Final Fantasy legend Nobuo Uematsu's 9 greatest musical moments | PC Gamer - hendricksthemage
Final Fantasy legend Nobuo Uematsu's 9 sterling musical moments
Nobuo Uematsu has been composing videogame soundtracks for over 30 years, which makes choosing just a couple of standout tracks from his work on Last Fantasy a challenge. Merely as a old fan of his euphony, and someone World Health Organization has been hearing to a lot of Inalterable Fantasy tunes on Spotify lately, I gave it a shot. To me, these nine tracks represent Uematsu at his best—non just for the quality of the compositions, but their emotional resonance you bet they capture the nitty-gritty of the games they feature in. Leaving whatsoever tracks unstylish was almost physically painful, but that's what happens when you prove and contract an immense body of piece of work like this down into an easily digested listicle.
Electric Diamond State Chocobo (Final Fantasy 7)
You can't celebrate the music of Nobuo Uematsu without mentioning at least one of his impossibly catchy chocobo themes. This upbeat melody heralds the arrival of the appellative yellow-plumaged birds, a anchor of the Terminal Illusion series. All over the geezerhood there have been numerous versions of the musical theme, extensive a variety of genres, but Electric de Chocobo from Final Fantasise 7 is my favourite. This is Uematsu paying tribute to American breaker rock bands of the 1960s, who had a huge shadowing in Japan. The intro is lifted directly from Line by The Chantays, a surf classic, and the track besides features elements from songs by bands such as The Ventures and The Surfaris.
The Landing (Final Fantasy 8)
This dramatic orchestral piece first plays as a fleet of SeeD snipe boats approaches Dollet Beach, one of Last Fantasize 8's most thrilling, cinematic moments. It opens with a solitary heartbeat, musically illustrating the of late gradual Squall's excitement (and, perhaps, anxiety) about embarking on his first real field of battle mission. This is one of Uematsu's most exciting compositions, but evening when he's going all-out, his skill with tonal pattern makes this much just Hollywood-dash musical organization makeweight. A rhythmic synth pattern occasionally accompanies the orchestra—reverberant that heartbeat from the track's initiative—which gives the arrangement a potent sense of urgency and tension.
Terra's Theme (Final Fantasy 6)
Of all the loads Uematsu has worked on, he reportedly considers Final Fantasy 6 to be his best work. He remembers crying at the game's launching party, realising how much of himself atomic number 2'd invested in the project. Terra's Theme is beyond any doubt the highlight of the soundtrack. This hugely atmospherical pick plays at single points, most prominently while exploring the world mapping in the number 1 half of the game. It perfectly evokes the tactual sensation of embarking on a dangerous and uncertain travel; part hope, part trepidation, and part wistful nostalgia for a spirit left behind. Musically, the track is very mindful of the western movie soundtracks composed by Ennio Morricone; peculiarly that synthesized flute.
Ended the Hill (Final Fantasize 9)
After the previous two Final Fantasize games, which drew inspiration from '80s graphical novels, cyberpunk, and sci-fi, Final Fantasy 9 saw Square Enix reverting to a more traditional swords-and-sorcery fantasise setting. This is echoic in Uematsu's score, which incorporates instruments and melodies with a mediaeval feel. But Over the Hill, the game's beautiful world map theme, mixes this with a by all odds more mod sound. The melody is a reprise of the game's main theme, Melodies of Life, and is accompanied by a reverb-oppressed, arpeggiated synth loop that pans slow from left to right, creating a wonderful sense of motion. IT sounds great through headphones. This blend of the old and the new works brilliantly, making every trip to the world map a cover.
Winged Angel (Net Fantasy 7)
Considered by many to be Uematsu's masterpiece, this imposing, swirling musical organization epic provides the soundtrack for Final Fantasy 7's finally chief battle. Uematsu aforementioned he wanted to combine "the musical styles of Country composer Igor Stravinsky and James Marshall Hendrix", which is a hell of a fusion. Merely rock and silver have forever been a big influence on Uematsu's music, so it makes perfect good sense. One-Wing-shaped Angel also features vocals, with a choir singing in Latin, which was a first for the serial. The lyrics describe villain Sephiroth "burning inside with violent anger" and his "large and empty fate", appropriately theatrical for the game's satellite-shaking final showdown.
Overture (Various)
Accordant to Uematsu, Final Fantasy creator Hironobu Sakaguchi gave him just 30 minutes to frame a last-little opening base for the primary 1987 game, and Prelude—straight off a mainstay of the series—was the lead. "I commend rushing to make it," Uematsu said. "I never dreamed the song would continue to be utilized." Prelude's aery arpeggiated melodic line is beautifully simple, and over the years has hit define the series. A version of it appears in every game, often at the beginning to set the mood, and I can't imagine Final Illusion without IT. Of the many variations Uematsu has composed over the years, his atmospheric Final Fantasy 7 musical arrangement is arguably the best.
Zanarkand (Final Fancy 10)
This sequel marked the first base time Uematsu collaborated with other composers on a Final Fantasy score. In that respect are some great non-Uematsu tracks along here, including Masashi Hamauzu's stunning Besaid Island theme. But IT's the masterful To Zanarkand, a lilting solo piano piece, that ultimately defines the game's soundtrack. Originally written by Uematsu for a flautist, the call was chosen by managing director Motomu Toriyama to accompany Final Fantasy 10's sombre intro sequence. In a cold hatchway we see our heroes sitting about a campfire in a ruined city, and even though it's unclear to brand-new players what has happened, the delicate sadness evoked by this pristine composition says it all.
Liberi Fatali (Final Fantasy 8)
This one soundless gives Pine Tree State goosebumps whenever I hear it. Liberi Fatali is one of Uematsu's most positive, skilled, and rousing compositions, written for Final Fantasy 8's stunning opening medium. It's a reigning, emotionally charged arrangement, reflecting the intense rivalry between Cuban sandwich Squall and his nemesis, Seifer. Like FF7's Winged Angel, the piece features a choir musical in Latin—although the chief lyric, 'fithos lusec wecos vinosec', is not Italic, just an anagram of 'succession of witches' and 'enjoy', the two main themes of Ultimate Fantasize 8. At the 2004 Olympics in Capital of Greece, the American synchronised tearful team up won a bronze laurel wreath performing to Liberi Fatali.
Main Theme (Final Fantasy 7)
This theme perfectly captures the drama, romance, and melancholy of the seventh Concluding Fantasy. A dark, downbeat intro sets the scene, then swells into the uplifting philia of the piece, with triumphant kettledrum rolls and a rousing synth plaque section. Then there's a sudden tonal shift into a sinister border district that recalls the darker aspects of the game, which finally transitions into a soaring finale. It takes you on as much of an emotional journey as the game itself and has endured as unmatchable of Uematsu's most memorable pieces of music. Also, the theme is built around a phrase containing a numerically appropriate major 7th interval, which is either Uematsu being adroit or a happy accident.
If it's set in space, Andy will probably write about it. He loves sci-fi, hazard games, taking screenshots, Pai Peaks, Weird sims, Strange: Closing off, and anything with a funny remark.
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