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Final Beeting is the name of the final boss track on the Yooka-Laylee Soundtrack. This song plays during the final boss battle against the game's main antagonist, Capital B.

Instrumentation and Analysis Edit

Intro Edit

Final Beeting Intro

The piece starts out with a variation of the beginning motif of Hivory Towers. Like the Hivory Towers theme, the piece is in D minor. This variation has high dynamics in the brass, and is used to catch the player off-guard before the actual battle itself begins. The strings come in with the brass, going up and down a chromatic scale from D5 to F5 to imitate the sound of the bee's buzzing.

A Section (Main Melody) Edit

Final Beeting A

After one measures of strings, A cello and the double bass plays the same motif from the Hivory Towers theme with small triplet variations here and there. The flute occasionally comes in to bring little bits of tension into the piece.

B Section Edit

Final Beeting B

A new melody enters the piece presented by multiple strings accompanied by low brass. The string melody is mostly quarter notes hitting on every beat, while the the low brass hits quarter notes on every off-beat (i.e. "& of 1", "& of 2"). On the fifth measure, the strings play an octave higher.

During this section, the flutes plays a run on the second, fourth, sixth, and eighth measure, often on the third beat. The first run starts on B4 goes up to B5, and comes back down to B4. The second run goes down and starts on D4 and goes up to D5, and back down again. The third time however, the strings start later than usual and plays on D4 again up to D5, but does not come down. The fourth and final time, it goes up starting on F4 up to F5, then down to F4 again

C Section Edit

Final Beeting C

This section features a much faster and rushed feeling to the piece by using Grant Kirkhope's famous Oom-pah style. The melody is play by the french horn and modulates to the mediant (F minor) of the previous key (D minor). The bass is played by tuba, while higher brass instruments play on every other sixteenth note. The combination of the tuba and higher brass instruments develop a fast Oom-pah feeling.

The first and third time that the french horn completes the small motif (measures 2 and 6), it uses a fast vibrato to emulate the buzzing of a bee.

The third and fourth measure acts as a setup for the upcoming modulation in measure 5. On measure 5, the piece modulates up to the submediant (B mior) in the first established key (D minor). These modulations from D minor to F minor to B minor is a setup for the D Section of the piece which acts as climax of the whole piece.

D Section (Climax) Edit

Final Beeting D

The D Section acts as the climax of the piece by using the high notes of multiple trumpets and using low brass to play a loud quarter note on beats 2 and 4 on every measure of this section

E Section (Transition) Edit

Final Beeting E

This 10-second section is used as a transition. The melody is played by the strings. The melodic notes themselves play sixteenth notes slowly going up for the first two beats, and then comes back using sextuplets on beats 3 and 4. This pattern repeats itself on all four measures, but slowly gets higher each time with the exception of the fourth measure where it goes down rather than up.

F Section Edit

Final Beeting F

A new melody is presented here by the french horn accompanied by strings. The melody near the end here uses a strikingly similar melody from the Harry Potter Theme.

G Section Edit

Final Beeting G

H Section Edit

Final Beeting H

I Section Edit

Final Beeting I

J Section Edit

Final Beeting J

Ending Edit

Final Beeting Ending

History Edit

Trivia Edit

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