"First Wave", a mournful and dramatic string piece that memorably caps off Reconstruction and the credits of season 10, following The Alpha's demise as the Director reads his last letter to the Chairman and The Reveal that The Alpha's mind was based off of the Director himself, Dr. Leonard Church.
The "Forge World" song Sarge sings in the final part of the Reach mini-series (Enjoy it here).
"Agent Tex", played as the titular Freelancer escapes the memory unit and utterly demolishes both teams. Taking her distinctively Western Leitmotif to construct a rockabilly headbanger around such a simple cue. It would be redundant to call both the scene and the music accompanying it impressive.
"The Revelation Suite", played during the awesome fight between Tex, Washington, and the Meta, combinies Ice Fight, Boss Battle, and Plagam Extremam Infligere to great effect.
"Ice Fight" is a short but epic rock orchestra piece with some great choir.
The track simply titled "Red vs Blue" from the Revelation Soundtrack, played as The Reds and Wash have their climactic fight against the Meta, taking him out once and for all. The autotuned asides may not be to everyone's taste, but there's no denying the rest is a great Heavy Metal track. While already sounding awesome as it is, the song's lyrics really highlight the series' theme of Grey-and-Gray Morality, particularly when its melody comes back at the most emotional part of Season 10.
There's an extended version of the above track that pushes the vocals higher in the mix, has a handful of extra lyrics, and adds a guitar solo.
"Epilogue", a haunting, beautiful, and uplifting piece that plays during Church's monologue at the end of Revelation.
Season 9 really sets the bar of awesome music:
"Extraction" lets the audience know they've cranked up the awesome factor as soon as the first metal riff scores North and South's epic battling, then shifting intoOminous Italian Chanting when "Number One" joins the fray, courtesy of Casey Lee Williams). The fact that she sang operatic vocals at the age of twelve is an awesome moment in of itself! Hell, the melody was so good they made it Carolina's Leitmotif whenever she' shows up to a fight.
And for our first Renegade Freelancer and the three songs about her, "C.T.", "The Darkness of C.T.", and "Message From C.T". The last is more of a Tear Jerker than awesome as Connie reads her message about who Tex really is and her defecting, unaware that Tex herself wound up the one to kill her.
The set of songs from the Freelancer's assault upon the Insurrectionists: "Ouch", "Land of Enemies", "Welcome To Maine", "Mental Meta Metal", "Mystery Blue Guy", " whom we all know as Agent Florida/Captain Butch Flowers", the brutal flow of "Pray" which wouldn't feel out of place in the hardcore rap scene, and the utter heartbreak of "Forever", a ballad that plays after CT's death, conveying in a few minutes the love and tragedy of a doomed romance more intimately than dialogue ever could. As sung by Casey, it's emblematic of her and Jeff's later work on RWBY.
"Training Room Showdown", quite possibly a very horrifying experience for Carolina, no thanks in part to the Director.
As the Reds and Blues arrive to help Carolina, the battle's score ("Bloody Mary Mix") starts as a basic drum beat, before "Roses are red, and violets are blue" is heard, giving rise to a remix of "Blood Gulch Blues" as the two teams demonstrate their bond of unity in combat, something the Freelancers for all their training and AI-enhanced specialized armor could never achieve.
Carolina and Epsilon confront the Director, only to find not a power-hungry schemer but an insane, broken shell of a man that begs them for just a little more time to resurrect Allison while obssessively watching her last recording. The scene uses just a solo piano to convey the tragedy, but a closer listen will find nods to every reoccurring theme in the series up to this point, ending with the melody from the last line of Revelation's theme.
And lastly are the songs from the end credits of the season. "Now That We've Come So Far" and "Terminate". The first is a melodic rock ballad that conveys the core themes of love and memory in the Freelancer Saga, and the second is some nice high-octane rhymes that leaves the season on a triumphant note.
With Season 11, there's the theme for the Chorus Trilogy, "Contact". It plays during the credits and really brings home the emotional core of this season and fits the melancholy mood of the Trilogy as a whole.
"Chorus" a methodical, serene mix of electronic texture, a constant tapping bass, and a distinctive drum beat that although minimalist, still inspires a sense of patient tension as it tends to play when shady characters are discussing plans. The theme gets a kickass reprise when Tucker and the rest of the gang manage to transmit Felixs monologue to the capital, giving the song a new sense of satisfaction.
While the season was light on music compared to the seasons proceeding and succeeding it, it nevertheless gave us Freckles' theme, "Manticore Blues". If it was any longer it would have overshadowed much of the soundtrack.
"Soul Clef XI", the collective theme for Locus and Felix. Like much of the Chorus BGM, it's not as blatantly in-your-face awesome as Revelation and the Freelancer Saga, but works well as a foreboding Western motif not unlike Tex's early cues. As a bonus it's an anagram of Locus and Felix. The redux varient is much the same, albeit with a muffled synth beat and an unexpected shift to the Meta's theme for that extra dash of scares.
As a prelude to the above, "Loom" takes the sinister chords and adds a Drone of Dread that's practically thick with tension.
"Finger Pushups" has an acoustic beat so infectious it'll make you want to dance.
"Hit and Run", the music as Tucker, Felix, and a squad of rookies are investigating a Federal base. The building guitar and steady timing, punctuated with quick percussion has the intended effect of feeling at once both exciting and nervous as Tucker certainly was.
"Control" is creepy and ominous with its use of mostly electronic tones in contrast with the cowboy feel of Chorus.
"Saltine", an atmospheric blissful trip into Epsilon's mind as he converses with the other fragments while slowing time.
"Prancing Bull" is a wild, quirky action piece as all hell breaks loose when the Feds and News are about to finish what they started while the Reds and Blues go after Felix and Locus. The distorted guitar and elaborate drum patterns keep it unique at the least.
Not to be outdone in the sad credits department, Season 12's ending, "Half Life", is a dreamy, somber song about loneliness and gentle regrets. A bit unrelated to the season at hand, but beautiful all the same.
While waiting for the beginning of Season 13, a relatively new fan by the name of Meredith Hagan sat down and recorded her own mix of "Contact", and posted it online. Two days later, she was emailed by one of the composers to rerecord her cover. The result was "Contact Redux" that played at the end credits of Season 13, a sad reprise as the Chorus trilogy finally comes to an end, which is even more melancholy and reflective than the original (she ended up doing further work with Trocadero and Rooster Teeth). The instrumental version of "Contact Redux", "Contact (Final Transmission)", is a somber piece that plays as Church delivers his "ain't that a bitch" goodbye speech.
The trailer for Season 13, aside from having the chilling monologue from Church, also features "Faraday", an upgraded version of Trocadero's "Faraway", but with added orchestral flair from newcomer David Levy. It has this feeling of dark intensity setting up the tone of the season extremely well.
"Recruitment", the song that plays over the title card of the season, slowly building up, growing more and more intense, finally culminating with an orchestral version of "Contact", is just incredible, letting everybody know in just a few notes that this season is gonna be epic.
"Fatum Iustum Stultorum", the song that plays when Carolina and Wash face off against Locus and Felix. Five minutes and forty-five seconds of pure awesome. What makes it better is that it spends a lot of time with tense music that would usually be heard in movie trailers, and manages to incorporate both Felix and Locus' themes in the same minute.
When the Reds and Blues are fighting Felix, we are treated to "Prelude for Losers", using the original Blood Gulch Blues theme to perfectly represent the Reds and Blues' goofy awesomeness.
Episode 13 of Season 14 has "Slingshot", the epic music that plays during Carolina and the Meta's Death Battle. It also gives insight on the Meta's character, and can be interpreted as the Meta being a fundamentally flawed entity, and that Sigma's idea of attaining metastability from collecting other fragments may very well have been a futile attempt in the first place.
"Landing," the ominous theme played during the imposter Reds and Blues' attack on a UNSC supply depot in "Prologue". Elements of "Landing" would later be incorporated into the Leitmotif of the Blues and Reds throughout Season 15, being most prominently featured in the main theme of the season's Big Bad - "Temple", as heard at the end of "Battlescars".
In Season 15, the Ennio Morricone-esque "Role Model" that plays when the aspect ratio switches to anamorphic and the two Red and Blue teams finally meet at Desert Gulch.