse, atrocities from both the faunus and human side, civil war, and the grimm menace running unchecked. And, worst of all, the bridge directly quotes Cinder's speech from PvP. Whereas the Volume 1 and 2 openings seemed to come from the students and team RWBY in particular, volume 3 turns things dark yet again by having the opening come from the Big Bad herself.
- All of the battle music from Episodes 1-4.
- The fight between Team RWBY and Team ABRN provides us with a kickass song called "It's My Turn", which tells how Weiss is stronger now than she was as a child and she's no longer under her father's influence anymore, and that she's now going to make a mark on the world herself.
- During Team SSSN's fight, an incredibly cool Pirate-styled theme plays, "S.S.S.N. vs N.D.G.O." complete with Adventurous Irish Violins.
- Qrow and Winter get background music that's slightly reminiscent of JRPGs and Touhou Project during their brawl. It's effectively a mashup of their respective leitmotifs, too.
- In the fight between CFVY's duo and our villains, Jeff and Casey sing "I'm The One", a song that harkens back to the days of Red vs. Blue: The Project Freelancer Saga with its hard and fast nature. Part of its lyrics allude to exactly how dangerous Emerald and Mercury are, even when faced with established badasses such as Coco and Yatsuhashi.I'm the one that your mama said
'Don't mess with them or you'll end up dead
That type they don't follow any rules'.You're looking tall, you're looking tough
I'm sorry dude, it's not enough
Your girlfriend's purse won't help you win this duel.
- Blake and Sun's Ship Tease moment shortly after Team SSSN's fight was accompanied by the song "Not Fall In Love With You" playing in the background. Upon the soundtrack's release, it was revealed to be (most likely) a song about Sun's feelings for Blake. It describes how cool Sun thinks she is, how he loves everything about her, and how there's no doubt that he's fallen in love with her. But there's also mention of how he thinks Blake is out of his league, that he's foolish for trying to pursue her, and that he's unsure if she could return his feelings.
- At the very end of Weiss + Winter's talk ('Lessons Learned'), we get "Mirror Mirror Part II", which sheds some more light on Weiss's character. While mostly somberly self-reflective, the lyrics begin to gain a hopeful bent towards the end:Some believe in fairy stories, and the ghosts that they can't see.
I know that I could do so much, if I could just believe in me.
Mirror Mirror, I'll tell you something. I think I might change it all.
- The fight between Weiss, Yang and team FNKI, "R.W.B.Y. vs. F.N.K.I." is set to jazzy remixes of "This Will Be The Day" and "I Burn". And before those, a techno song plays during the very beginning of the battle, "Neon", whose lyrics reflect Neon's point of view, all about how cool she is and how her opponents shouldn't pine that they can't be as fine as she. The full song is extremely catchy and turned out to be quite popular.
- "Fall" follows it up with a metal remix of "I Burn" that plays when Yang starts getting her Heroic Second Wind against Mercury, and a sad piano remix of "I Burn" playing when Yang is arrested after her incident with Mercury. Not that you'll really notice the latter.
- In "Beginning of the End", when Amber goes all "Maiden-state", it's accompanied by an Ethereal Choir backed by Jeff's powerful guitar work, pumping up the awesome of the scene.
- "Threat Level: Nine" — The ominous, choral soundtrack to all of the shit hitting all of the fans in "PVP". GOD DAMN.
- "Battle of Beacon" features a few memorable instrumental renditions:
- A somber piano and viola rendition of "When It Falls" plays in the opening scenes of Blake and Weiss at the overrun fairgrounds, Yang and Zwei at Beacon Academy and Ruby and Pyrrha in the aftermath of the tragedy at Amity Coliseum.
- An orchestral Triumphant Reprise of "Time to Say Goodbye" called "Taking Up Arms" is played when the Giant Nevermore attacking the stadium is taken down in a concerted effort by Teams JNPR, ABRN, FNKI, SSSN and CFVY.
- Ironwood's bombastic leitmotif blares again during his showdown against an Alpha Beowolf, only this time it's accompanied by rocking guitars.
- Right when Blake discovers Adam, an organ version of the opening lines of "From Shadows" plays.
- After this, the fight between Ruby and Neo/Roman is accompanied by some truly admirable musical performance. It really gets you pumped for a battle on top of an airship. The song itself makes heavy use of Roman's leitmotif, and reaches its climax on a booming, dark, and choir-backed orchestral version that wouldn't be out of place as a major boss theme in Final Fantasy!
- The last moments of "Heroes and Monsters" gives us the haunting, tear-jerking, and beautiful "Such Arrogance...". In the episode, the entire piece is punctuated by a series of shocks, making it all the more heart-breaking...]] This track gets an AWESOME remix in the next episode, which plays during the fight between Ozpin and Cinder.
- "Do You Believe In Destiny?", the absolutely EPIC music that plays during the Cinder versus Pyrrha fight in Chapter 12. It turns Cinder's iconic and menacing Leitmotif into a tragic battle theme symbolizing Pyrrha's desperate and fatal assault on Cinder. .
- "Divide" from "End of the Beginning", an epic rock ballad from Salem's point of view. It is one part Badass Boast with Salem saying how hopeless a battle against her is and one part What the Hell, Hero? with Salem calling Ozpin cruel for sending heroes to die in battle.
- "Cold", Season 3's final credits song — a short, sorrowful ballad and refection on the tragic events thus far, as well as an homage to both Pyrrha and Monty Oum.
- "Let's Just Live", the opening for Volume 4, fits in extremely well with the Anti-Nihilist theme of the series (and, indeed, most RT productions). Life's not a fairytale with a happy ending. The real world will kick your ass. It doesn't matter. Fight on. The end of the previous volume has put the cast (and audience) though a physical and emotional wringer, and this song sets the healing tone for Volume 4.
- The first episode's score featured a number of standout moments.
- The scene with the Beowulf emerging from the dark pool is accompanied by an extra haunting string rendition of the opening to "Lusus Naturae".
- Salem's entrance in the first episode is scored with a quiet, eerie version of the bridge of "Divide". The effect, particularly if one is familiar with the lyrics, is chilling.
- The insanely epic guitar riff that plays during the latter half of Team RNJR vs the Geist really gets your blood pumping.
- "Infinite and Unbound from the final part of the Remembrance's score has an atmospheric and somber melody. It's a melancholic, cloying remix of Jaune and Pyrrha's leitmotif, which amplifies the pain of said scene.
- Two scenes feature heavily in the third episode's score. The first scene in "Of Runaways And Stowaways", which shows Blake examining herself on the ship, is punctuated with a subtle, but effective remix of the chorus of "From Shadows", and very much sounds like a continuation of the melancholic piano solo at the end of said tune. The sea battle sequence in "Of Runaways And Stowaways" contains a powerful orchestral rendition of "From Shadows", followed by the chorus of a new song called "Like Morning Follows Night". The full song is an actual theme for the friendship between Blake and Sun, although it is clearly romantic on Sun's end, with Sun trying to cheer Blake up and promising that she doesn't have to think about the past.
- The score to "Family" features a piano instrumental version of "Let's Just Live", which plays during Port and Oobleck's visit to the Xiao Long home. It's a somber, yet soothing backdrop to what proved to be the start of Yang's recovery. It also contains a sinister, string-laden mashup of Qrow and Raven's themes, which is played during their hostile exchange at the end of the episode.
- "Menagerie's" soundtrack has a remixed version of "Like Morning Follows Night" during the discussion of Menagerie that Blake and Sun have, followed by a calm cue in the Belladonna household, and then a chilling strings cue when the Albain twins arrive.
- "Tipping Point" has a fantastic score, befitting the mid-season finale.
- First, the discovery of Oniyuri is punctuated by a nails-on-chalkboard strings cue; it creates a stomach-turning, foreboding aura about the abandoned town ... as though Tyrian's arrival was being foreshadowed musically.
- Next is Weiss's concert scene. The wordless aria she starts out with is followed with a straight-up Take That! to Jacques, the second chorus to a song called "This Life Is Mine". The full version of the song effortlessly transitions from a tragic opera about Weiss lamenting her loneliness, to an intense hard rock "The Reason You Suck" Speech directed at Jacques, overlapping with Moment of Awesome for Weiss if she had the daring to sing that in front of that entire crowd (and awesome enough to qualify either way).I'm not your pet, not another thing you own. I was not born guilty of your crimes.
Your riches and your influence can't hold me anymore.
I won't be possessed, burdened by your royal test.
I will not surrender. This life is mine!
- In the full version, Weiss not only condemns her father, but also unflinchingly casts aside the mirror theme she's been bound to since her first trailer. Weiss is changing, and she wants everyone to know that.Now this conversation's finally over.
Mirror Mirror, now we're done.
- The battle sequence in the second half certainly qualifies, containing a sublime backdrop to Tyrian's utter curbstomp of Team RNJR. His Ominous Music Box Tune theme is the icing on the proverbial cake.
- "Punished" has an excellent score, which certainly underscores the dark nature of the episode.
- First, Oscar's scene has a suspenseful, disconcerting orchestral track. The mental anguish Oscar is going through with Ozpin is powerful enough as it stands, but Oscar's rejection of his situation is even more potent with this.
- Weiss's scene has a track that's equally melancholic as the scene itself, containing a remix of "Mirror Mirror" during Weiss's darkest hour.
- The Qrow/Tyrian fight harbours a metal/orchestral mashup of Ruby, Qrow and Tyrian's themes, which punctuated the fight scene flawlessly. Qrow's leitmotif got reworked into a song called "Bad Luck Charm", which explains why Qrow prefers to work alone.
- With the score to "A Much Needed Talk", two points in particular stand out.
- Qrow's exposition scene was accompanied with a dramatic, dark piece befitting the tale Qrow tells about Remnant's creation and all it implies.
- The highest spot was the instrumental mashup of "All Our Days" and "From Shadows" during the conversation between Blake and Ghira. It really reinforces the fact that Ghira has always loved Blake, even when she joined the White Fang against his wishes.
- "Two Steps Forward, Two Steps Back" had a decent score. In particular, Weiss's scene in "Two Steps Forward, Two Steps Back" features a strings-driven, focused piece which creates the perfect backdrop for Weiss's first controlled summoning, and the realisation that she can escape her family. Blake and Sun's confrontation with the White Fang member Ilia is accompanied by an orchestral rendition of the main chorus of "From Shadows".
- "Kuroyuri" has an excellent score, with three points in particular standing out.
- The first of these is a dark, energetic orchestral track which absolutely amplifies the Nightmare Fuel and Tear Jerker shown in the fall of Kuroyuri, as well as the deaths of Ren's parents.
- A violin-led and piano-driven, slower rendition of "Boop" plays after this when we see a flashback of Ren giving a toy hammer to Nora. It underscores how heartwarming the scene is, as well as reaffirming the bond the two have with each other.
- The final scene, depicting Ren and Nora chancing upon the Nuckalavee Grimm's trophy cave, and watching it charge towards Kuroyuri, has a blood-curdling orchestral score that would have made Hitchcock proud. note
- Of "Taking Control"'s soundtrack, three high points can be observed.
- Yang's scene contains an orchestral version of the bridge and chorus of "Armed and Ready". The lyrics match up perfectly with her mental state at this point, with her determination in particular standing out.
- Weiss's scene has an excellently performed cue, which is dark, speedy and sparse. It lifts the sequence from being a silently spooky escape scene, to resembling a stealth mission from a good video game.
- The reveal of the Nuckelavee at the end of the episode was accompanied, naturally, by "Lusus Naturae". The crazed song merely augmented the sheer Nightmare Fuel of that whole scene.
- The last episode had an amazing soundtrack:
- The fight scene's orchestral track, taking up roughly half of the episode, was sublime and frightening in equal proportions, accurately conveying both the horror of the Nuckelavee and the tide-turning efforts of Team RNJR.
- As Ren and Nora sit together on the airship, Boop's chorus gets replayed on piano ... then cuts out abruptly when Ren holds Nora's hand. The chorus finishes, then segues into the chorus of a new song called "Home", which plays as Ruby writes a letter to her sister, with Qrow asleep in bed. The full version confirms that it's a tender ballad - a song from any of the characters to those they love, be it Ren and Nora, the Xiao Long-Rose-Branwen family, or the members of Team RNJR to each other.I don't know where we should go,
Feeling farther from our goal.
I don't know what path we will be shown,
But I know that when I'm with you I'm at home;
Yes I know that when I'm with you I'm at home.
- Additionally, the letter-writing montage contained a number of reprises of songs pertinent to the characters; "This Life Is Mine" during Weiss's departure, "From Shadows" when Blake reflects on her past, "Cold" around Jaune, Ren and Nora, "Let's Just Live" with Yang, and so on. It serves as a powerful reminder of how much our heroes have had to endure throughout this volume, and adds a sublime backdrop to Ruby's reflections.
- And last, we have the credits song, "Armed and Ready". A song filled to the brim with puns and references to what she's done over the past volumes, as well as a vow to rearrange Adam's face if she ever runs into him again, there's no better way to demonstrate that Yang is on her way back.I am the golden one,
who burns just like the sun.
Next time we meet is your disaster,
I'll bring the punishment,
Your song will be lament,
Revenge my happy ever after.
- 'Bmblb' is an exclusive to the Volume 4 soundtrack and is sizing up to be what 'Boop' is for Renora, but for Bumblebee (Blake/Yang). The structure of the piece sounds absolutely wonderful, with the lyrics complementing the message behind it, seemingly from the perspective of Yang.
- Weiss's training via battling her sister's Beowolf summonings in her character short is accompanied by a song that seems to serve as the impetus for her rebellion against her controlling father, called "The Path to Isolation". Casey's vocals combined with a magnificent orchestral and piano track and the awe-inspiring near Monty-level fighting choreography make for an absolutely beautiful display. The lyrics themselves also reflect Weiss's search for her own identity after escaping her father's grasp. Although the words themselves are Tear Jerker with a dash of Nightmare Fuel, the song's awesome in that it accurately reflects how people can struggle to redefine themselves after escaping an abusive life.
- The background music in Blake's character short. The strings are almost melancholy, but intense, perfect for the recounting of Ilia's backstory, the tragedy that blew her cover, and the delivery of her final lines.
- At the end of Blake's character short, the audience is treated to a 20-second teaser of a new song named 'Smile'. The song is about Blake's former friend Ilia Amitola, a member of the White Fang who lost her family in a mine collapse in Atlas, and is looking for revenge on the human race. The song itself is sung from the viewpoint of Ilia's parents, and starts with a calypso-ish feel with percussion and gradually builds into metal.
- During Yang's character short, as her battle with the Ursa starts, her new song "Ignite" begins to play. It's a perfect song for the scene, showing Yang's upbeat attitude during her fights. The song also contains references to the opening line of Yang's original trailer, "Scathing eyes ask that we be symmetrical, one sided and easily processed. Yet every misshapen spark's unseen beauty is greater than its would be judgement", with the lyrics of "Scathing eyes that see things from only one side/Yet every misshapen spark/Suffers the judgement and pain".
- The Volume 5 theme, "The Triumph", is one of the best openings yet in the series, and its lyrics drive home that Team RWBY, despite the odds, isn't going to give up. The full song gets a bonus for referencing the famous line "it's also a gun", and its bridge says "Screw Destiny! We make the choices that will protect our world."
- Send in your Grimm
Tear off a limb
Strike me with bolts of lightning
I Won't Die
The battle seems unwinnable
But all we need's a miracle
We're going up, we'll never be denied!
- Weiss and Yang's reunion in Chapter 4 is underscored by a beautiful instrumental rendition of "Home."
- The fast-paced rock portion of This Life is Mine is used to great effect for the sky battle in Dread in the Air.
- "Necessary Sacrifice" has a pair of piano remixes/mashups within it. The first one, "A Few Signatures", is a mix of "From Shadows" and "Like Morning Follows Night" and plays during the heart-to-heart that Blake has with Sun in Menagerie. The second is a mix of "When It Falls" and "Let's Just Live" called Who Would Ask For This?, and it punctuates Ruby's lamentation over Penny and Pyrrha and her subsequent reassurance to Oscar flawlessly.
- All of Dinner and Coffee, the instrumental cues accompanying Yang and Weiss's return to the fold from episodes 6 to 8. Highlights include a piano version of Gold's chorus played as Ruby and Yang hug each other, along with the energetic and light music featured during the dinner scenes.
- The entire score during Ilia and Blake's fight, taking cues from "Smile", "From Shadows", and even the part of "Red Like Roses Part I" that refers to Blake.
- All of the fighting music from the Haven battle. It's all on par with the cues we heard in the end of Volume 3, and accurately conveys the intensity and rage of the confrontation.
- The end credits for Chapter 12 ("Vault of the Spring Maiden") start with an absolutely mystifying rendition of "Mirror Mirror" with a subdued choir, bells, and an overall Roman feel. However, it does something with timing and makes the harmony and melody the same volume to make the illusion that the two tracks are the same but split off from each other. Not only that, but the part where the two parts of the song split results in an absolutely chilling chord. The soundtrack from the episode's climax, The Vault, features a a pretty, delicate rendition of the Four Maidens Leitmotif, then escalates with a low, discordant Drone of Dread, followed by a thunderous rendition of Lusus Naturae when Cinder reveals her Grimm arm and attacks Raven and Vernal.
- The first half of the Maidenbowl features "Look Who's Talking". A mashup of "Sacrifice" and "All Things Must Die", this song serves as a tense, bombastic backdrop to the fight.
- "All Things Must Die", the song that plays during the second half of Raven and Cinder's fight is incredible. The music itself manages to start soft and sinister, then combines Raven and Cinder's respective themes into an intense metal song. Casey manages to deliver what might just be her best vocal in-series, going from an operatic opening to a full-bore performance. Lyrically, it sounds like a brutal tear-down from Raven to Cinder, telling her that she's finished - bonus points for two lines in the first verse for being callbacks to the opening songs from volumes 1 and 2. The second half of verse one starts with 'Murder, Unkindness, Conspiracy'; each of these terms is a collective noun for a group of corvids (the first for crows, the latter two both for ravens). Much like her daughter, Raven has a song about beating people out while making puns over her own imagery.This is the end, heres where youll die.
Legends should scatter, so just say goodbye.
No one will miss you, youre finally gone
At your conclusion, sing your swan song!
Murder, unkindness, conspiracy.
Embers extinguished in effigy.
Just close your eyes, don't fear demise,
Black out the sky, all things must die!
- The finale shows the proper reunion of Team RWBY, which takes place to the chorus of a tender ballad called "All That Matters". It sounds like Yang's thoughts towards Blake as she reunites with her again, and it's heartmelting (and heartbreaking) to hear.
- The credits song is something the fandom have begged to hear for some time - "This Time (From Shadows, Pt. Two)". A duet that sounds, based on how it lifts from quotes from speeches each of them made in this volume, like it's between Ghira and Blake, a song dedicated to doing things right and pushing out Adam's spiteful ideology.And now, I'll stand with you shoulder to shoulder,
Out of the ashes, a new flame ignites,
Rise up from shadows and into the light,
We'll stand undivided, our futures aligned,
A new brotherhood, this time.
- Introduced in Adam's short character trailer is "Lionize", a brutal metal song that represents his lust for power, ambition for human killing, but more importantly his pride as a champion for Faunus rights. The music itself is equally aggressive, and Jeff's shrill vocals verge on sounding feral.
- The theme song this volume is "Rising", and it adds an electronic tinge to the metal fare the series is known for. The lyrics continue to boast about the protagonists' ascension from where "The Triumph" left off, completing in a chorus that declares that our heroes will be "rising like the moon".
- "Argus Limited" features a dark, moody metal song during the last stage of the Traintop Battle called "Miracle". Lyrically, it's indicating how the heroes are trying their damnedest to hold out against the onslaught of chaos and evil, and wondering if following Ozpin's the right path to take.
- The theme of the Relic of Knowledge, "Say Her Name" is a mystical, magical cue that perfectly captures the nature of the ancient artifact in "Uncovered".
- The entire score of "The Lost Fable" provides an intense, varied backdrop to Salem and Ozma's stories. Highlights include the remixes of "Divide" that get peppered throughout the episode, and the Ominous Latin Chanting that goes down when humanity is wiped out.
- "One Thing", Neo's Image Song in "The Coming Storm", shows how deeply she cared about Roman, and how a thirst for revenge is all she has left with him gone. The full version has hints to her backstory as a voiceless, nameless orphan and reveals that Roman was the one who named her, and she is furious at Cinder for destroying her life by taking him away.
- The intense orchestral cue for "Alone In The Woods" does an accurate job of conveying the sheer horror of the Apathy Grimm, and the panic that the heroes are feeling as they run for their lives.
- "Dead End" features flute-led, gentle remixes of "Red Like Roses" and "This Will Be The Day" during Maria and Ruby's conversation in Saphron's garden, and they punctuate the contemplative, reflective scene quite nicely.
- "Lost" features Jaune discovering Pyrrha's statue in Argus, set to a somber piano ballad called "Forever Fall". It's the same tune that played in his training scene in "Rememberance", but with lyrics that apply both to Jaune and Pyrrha.Once like a dream, you looked at me.
And everything felt new.
Some people fall in love for life, others never get it right.
Love's fickle when it calls.
One thing that I know for sure, longer than our lives endure,
You're my forever fall.
- Both "Stealing From The Elderly" and "The Lady In The Shoe" have fantastic battle music. The former episode features quotations from "Lionize" as Adam fights Blake, while the latter has a new song about Cordovin called "Big Metal Shoe". The latter episode also includes a heroic motif drawn from "Armed and Ready" when Yang makes her dramatic entrance in the fight against Adam.
- The volume finale "Our Way" introduces "Indomitable", a power ballad which plays when Ruby draws on the power of her Silver Eyes to petrify the giant Leviathan Grimm.
- In the credits, the lyrics are credited as inspired by Monty Oum, specifically referring to this quote by him:"I believe that the human spirit is indomitable. If you endeavor to achieve, it will happen given enough resolve. It may not be immediate, and often your greater dreams are something you will not achieve within your own lifetime. The effort you put forth to anything transcends yourself, for there is no futility even in death."
- The homage to this quote is the song's chorus:There's a Light that Shines,
And its Power is Mine!
Though our body's weak and breakable,
The Spirit is Indomitable!
- The full version is awesome, heartwarming and heartbreaking all in one, as it details Monty's pure delight in his show, told from the perspective of the people around him as Remnant evolved from a simple stain to the world we know and love. Then it gets to his death, and how even if he's gone, his work is still evolving, a shining example of his philosophy. Casey really sells the tragedy of his sudden passing, and the resolve of those he left behind to continue on to make his dream the best it can be.
- In the credits, the lyrics are credited as inspired by Monty Oum, specifically referring to this quote by him:
- From the end credits in the finale, "Nevermore", a duet between Yang and Blake addressed to Adam, about how he won't haunt or hurt them anymore. Not to be confused with the Grimm or the song from Persona 4, though the latter is also a good song. They dismantle Adam's notions of being a savior to Faunus-kind that are described in "Lionize", essentially saying "if you have to tell people what a hero you are, you're not that awesome".You think you're someone's hero
You're hiding more than your eyes
I challenge your weak manifesto
The goal of a savior is not to be lionized.
- The opening theme this time around is "Trust Love (Open Up Your Eyes)", a lyrical exhortation to place your faith in your loved ones despite how dark life becomes, and that you needn't dream of having a wonderful life if you just believe. But it's also got an element of 'you have to trust in yourself, too'.
- The montage in episode 3 where the heroes arrive at the abandoned mines with new gear and looks is set to Touch The Sky. Lyrically about the heroes bouncing back from the revelations of the previous volume, the music features some tasteful guitar work from Jeff and a downright acrobatic fretless bass line. The lyrics also seem to really fit Blake (accompanied by her signature Piano Leitmotif).
- The score for when the Ace-Ops take on the Geist merged with dust ("Into the Mines") is triumphant and energetic, serving as the perfect backdrop to them showing off their prowess as they defeat the creature handily.
- An easily-overlooked song from episode 5's montage is "Brand New Day". A duet between Blake and/or Ruby and Qrow (going by the lyrics and both Jeff and Casey singing on it) about leaving their demons behind in the dust, the music is an appropriately upbeat, modern take on a rock shuffle.
- The First Kiss between Ren and Nora in episode 6 was punctuated with Let's Get Real, an electronic dance track that reflects Nora overcoming her insecurities about declaring her love. Not only is it sung well, there's plenty of interesting chord progressions amidst the layers of keyboards and synth bass.
- Also from episode 6 is the background track at Robyn Hill's victory party - a funky, horn-laden dance track called "Celebrate".
- Ironwood's Image Song during his fight with Watts, "Hero", sung by Caleb Hyles, is both beautifully sung and heartbreaking in its display of James's devotion to his kingdom... no matter the cost.I would die
Without regret I'd offer up my life
With zero reservations I would fly
Into the sun if that would keep our dream alive...
What if its true as they say, that I dont have a heart?
- The extended version gets a bonus during the bridge, with the lyrics perfectly displaying Ironwood's internal conflict over his actions followed by him swallowing it up. The last of these lyrics also functions as a Call-Back to Ironwood and Ozpin's first on-screen meeting in Volume 2, where he questioned Ozpin's confidence in his students.
That I'm more a machine than a man?
What would that change? Would it matter at all?
I've made my plan
Hearts and minds may not agree
Emotions topple strategy
You can't believe in honesty that your children can win a war...
- RWBY triumphing over the Ace-Ops is set to "War", which starts up with some guitar riffs (titled "...Then You Trained Us") that wouldn't be out of place in DOOM, before launching into a full vocal quartet proclaiming that while RWBY might not want to fight the Ace-Ops, they won't let their blind loyalty stop them from doing what's right, nor be intimidated by their status as Atlas' elite.
- Penny and Winter vs. Cinder has "And I Refuse to Starve", including great ominous instrumentals fueled by drums and strings, as well as a snippet of "All Things Must Die" at one point. But the cherry on top is the ominous chanting during the dive off the Atlas building, befitting of Cinder's more unhinged desire for victory. That moment alone ratchets up the tension to an insanely high level.
- Ozpin's speech in the finale was underscored with the haunting, ethereal "Until The End", which marks the first time that Casey's written a song for the soundtrack. Marking Ruby's first lyrical theme since the Volume 1 OST, it marks her determination to keep her team's spirits up as they face the coming challenges.
- The end credits were set to "Fear", perhaps the first song to come from Ozpin's perspective. The power ballad echoes his monologue in the volume's finale well.
- "For Every Life", the volume's opening sequence theme, seems to be about how, in spite of the heroes' best efforts, things still haven't been going right. Featuring spectacular vocals from Casey as per usual, as well as a dark-yet-energetic rock score, it sets perhaps the bleakest tone for the series since Volume 3.
- Chapter 6 features part of a single by Casey's band Ok Goodnight, titled "Awake". Playing during the flashback sequence as Rhodes prepares to arrest Cinder for murdering her adopted family, the snippet we hear starts off with some guitar riffs before going full-tilt as the two face off against one another. The lyrics, despite having been written irrelevant of the show itself, fit Cinder's Start of Darkness quite well.
- The vocal track titled "Be Strong And Hit Stuff", which plays in the background as the heroes neutralize Ironwood and the Ace-Ops, is about how one doesn't need to rush their growth as a person as long as they continuously stay on that path. An energetic, badass yet wholesome jam, the title refers to Nora's mantra in Chapter 3 of all she thinks she's good for, but the lyrics also refer to redemption, making it applicable to Emerald as well.
- Grimm Eclipse has Merlot's Villain Song "Lusus Naturae", which plays during the credits. It starts of with a horrifyingly haunting beat as he says how he wishes to "purify and evolve" the Grimm to save humanity, before jumping into an explosive metal track as he begins his Motive Rant. The tempo becomes more insane as Merlot does, showing how low his sanity has fallen because of his research. His lyrics go from saying how his ideas will save humanity to believing A God Am I, the whole song becoming one big Villainous Breakdown. Since then, it was included on Volume 4's soundtrack, and is now the official leitmotif of the Grimm as a whole.What Nature warped, I will restore, I will love, what all abhor!
- Crossing Fate feat. RWBY. The main theme of BlazBlue: Cross Tag Battle done in RWBY-style, the original version composed by Daisuke Ishiwatari himself. It gets your blood pumped knowing that Team RWBY is going to be facing heroes and villains from the worlds of BlazBlue, Persona 4: Arena and Under Night In-Birth.
- Amanda Lee's incredible cover of "Mirror, Mirror" turns a solemn ballad into an epic rock track worthy of headbanging, with a gorgeous harmonic line kicking in at the chorus.