Uploaded March 2022 | Updated September 2026, 2 weeks ago
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An orchestral arrangement of Juri's Theme (officially "Theme of Juri") from Super Street Fighter IV.
Many thanks to Andjë for commissioning this arrangement.
--------------------
➤ Analysis:
One of the most sadistic and vengeful characters of Street Fighter, it is only appropriate for Juri to have a musical theme to match.
Immediately, the first interval is the tritone (E♭-A), literally named the "devil in music" ("Diabolus in Musica") due to its unstable harmonic nature. We get several instances of this devilish interval before resting in our tonic of E♭ minor at 0:08 (E♭-G♭-B♭).
Here, we get the first statement of the iconic "Juri scream" effect, which I have replicated here with a sliding electric guitar harmonic.
With our tonic commencing in E♭ minor with various swelling instruments, we quickly climb up a minor 3rd to G♭, and then again to B♭♭ (enharmonically; A). The sum of these two intervals brings us once more to the tritone (E♭-A), as the tonality climbs briefly to the dominant (B♭) before dropping to F♭ (enharmonically E; another tritone jump) to slip back down chromatically to the tonic of E♭ minor.
By 0:15, most of the forces diminish, and we are left with an arpeggiated melody that is oscillating between the tonic and mediant (E♭ & G♭) atop an ostinato in the strings and clarinets. This melody swirls around to various dissonances, including a major 7th (D; 0:18) followed immediately by the flattened 6th (C♭), acting here as the minor 9th of the dominant (C♭ atop B♭) - a rather crunchy dissonance.
At 0:21, we drop to the submediant / 6th chord (C♭; enharmonically B), before falling to the dominant (B♭) with the melody bringing us the minor 9th dissonance once more (C♭). This 8-measure phrase is repeated with additional forces (0:27), and development: a heavily syncopated rhythmic dissonance at 0:32 in the lower instruments; and a tweaked melody at 0:37.
As we move into the next section (0:40), we get an expansion on the opening arpeggiated melody of 0:15, now (true to its name) as it climbs up through an E♭ minor arpeggio (E♭-G♭-B♭). This is repeated at 0:43, but with the arpeggio falling to D♭ whilst a pedal E♭ is retained (a harmony that some of you may know similarly as the "gospel chord"). This falls once more to the submediant (C♭) before slowly making its way back to the tonic (E♭).
In the next section (0:53), we abruptly jump via a tertiary modulation to G♭ minor (enharmonically F♯ minor). Here, a solo violin and viola exchange some call and response material while the accompaniment offers another statement of the 0:40 harmonic progression, though now in F♯.
1:06 is perhaps the most interesting section. Here, we slow into a half-time (the tempo sounds half as slow) and we fall back to our tonic of E♭ via another tertiary modulation. The harmony has some more crunchy dissonance (minor-major 7ths; E♭-G♭-B♭-D; 1:15) and we conclude on a suspended 4th chord on B♭ (1:18). Here, the regular 4-measure phrasing is disrupted and reduced to a mere 3-measures. This thrusts the structure into disarray as we enter the climax (1:23).
Here, the tritone reigns supreme with material familiar to the opening (0:02) plus various chaotic developments and chromaticisms as the lower instruments play a new iteration of the earlier violin melody of 0:15. And by 1:32, the structure breaks down and we get an intensely syncopated rhythm, thwarting the regular pulse. We also climb up a tritone from E♭ to A, but then interestingly a perfect cadence into D. This can then climb chromatically back to E♭ to complete our loop without issue.
To finish, I wrote a little concluding outro in the style of the opening material.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Super Street Fighter IV
★Developer: Capcom, Dimps
★Publisher: Capcom
★Composer(s): Hideyuki Fukasawa
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Super Street Fighter 4, Ultra Street Fighter IV, Juri, Theme of Juri, Juri's Theme, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover
#StreetFighter
#Orchestra
#Juri
🎵 Sheet Music & Parts ➤ musicnotes.com/l/KtVMw
💗 MIDI / XML / Sibelius ➤ bit.ly/TandABundle
🎹 Commissions ➤ jshaw.co.uk/commissions
🎮 More Arrangements ➤ jshaw.co.uk/TandA
👍 Facebook ➤ bit.ly/TandAFacebook
🐦 Twitter ➤ bit.ly/TandATwitter
🎵 Bandcamp ➤ bit.ly/TandABandcamp
🎵 Spotify ➤ bit.ly/TandASpotify
🎵 Deezer ➤ bit.ly/TandADeezer
🎵 YouTube Music ➤ bit.ly/TandAYouTube
🎵 Apple Music / iTunes ➤ bit.ly/TandAApple
An orchestral arrangement of Juri's Theme (officially "Theme of Juri") from Super Street Fighter IV.
Many thanks to Andjë for commissioning this arrangement.
--------------------
➤ Analysis:
One of the most sadistic and vengeful characters of Street Fighter, it is only appropriate for Juri to have a musical theme to match.
Immediately, the first interval is the tritone (E♭-A), literally named the "devil in music" ("Diabolus in Musica") due to its unstable harmonic nature. We get several instances of this devilish interval before resting in our tonic of E♭ minor at 0:08 (E♭-G♭-B♭).
Here, we get the first statement of the iconic "Juri scream" effect, which I have replicated here with a sliding electric guitar harmonic.
With our tonic commencing in E♭ minor with various swelling instruments, we quickly climb up a minor 3rd to G♭, and then again to B♭♭ (enharmonically; A). The sum of these two intervals brings us once more to the tritone (E♭-A), as the tonality climbs briefly to the dominant (B♭) before dropping to F♭ (enharmonically E; another tritone jump) to slip back down chromatically to the tonic of E♭ minor.
By 0:15, most of the forces diminish, and we are left with an arpeggiated melody that is oscillating between the tonic and mediant (E♭ & G♭) atop an ostinato in the strings and clarinets. This melody swirls around to various dissonances, including a major 7th (D; 0:18) followed immediately by the flattened 6th (C♭), acting here as the minor 9th of the dominant (C♭ atop B♭) - a rather crunchy dissonance.
At 0:21, we drop to the submediant / 6th chord (C♭; enharmonically B), before falling to the dominant (B♭) with the melody bringing us the minor 9th dissonance once more (C♭). This 8-measure phrase is repeated with additional forces (0:27), and development: a heavily syncopated rhythmic dissonance at 0:32 in the lower instruments; and a tweaked melody at 0:37.
As we move into the next section (0:40), we get an expansion on the opening arpeggiated melody of 0:15, now (true to its name) as it climbs up through an E♭ minor arpeggio (E♭-G♭-B♭). This is repeated at 0:43, but with the arpeggio falling to D♭ whilst a pedal E♭ is retained (a harmony that some of you may know similarly as the "gospel chord"). This falls once more to the submediant (C♭) before slowly making its way back to the tonic (E♭).
In the next section (0:53), we abruptly jump via a tertiary modulation to G♭ minor (enharmonically F♯ minor). Here, a solo violin and viola exchange some call and response material while the accompaniment offers another statement of the 0:40 harmonic progression, though now in F♯.
1:06 is perhaps the most interesting section. Here, we slow into a half-time (the tempo sounds half as slow) and we fall back to our tonic of E♭ via another tertiary modulation. The harmony has some more crunchy dissonance (minor-major 7ths; E♭-G♭-B♭-D; 1:15) and we conclude on a suspended 4th chord on B♭ (1:18). Here, the regular 4-measure phrasing is disrupted and reduced to a mere 3-measures. This thrusts the structure into disarray as we enter the climax (1:23).
Here, the tritone reigns supreme with material familiar to the opening (0:02) plus various chaotic developments and chromaticisms as the lower instruments play a new iteration of the earlier violin melody of 0:15. And by 1:32, the structure breaks down and we get an intensely syncopated rhythm, thwarting the regular pulse. We also climb up a tritone from E♭ to A, but then interestingly a perfect cadence into D. This can then climb chromatically back to E♭ to complete our loop without issue.
To finish, I wrote a little concluding outro in the style of the opening material.
--------------------
The score was created in Sibelius 7.5, and the audio was created in Cubase using sample libraries from EastWest and Vienna Symphonic.
★Game: Super Street Fighter IV
★Developer: Capcom, Dimps
★Publisher: Capcom
★Composer(s): Hideyuki Fukasawa
★Software: Sibelius 7.5, Cubase Elements 7, Cubase 10, Adobe Premiere Elements 15, EastWest Sample Libraries, Vienna Symphonic Library
★Tags: Super Street Fighter 4, Ultra Street Fighter IV, Juri, Theme of Juri, Juri's Theme, Orchestra, Orchestral, Orchestration, Arrangement, Remix, Cover
#StreetFighter
#Orchestra
#Juri
