Final Fantasy XIII Soundtrack Analysis

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Final Fantasy XIII Soundtrack Analysis

by

Lucas Versantvoort

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To say that Final Fantasy XIII was – and still is – a controversial game for many is an understatement. The original score by Masashi Hamauzu was better received by gamers and critics, though I do feel it’s still unjustifiably underrated. It’s my intention to closely analyze the game’s music, particularly the use of leitmotifs and the way these enhance the score’s cohesiveness and narrative qualities. In doing so, I hope to show you that, yes, this score isn’t mere ‘elevator music’ as some have dubbed it, but a cohesive work worthy of admiration. In terms of leitmotifs at least, I’d say this score is probably the most cohesive in Final Fantasy’s long and celebrated musical history.

As I’m analyzing the music, I’ll write about the story as well. This isn’t just to quickly explain which track goes where, but to provide insight into why all the leitmotifs are placed where they are. It’s only through carefully examining a leitmotif’s relation to a scene that we can understand that leitmotif’s nature, the reason why it’s there. Obviously, this analysis will primarily appeal to those who have played the game, the score’s fans, but also to music enthusiasts in general, particularly those who enjoy leitmotif-centered scores like The Lord of the Rings trilogy.

            It’s only fair I warn you in advance about my relative lack of knowledge in the music theory department. I learned to read sheet music by myself oh-so many years ago, but I couldn’t give a lecture on music theory to save my life. I also have some difficulty differentiating between some instruments (so be patient with me on that front). I might refer to an instrument as a flute upon which you might find yourself rolling your eyes, saying it’s an alto flute. What’s important, however, is that you’ll never be in doubt as to what instrument I’m referring to. We’ll always be on the same page on that front.

You might say that my rather lackluster theoretical insight might make me a bit unfit for a grand musical analysis like the one you and I are about to embark on, but since I focus on leitmotifs, I think there’s less a need for, shall we say, a degree in music theory. Ask anyone on the street about a ritardando and you’ll probably be met with some confused looks. Ask anyone about melodies or themes and you’ll most likely be met with positive responses along with a generous peppering of whistling. It’s easier to identify leitmotifs than to judge the ways in which Beethoven broke with the past through his piano sonatas and so on. Analyzing leitmotifs requires above all a sharp ear, being able to both distinguish between multiple melodic lines and identify a leitmotif even when a variation or only a fragment is heard.

            There are a few risks with this kind of analysis. One, it’s easy to miss certain leitmotifs while listening. I can’t imagine the number of times I unlocked a track’s secrets only after listening to it again and again…and again. Two, there’s the danger of misidentification. I might think that melodic fragment X resembles leitmotif Y, but I might not be sure. The fragment might be too short to positively resemble a specific leitmotif. In that case, the resemblance could simply be the result of the composer’s way of writing making all his music sound ‘similar’ in the same way that you always ‘know’ when you’re listening to a John Williams score. Sometimes, a composer’s way of composing can make leitmotifs sound similar even if he did not intend it. This can have dire consequences for the unsuspecting analyst: one misidentification leads to a wrong conclusion which in turn affects the entire analysis and one’s understanding of the score as a whole. Of course, I’d rather present a perfect analysis where everything makes sense and so on, but that’s not going to work here and I’m not going to force the issue by forcing certain explanations onto specific melodic fragments just so there aren’t any loose ends. No, in the cases where I’m unsure about the nature of a certain fragment (which I hope to keep to a minimum), I’ll be sure to say so. Transparency is the name of the game.

            In the end, the amount of insight I’ve gained into Hamauzu’s score after I started analyzing it has given me great joy. I derived so much more pleasure from listening to it when I started realizing how well it’s put together. I hope my analysis will have a similar effect on you.

Note: I’ll use images of sheet music (created with MuseScore 2) to provide a visual reference for certain key themes. Please ignore any mistakes concerning the types of notes, measures and so on. It’s simply a tool to quickly get a grasp of the melodies when simultaneously listening to the score and to be more pleasing on the eye than descriptions like ‘A-D-C-B-A’. I’ll also include time notations in the running text, so you’ll know exactly what parts of a track I’m referring to. Doug Adams, author of the impressive The Lord of the Rings score analyses, could learn a thing or two from that…

Prelude

The first track to a score is always crucial as it sets the tone for what’s about to unfold. It accompanies the cinematic that precedes the game’s main menu. The track starts off very softly and seems to emerge out of nowhere. A motif is played by ‘feathery’ synth pads. We’re also introduced to a very important theme. Until the 1:16 mark, a motif (fig. 1) is heard underneath the horns, played by a piano or a bell-like synthesized sound. This motif is vital to my understanding of the score, because it is found in countless tracks, including Primarch Dysley, the track that accompanies the story’s eponymous antagonist. You can imagine that this realization irreversibly influenced the way I look at this theme. Every time I came across it, I automatically tried to link it back to Dysley. Let’s call this Dysley’s secondary theme for ease of reference. So, since this secondary theme is subtly present in the Prelude, we can assume that Hamauzu is already conveying Dysley’s enormous power over the world of Final Fantasy XIII and the way he influences things from behind the scenes. Expect this motif to return often.

At 0:43, French horns and militaristic percussion change the mood. A trumpet plays a great melody at 1:16 – C-G-E-F-D-A – after which the track grinds to a halt. Out of nowhere, the orchestra plays a stunning motif at 1:31 that can only be described as adventurous (fig. 2). It will only resurface once more in the entire score, but when it does, it will leave a lasting impact. The theme most likely has something to do with the main characters, Lightning, Snow, Hope, Vanille, Fang and Sazh, because they all appear in this cinematic precisely when this motif is introduced. It probably represents themes like friendship, teamwork, hope and so on, all the positive things that make it possible for our heroes to cling onto hope and defy their fates. Crucially, there’s an important reference to Vanille’s Theme, a character crucial to the story. The ‘adventurous’ theme goes from A to D and then down to at least F#. Vanille’s Theme goes from G to C and then down to E (fig. 3). Save for the difference in key, those progressions are exactly the same. The ‘adventurous’ theme is bookended (2:00) by a subtle reference to yet another crucial theme, a theme that I like to call the ‘determination’ theme: B-F#-G-E-D. Incidentally, this is another motif related to Vanille! (More on this later.) Not only is Hamauzu referring to the antagonist through what I consider to be his secondary theme, but he’s also anticipating Vanille’s importance to the story.

The Promise

After the preceding cinematic, the main menu appears and with it, Final Fantasy XIII’s main theme, The Promise (fig 4). Hamauzu will reference it many times throughout the score. It’s an overarching melody that, since it’s the main theme, symbolizes the game’s most important themes, defying fate and the keeping of promises.

The Thirteenth Day

In a sense, this is Hamauzu’s answer to Opening – Bombing Mission from Final Fantasy VII. Both tracks accompany the actual start of the game, right before the action kicks off. We see a view of the sky and pan to a barren wasteland in Cocoon. A fast-moving train approaches as we hear a young woman (Vanille) assume the role of narrator. The moment she starts talking, a piano is heard. We cut to the inside of the train and see several Purge deportees with their heads hanging in defeat. These shots are accompanied by nauseating synthetic effects which seem to simulate a drowning sound, not entirely inappropriate since these Purge victims are basically being sent to their deaths under the ruse of deportation. (I’m surprised the guard patrolling the train don’t have swastikas on their uniforms.) The track comes to a small climax as the game’s title appears.

This climax is the main difference between this track and the aforementioned Opening – Bombing Mission by Uematsu. VII’s wide shot of Midgar allowed for the main title to be accompanied by a heroic theme, but Hamauzu isn’t afforded such luxury. A heroic sound wouldn’t fit with the nature of scene and so he sticks with the synths.

Defiers of Fate

A guard enters to check the deportees. Further ahead two deportees, a man (Sazh) and a young woman (Lightning), are conversing and seem to be planning a revolt. As soon as the train rams through an electronic barrier, the guard is taken aback by the impact and the young woman wastes no time in incapacitating him and freeing the other deportees from their electronic shackles. The split-second Lightning springs into action, Defiers of Fate starts playing.

            As soon as the last PSICOM-guard on Lightning’s passenger car is defeated, the track incorporates the opening to Blinded By Light (0:20), making it clear that Lightning has won the battle up to this point and that she (and her musical theme) have taken control of the situation. When Lightning continues dispatching incoming PSICOM-guards, her real theme emerges at 0:32 (fig. 12), albeit not yet played by the violin, so characteristic to her theme, but by horns.

            The Purge train emerges from its mountainous tracks and, accompanied by a cymbal clash, enters the Hanging Edge. Lightning’s Theme is passed from the horns to the string section (0:56). PSICOM is still onto Lightning and the others however and sends small fighter jets after the train. As soon as these appear, rapid-fire trumpets take over the melody (1:04) to signal the arrival of the military. Lightning again has to take action. It’s important to note that the moment the train enters the Hanging Edge, various bell-like sounds are also heard throughout the track from that moment onward. These ethereal sounds are often heard in association with the supernatural fal’Cie and Primarch Dysley.

            Lightning’s Theme dominates, but what is likely a variation on Primarch Dysley makes a sneaky entrance at 1:19 (A-B-C-D-C-B-C-D-E) played by strings, signifying that the Purge is his doing. Speaking of Primarch Dysley (fig. 24), the brass seem to play the first four notes of the theme when Lightning’s Theme is reprised at 1:25 – 1:36. Pitting Lightning’s Theme and Primarch Dysley against each other is something Hamauzu will do with more panache in Eden Under Siege. Defiers of Fate combines its orchestral and electronic forces as it moves to a climax, which includes a short reprise of Lightning’s Theme (1:45 – 1:53).

Saber’s Edge

As Sazh slowly emerges from the train wreck, Lightning is already fit to fight the Warmech that has halted the train. This being the first boss battle (and the first fight of the game), Saber’s Edge introduces itself as Lightning strikes a battle pose and the battle begins.

            This is a complex, heavily orchestrated track. A percussion-dominated rhythm, not unlike the one heard in the opening to Blinded By Light, opens the track followed by Hamauzu’s impressionistic piano work. There’s a wealth of melodies, but none that I can identify as recurring anywhere else in the score.

The Hanging Edge

Lightning and Sazh are victorious. Sazh is exhausted and questions Lightning, but her mind seems to be elsewhere, though she does tell him she used to be a soldier. Tired, but realizing that his best bet to save his son Dajh is to stick with her, Sazh stands up and starts walking towards the Hanging Edge.

            At this point, the appropriately titled The Hanging Edge starts playing. Immediately noticeable is the fast-paced, rhythmic piano aided by light synth-sounds. The synths start rising in volume at 0:44 and at 1:06, the strings take over and play descending motif. At 1:45, as if out of nowhere, a striking violin solo plays a seemingly improvised melody in a very scratchy manner. Unfortunately, I couldn’t tell you whether these themes are linked to others or whether they’re just standalone melodies.

Those For the Purge

As the battle between the deportees and PISCOM ensues, Those For the Purge makes its ominous entrance. Like the title suggests, this track is related to the Purge deportees, the innocent, unwitting victims of a government hell-bent on protecting the ‘purity’ of Cocoon (for its own evil purposes).

The theme that dominates this track is one that diametrically opposes the wellbeing of the deportees: Primarch Dysley’s secondary theme (fig. 1). After the deep, ominous sounds of the celli and all kinds of unsettling synths, the secondary theme resurfaces at 0:14 (fig. 1). At 0:42, even Primarch Dysley’s true theme seems to appear, albeit a bit muddied, since Dysley is only present in an indirect manner, scheming behind the scenes. At 0:55, the bell-like sounds and synths reprise Dysley’s secondary theme, but this time it has increased in complexity. After a tense crescendo, variations on this theme appear at 1:29 in full force. You can also vaguely hear horns playing A-G-F-E-D-E-F-G-F-E-C-D from 1:57 onward, though I’m unsure if there’s a reference hidden in there. The G-F-E-D-E part does resemble the 7^th – 11^th notes of The Promise (fig. 4). In the end, Dysley and his music dominate this track, Hamauzu utilizing the secondary theme to suggest how his invisible hand is manipulating the proceedings.

 

The Warpath Home

The Warpath Home starts out like a mix between Those For the Purge and, interestingly enough, Prelude. It has that dark, dramatic sound of the celli heard in the previous track and the same rhythms and tempo as Prelude. Not all is well though, as bells softly play Dysley’s secondary theme. Primarch Dysley himself is heard commending the Purge volunteers through a propagandistic radio message, despite us seeing those same deportees now engaged in gunfire with PSICOM. The radio is crushed by Snow, a new main character and self-proclaimed hero attempting to guide the Purge victims through their ordeal. With the radio crushed, Dysley’s message is heard no more, hence the reason why Dysley’s secondary theme is at 0:21 almost entirely overpowered by…Snow’s Theme (fig. 5), played in heroic fashion by horns. Yet the overall feel is still dramatic, because Snow’s Theme played in the same key as Primarch Dysley and because Dysley’s secondary theme is still lingering very quietly in the background.

            It’s interesting that The Warpath Home refers so explicitly to Prelude. Story-wise, we’ve got Snow and the deportees versus PSICOM (aka the government), basically a microcosm of the entire story, the seemingly insignificant protagonists against insurmountable odds. The marching aspects of the track à la Prelude seem to symbolize our heroes’ steady struggle against the enemy while Dysley’s secondary theme reminds us of who’s actually orchestrating these tragic events.

            The remainder of the track basically consists of Snow’s music trying to drag us out of that minor Dysley key. After the tragedy of the events at the Hanging Edge is emphasized with a subtly dramatic theme at 1:20, Snow’s Theme arises quite naturally from this theme in a hopeful new key to keep everyone’s spirits up, so to speak. The slightly panicky orchestral section from right before 1:20 returns, but more calm and self-assured. Eventually, the track loops, returning us to the inescapable eeriness of Dysley’s secondary theme.

The Pulse Fal’Cie

Out of the blue, the Vestige housing the Pulse fal’Cie, Anima, enters the Hanging Edge. Despite not being aware of the other’s presence, both Snow and Lightning know that Serah, Snow’s fiancé, is trapped inside that Vestige. They’re intent on entering it, despite the danger of being turned into l’Cie.

The moment the Vestige enters the Hanging Edge, The Pulse Fal’Cie immediately makes it mark with its mysterious, ominous chords. The glistening sounds of bells and synths are prominently heard, reminding us of the ethereal nature of the supernatural fal’Cie. The music here is melodically and stylistically highly reminiscent of themes like Primarch Dysley and his secondary theme (fitting because Dysley is actually a fal’Cie as well). From 0:51 onward, the track climaxes and the strings play a descending motif (fig. 6) where the first five notes are a variation on 0:28 – 0:32, Lightning’s main motif, in Lightning’s Theme (fig. 12).

Face It Later

Hope is devastated after watching Snow being unable to save his mother. As Hope turns around, he sees Vanille, whose introduction is marked by a mysterious yet tender arpeggio. She comforts Hope and advises him to face his troubles later if things get too rough. Variations on the ‘determination’ theme, introduced in Prelude, appear from 0:04 – 0:14, 0:28 – 0:35 and 0:37 – 0:42. As for why I call it the ‘determination’ theme, it receives its biggest treatment in the climactic track Determination, when Vanille decides to stop ‘facing it later’ and ends up playing a crucial role in saving Cocoon. However, Vanille hasn’t reached that point yet, so Hamauzu presents ‘determination’ in a very fragmented way as a means of foreshadowing Vanille’s eventual importance.

Snow’s Theme

Snow is troubled by Nora’s dying request: get her son home. He doesn’t even know his name. Determined to save Serah, he prepares to take a motorbike to the Vestige upon which we’re officially introduced to Snow’s Theme (fig. 5). We heard this theme before in The Warpath Home, but now we’re treated to its true rock form, roaring electric guitars and all. Naturally, you’ll hear countless variations on and iterations of the theme itself. It’s a rocking tune that nicely conveys the badass sense of heroism Snow aspires to.

The Vestige

Snow arrives at the Vestige, while Hope and Vanille crash into it. They start exploring and are accompanied by The Vestige.

            The first thing we hear is a female voice singing a seductive melody very similar to Pas de Caractère from Tchaikovsky’s Sleeping Beauty. It’s the scene (in the Disney adaptation) where Maleficent lures Aurora towards the spindle. Consider the similarities between this scene from Sleeping Beauty and the Vestige. Both feature ‘objects’ (a spindle/fal’Cie) which have drastic consequences (eternal sleep/crystallization) for those who get too close. Given the similarities, you can imagine why I’m inclined to think Hamauzu deliberately offers the same motif from Sleeping Beauty as a subtle wink and a nod.

One could also compare The Vestige to the mythological concept of the ‘siren’. Sirens are sometimes depicted as winged creatures, thus being comparable with the Vestige which also has ‘wings’. Sirens are known to use alluring songs to lure visitors who have been shipwrecked. The female voice (in this analogy representing the fal’Cie Anima) has a relaxing timbre that seems to lure the player further inward and provide him with a false sense of security. The Vestige itself is basically a fortress filled with enemies, so there’s nothing relaxing about it, but the music puts you off-guard. Just like Maleficent wants Aurora to touch the spindle, so does the voice (Anima) want our heroes to come closer so it can turn them into l’Cie. Also interesting is the notion of the visitors being shipwrecked on the siren’s island. Vanille and Hope do not just visit the Vestige, they crash into it, rendering their vehicle/ship completely wrecked. I understand if all this might sound farfetched, but the similarities are there. For me at least, it adds an extra layer of depth to an already wonderful piece of music.

            The Vestige also features plenty of synths that add to the warm yet mysterious atmosphere and attempt to seduce the character further into the Vestige. Hamauzu himself said he “tried to use chords which could sound neither major nor minor” to prevent the mysterious mood from sounding overly heavy and tacky. From 0:28 onward, bell-like synths join the soundscape again, signifying that we’re closer than ever to these ethereal beings known as fal’Cie. From 1:27 – 1:43, a change occurs. The voice sings a new melody (fig. 7). Whether the melody itself is a subtle reference to the upcoming track, Ragnarok, I cannot say. But what’s especially interesting is the switch from B to Bb. There are similar progressions in Ragnarok (see, for instance, fig. 8). If this was intentional, it’s very clever, since Ragnarok, is the theme that plays when our heroes are branded by Anima. It’s the end destination here in the Vestige, so you could say Hamauzu is foreshadowing what’s about to happen.

            And now, most of the main characters are finally in one place. Everything’s coming together, for Dysley at least. Our heroes find Serah who manages to tell them to “save Cocoon” before suddenly turning to crystal. Anima opens the gates leading to its hall. They all enter, for their own reasons.

Ragnarok

The first big turning point of the story has arrived. Our heroes are turned into l’Cie by Anima. They float in a black nothingness, with Anima revealing its true form. Several church bells are attached to Anima, further evidence that bells and similar synth-sounds are associated with the fal’Cie. After Anima turns the cast into l’Cie, a massive shockwave sends the Hanging Edge crashing towards Lake Bresha. The Vestige hits Lake Bresha and Anima sends out one final shockwave, crystallizing everything in its path.

            Ragnarok plays during this entire scene, lending a strangely religious feel to the proceedings. Our heroes have a premonition about their Focus, glimpses of the creature Ragnarok and Cocoon’s destruction. The choral music amplifies the feeling of a prophecy being foretold. A female choir enters, singing a long melody, the most recognizable aspects of which are the first three notes (fig. 8). At 1:05 the music grows more dissonant and threatening. A male choir joins the fray. At 1:52, the track loops, but with the addition of some magnificent use of counterpoint.

We’ve already seen how bell-like sounds are associated with the fal’Cie. This track introduces an organ too. We’ll come across this instrument again in The Cradle Will Fall, when our heroes enter the fal’Cie’s final dungeon. The organ supports the choir in a very droning, dissonant manner, adding a feeling of unease to the mystical proceedings. Compare this version with the one ‘sans pipe organ’ to see how much it adds to the mood.

In Prelude, I spoke of a melodic connection between the ‘adventurous’ theme and Vanille’s Theme. I’d like to offer a similar connection between the latter and Ragnarok as well, because both melodies quickly ascend to C and then descend all the way to E (fig. 3 and 8). They both even linger on A. If all this is intentional on Hamauzu’s part, he could be foreshadowing Vanille (and Fang) summoning Ragnarok in the final act, just like how the link between Vanille’s Theme and the ‘determination’ theme foreshadows the same thing.

            In The Vestige, I mentioned that both that track and Ragnarok switch between B and Bb. It just so happens that Ragnarok and Primarch Dysley share that quality as well. Ragnarok alternates between B and Bb at 0:31, 1:08, 1:36, 2:17 – 2:27 and so on. At 1:18 – 1:33 in Primarch Dysley, Dysley’s theme is played by the celli and includes a B after which the theme is repeated by horns and the B becomes a Bb (fig. 26). It’s through similarities like these that Hamauzu establishes a musical connection between Ragnarok and Dysley which makes sense since Dysley needs Ragnarok to destroy Cocoon so that the Maker may return.

 

In the Sky That Night

After this dramatic turning point, the game suddenly flashes back to a more peaceful time. We are now in the Seaside City of Bodhum on the eve of a fireworks festival. It’s the 11^th day, two days prior to the events at the Hanging Edge. Snow is searching for Serah and intends to propose to her. The track starts up immediately, offering a bouncy, happy-go-lucky version of The Promise. Throughout the game, we’ll occasionally revisit this scene from a different character’s perspective. The scene is thus something of a jumping-off point for the story, the one last time everyone’s at peace, watching the fireworks, which makes the use of The Promise rather appropriate.

Promised Eternity

This track starts playing the moment Snow finds Serah, who’s making a wish. She’s distressed about her fate as a l’Cie. Snow tries to comfort her, saying that she will never turn into a Cie’th. The melancholy piano theme at 0:33 (fig. 9) keeps returning and is preceded by G-C-G from 0:40 onward which, interestingly enough, is reminiscent of the opening to Snow’s Theme (fig. 5). Snow is still unable to reach out to Serah which is reflected in his theme’s unsuccessful attempts to assert itself. However, hopeful sounding strings appear (1:07) and try to pull the piano out of its melancholy mood, just as Snow tries to pull Serah out of hers. Around 1:30, the music gets even more worked up, the piano played more forcefully, when Snow shows Serah the necklace he bought for the both of them.

            When Snow proposes and Serah agrees, the strings play in a determined, steady rhythm slightly reminiscent of the undulating strings from 1:04 in The Promise, while the piano plays a slower version of Promised Eternity (1:42). The piano/strings combo rises towards a climax, giving off an unshakeable feeling of hope and determination, with Serah’s fear of becoming a l’Cie now (temporarily) off her mind.

Eternal Love

Note: while Eternal Love plays in the Eastern version of the game, Serah’s Theme plays in the Western version. Snow and Serah, at the peak of happiness, casually ride into the transparent dome housing the fireworks. Eternal Love plays. It’s mostly a standalone song, though I do think it shares some melodic similarities with The Promise which, incidentally, doubles as Serah’s Theme. The melody bears a striking resemblance to The Promise, when we reach the chorus at 1:28 (fig. 10). As you can see, the chorus is exactly the 6^th – 11^th notes of The Promise (fig. 4), except here it’s a whole tone higher.

 Lake Bresha

Back in the present, Lightning and the rest wake up on the now crystallized Lake Bresha. Everyone reacts differently to their predicament. They discuss their Focus, but realize they’re grasping at straws. They stumble onto the crystallized Serah. Snow stays behind and tries to dig her out, while the rest decide it’s safer to move on as PSICOM’s in hot pursuit. As they journey ever onward, their icy surroundings are encapsulated in Lake Bresha.

            The key thing to note here is that the rapid melody heard at 0:06 (fig. 11) is actually Dysley’s secondary theme (fig. 1). We’ve heard this theme several times now and it’s always been associated with Dysley. Naturally, I have a theory to explain its presence in Lake Bresha. It has already been established that Dysley had a hand in the events at the Hanging Edge. He’s been silently watching, guiding our party, secretly exerting an influence over the proceedings. His secondary theme hints at his invisible hand guiding the events. When the cast eventually reaches the ruins in Lake Bresha, we see some kind of owl watching them. Later in the story, when the cast comes face to face with Dysley, the owl appears again and it’s made clear that Dysley has been keeping an eye on them through this owl. The owl is our first real hint that someone’s keeping an eye on our heroes. Hamauzu thus includes Dysley’s secondary theme in Lake Bresha to subtly hint at who’s really responsible for the current state of affairs.

The Pulse L’Cie

As Lightning and the others find their way through the frozen lake, they stop to temporarily spy on a PSICOM airship and philosophize about their being l’Cie and why people see them as a threat.

            During all this, The Pulse L’Cie plays in the background. It’s only played in the current scene, with the cast watching PSICOM searching for Purge survivors. I couldn’t find any leitmotifs in this atmospheric track, but I do think it shares some stylistic similarities with Those For the Purge, another track focused entirely on the Purge deportees at the Hanging Edge. PSICOM was hunting Purge deportees at the Hanging Edge and now it’s doing the same at Lake Bresha, so the tonal similarities between the two tracks make sense.

Eidolons

We cut back to Snow who’s still trying to dig Serah out of the ice. He’s attacked and cornered by PSICOM, but in his desperation unwillingly summons an Eidolon, the Shiva sisters. His eventual victory is a Pyrrhic one and he finds himself utterly exhausted. A mysterious woman, Fang, has him and the crystallized Serah taken on board the Cavalry’s ship, the Lindblum.

Although the track doesn’t accompany every battle against the Eidolons, it can be seen to represent them simply due to the title. The main feeling of the track is one of raw, ancient power. The music is propulsive and, like the Eidolons themselves, takes no prisoners. In terms of motifs, I can only speculate. The opening basically consists of an ostinato, although it’s hard to make out the exact melody. The reason I’m inclined to think so is because the other track that plays during battles with Eidolons, Test of the L’Cie, also has an undulating section right at the start which is a reference to 1:04 of The Promise.

Blinded By Light

Final Fantasy XIII’s normal battle theme, although there’s nothing ‘normal’ about this one. This is the instant fan-favorite – also known as Flash – that has since been labeled by many as one of the best battle themes in Final Fantasy history, justifiably so in my opinion.

            Just like Defiers of Fate, where Blinded By Light made its first appearance, this frantically paced track is very synth- and rock-oriented. It opens with a ‘flash’ just like its alternate title says. At the same time, the three descending notes first heard in Defiers of Fate (a track also centered around Lightning) form the foundation of the track. At 0:12 Lightning’s Theme emerges played by horns. At 0:24 the track starts showing the same rock vibe as Defiers of Fate. At 0:35, Blinded By Light’s main melody appears, played by violin. It’s an instantly recognizable tune and it’s the point where the track kicks into high gear. The violin dominates the track, while the many rock-sounds and synths keep the pace high.

            There are three key themes in this track: Lightning’s Theme on horns at 0:12 (fig. 12), the battle theme on the violin at 0:35 (fig. 13) and another violin melody from 0:53 onward (fig. 14). Obviously, we’ll hear these themes again in Lightning’s Theme and many other tracks.

Glory’s Fanfare

The quick victory theme that plays when the player has won a ‘regular’ battle. I’ve got nothing to say here in terms of leitmotifs, but I do want to take this opportunity to touch upon a complaint I’ve come across multiple times, namely that the usual victory fanfare by Nobuo Uematsu is absent. I’ve got two things to say in Glory’s Fanfare’s defense. One, it has the same ‘sound’ as Blinded By Light, a similar synth-, rock- and violin-oriented sound which ensures that the fanfare doesn’t feel out of place. If the classic fanfare would play right after the frenetic Blinded By Light, it would sound off due the difference in style and mood. Two, the fact that it isn’t really memorable works to its advantage, because you’ll finish most fights in mere seconds. If the victory fanfare was an expansive catchy tune, you’d grow tired of it pretty quickly. Instead, Glory’s Fanfare offers a quick, dashing Blinded By Light-esque finish to one fight before you head to the next.

Battle Results

The music that plays when the battle results are shown. A piano plays variations on 0:30 – 0:43 from The Promise, when the synthesized female voice pops up at 0:27 (fig. 15).

A Brief Respite

This piece is associated with Vanille, because it has up to this point appeared when Vanille finds her weapon in the Vestige and when she finds the airship in the ruins of Lake Bresha. So whenever Vanille’s bubbly and optimistic side takes center stage, even if only for a moment, A Brief Respite appears to accompany the shift in mood. The piece has the same up-and-down style as the other themes associated with Vanille, Vanille’s theme and the ‘determination’ theme. However, A Brief Respite focuses solely on Vanille’s optimistic side, so the mood is more frivolous.

Cavalry Theme

We’ve heard this piece before, when Snow was taken aboard the Lindblum in Lake Bresha. It’s a march for the Guardian Corps, the Lindblum and its captain Cid Raines who will appear later. Guardian Corps’s primary function is to preserve the peace in Cocoon, so the theme itself has an appropriately militaristic sound. It begins with (what else?) a steady rhythm. A cymbal clash occupies the soundscape at 0:27 after which the strings play a rising melody until a trumpet at 0:36 plays a four-note fanfare, after which you’ve got strings and winds playing various ‘descending’ melodies, though I wouldn’t know if Hamauzu is referencing anything specific here.

Escape

After Snow gets taken aboard the Lindblum, we cut back to Lightning and the others who’ve taken command of the lone airship (left by Dysley) sitting amidst the ruins of Lake Bresha. As they take off, Hamauzu starts the cue using a rising motif to simulate the act of flight. PSICOM, however, is hot on their trail.

            Hamauzu scatters little references to The Promise throughout Escape that desperately try to rise above the rampaging orchestra, just like our heroes desperately try to evade their captors. The first one is heard at 0:26 as trumpets play the main theme’s first five notes. There’s also a prominent theme played by strings at 0:33, but I’m not sure if it’s a reference. To me, it resembles the Dysley-esque theme heard at 1:19 in Defiers of Fate.

            Lightning’s Theme bursts forth victoriously at 1:07 as the group flies into the open skies of Cocoon and momentarily evade their pursuers. But Sazh hasn’t gotten rid of his pursuers yet, so at 1:14 the track returns to full speed. Horns start playing a variation on Lightning’s Theme with a frantic string and percussion section providing dissonant support. At 1:22 and 1:26 the trumpets return to repeat those same five notes from The Promise.

Crash Landing

A timpani strike signals the arrival of the PSICOM airships who are still on the trail of the party. Horns play a dissonant variation on Lightning’s Theme. A huge cymbal clash halts the music after which another enormous cymbal clash (0:14 – 0:16) signals the appearance of a floating fal’Cie in the sky. Now the horns repeat a ‘falling’ passage as strings reprise the opening notes of The Promise at 0:23.

            The group is fascinated by the sight, but another heavy timpani hit (0:27) brings the team into focus again as PSICOM closes in. Strings, horns, flutes and trumpets and percussion all join forces to create a cacophony of sound. Our group’s airship is shot down and crashes into…

Daddy’s Got The Blues

…the Vile Peaks. The airship is wrecked and our heroes have trouble deciding what to do next. Lightning moves on, with Hope trying to keep up, while Sazh and Vanille form their own little group. As Sazh struggles to wrap his head around the situation, Daddy’s Got The Blues appears to accompany his bluesy mood.

            It’s hard to analyze Daddy’s Got The Blues in terms of thematic cohesion due to its jazzy nature. I can’t identify any recurring themes. There’s the likely possibility Hamauzu, together with his guitarist friend Toru Tabei, snuck a reference or two in here, but it could also just be pure jazz.

The Vile Peaks

Needless to say, this track accompanies the group’s travels through the Vile Peaks. To fully grasp the intricacies of this track, we need to pay attention to the area’s background information. A datalog entry tells us that the Vile Peaks consists of piles of rubble, leftovers from when the Cocoon fal’Cie carried junk from Pulse to repair Cocoon after the War of Transgression. All the machines that inhabit the Vile Peaks are also from Pulse. So, the Vile Peaks are basically littered with the remains of Pulsian civilization. With this information, we can begin to see how the music is a reflection of Pulsian culture. This is reflected in the ‘mechanical’ beats, the ‘talking’, the male choir and the whistling. Let’s take a look.

Consider the beat that drives the track forward. It has a very mechanical and tribal feel. This corresponds with the mechanical nature of the Vile Peaks, what with all the broken electronic equipment and devices lying around. The tribal aspect reminds us that all this belonged to an ancient Pulsian civilization.

            The aforementioned ‘talking’ is heard at the beginning and other times as well. This talking adds to the tribal nature of this track; it echoes a distant past when ancient people made use of all the equipment now reduced to rubble.

Another notable aspect is the occasional whistling, first heard at 0:21. Like the talking (another human action), the whistling echoes past civilization, the remnants of which are scattered here on the Vile Peaks.

            Finally, there’s the male choir at 1:09 performs a similar function to the talking. As the choir’s chanting echoes across the far reaches of the Vile Peaks, I couldn’t help but imagine the ancient people of Pulse living among what is now merely rubble. Interestingly, Hamauzu is not the sole creator of this track as Mitsuto Suzuki arranged it. You may recognize this choir sample from Yuki Kajiura’s score to the anime Noir (2001), specifically a track called Les Soldats. Both Hamauzu and Suzuki have used it in previous assignments: Suzuki in Into the Babel on The 3^rd Birthday OST (2010), Hamauzu in Trigger Situation on the Dirge of Cerberus OST (2006).

            I think Hamauzu again makes a few small references to The Promise. First of all, there’s the wind instrument at 1:43 which—unless my ears deceive me—plays the following: D-Eb-D-C-Bb, which is the opening of the The Promise (although this one might be a bit farfetched). Secondly, consider the choir sample. When comparing Kajiura’s ‘Les Soldats’ with Hamauzu’s The Vile Peaks, you’ll notice there is a slight difference at the end of the choir part in The Vile Peaks (2:20). Whereas Les Soldats goes from F# to F and stops there, Hamauzu does something more, he includes four descending notes: D-C#-B-A. This is a key difference and leads me to believe that it’s a deliberate reference to the 2^nd – 5^th notes from The Promise. I’d label it a coincidence if it weren’t for the piano playing exactly the same notes at the same time as the choir.

Lightning’s Theme

Lightning, Hope, Sazh and Vanille eventually regroup. Lightning states she’s intent on taking the fight to Eden, the fal’Cie that keeps Cocoon afloat. It’s at this moment that Lightning’s Theme makes its entrance.

            The key thing here is that the track is divided into two parts: the first half is devoted to Lightning’s theme itself and emphasizes her warm interior; the second half focuses on the determined, cold exterior, the ‘soldier’ she’s turned herself into, hence the incorporation of the battle theme, Blinded By Light.

            After a passionate flourish by strings and a mood-setting opening by solo piano, the main identity of Lightning’s Theme is played by piano (fig. 12). Then, after some variations on this theme, we transition into the ‘Blinded By Light’ section (fig. 13). It’s a straightforward adaptation of the battle theme for a piano and a string ensemble. At 1:44, we come across what seems to be a secondary theme for Lightning (fig. 14). We’ve already come across this theme at 0:53 in Blinded By Light. Rather than end with the battle theme, Hamauzu transitions back to the more personal opening and ends the piece on one of his characteristically dense chords.

Sazh’s Theme

Like Daddy’s Got The Blues before it, Sazh’s Theme and the few other jazzy tracks are hard to analyze in terms of leitmotifs precisely due to their jazzy nature. In terms of themes, there’s only one I can find. It opens the track and is repeated throughout: D-A-G-F-D-A-G-G-F, though I doubt it’s repeated anywhere else in the score.

March of the Dreadnoughts

The imposing title belies this track’s happy-go-lucky nature. It accompanies the rather playful scene where Hope controls a Dreadnought in the Vile Peaks to clear the way for him and Lightning.

The main melody is quite memorable (fig. 16). Although I doubt it’s a variation on either Hope’s Theme or Lightning’s Theme, I can’t help but think the main melody (E-C-D-C-E-C) is a tiny variation on Blinded By Light which has the same structure: E-A-B-A-E-A-B-A (fig. 13). If this is intentional, I’d say we could link it back to the story: Hope’s lagging behind Lightning. He doesn’t want to be a burden, but wants to be help. Even though Lightning forbids him from mounting the Dreadnought, he does it anyway and successfully clears the way for them. It’s the first time he’s inspired to do something useful instead of just being dead weight. In this sense, the main melody could be Blinded By Light à la Hope. Blinded By Light is a theme of action and now that Hope’s propelled to act, the melody adapts itself to the young Hope’s sensibilities.

On a side note, there’s also a lushly orchestrated reference to Lightning’s secondary theme (fig. 14) at 1:57: D-E-C-D-E and so on.

The Gapra Whitewood

the music accompanying the eponymous Gapra Whitewood, a showcase for Hamauzu’s knack for ambience if there ever was one. As for leitmotifs, I haven’t been able to discover any references.

Tension in the Air

This is one of two tracks (the other being Desperate Struggle) that were arranged by Final Fantasy X co-composer Junya Nakano. This being a Nakano track, it consists mostly of ambient soundscapes and rhythms. One need only listen to some of his work on FF X to realize this is his forté.

Nevertheless, I do think I’ve spotted a very subtle reference, although it’s difficult to hear. Starting at 2:19, underneath all the rhythms, a horn-like melody is heard sounding very much like a variation on the ‘determination’ theme. Here it sounds like something along the lines of: C-G-F-G-Eb-Bb-Ab-Bb-Ab-Gb-Db-Eb-Cb-Db-Bb-F. This seems to then be repeated by synths at 2:35. The progressions are quite similar, but since the ‘determination’ theme is mostly associated with Vanille, I’m a little curious as to why it’s referenced here, assuming it is in fact a reference…

Forever Fugitives

This standout track accompanies the scene showing Snow trying to escape with Serah in Bodhum. At first, there’s only some percussion plus a repeating string melody. It’s important to note that the percussion section again includes bell-like sounds to signify the scene’s connection to the fal’Cie, in this case, Anima. Also of note is the undulating string melody (Ab-Bb-C-Bb-Ab-Bb-C) that opens the track, sounding very much like the ‘repeating’ section at 1:04 in The Promise.

            As Snow and Serah steal a motorcycle and take off, variations on both Snow’s Theme (0:16) and Lightning’s Theme (0:23) are played. This variation on Lightning’s Theme is particularly interesting in that the fifth note is played a semi-tone higher: C-F-Bb-Eb-D-C. Normally that D would be Db, but this change lends the theme a more action-oriented, dramatic sound.

            0:30 is one of the score’s standout moments. There’s a wonderful meld of Snow’s Theme and The Promise/Serah’s Theme with the former played by heroic horns (suited to Snow) and the latter by passionate strings (suited to Serah). In just ten seconds, Hamauzu perfectly sums up Snow and Serah’s struggle to escape.

            The percussion becomes a more dominant presence in the next section as the chase becomes more desperate. The Promise/Serah’s Theme is again played by solo trumpet (0:43) and followed up by Snow’s Theme on horns (0:52). A variation on The Promise is played by strings at 1:01. This variation is then repeated, with fragments of Snow’s Theme on horns playing underneath.

            As Serah is about to be swallowed by Anima’s Vestige, a dramatic melody appears, G-Ab-Eb, underscoring this tense moment. At 1:23, Snow’s Theme is played solemnly by a single horn and accompanied by the urgent G-Ab-Eb theme on strings to show he has failed to protect Serah. A final rumble from the timpani underscores Snow and his motorcycle crashing to the ground.

The Sunleth Waterscape

This upbeat track plays when Vanille and Sazh are crossing the Sunleth Waterscape. It’s basically a vocal version of The Promise except it’s more pop-oriented due to the beats and synths. It has a very bubbly, rich feel to it, resulting in an experience that’s easy on the ears…which is what Vanille would want. The track is most easily associated with her, because you control her during this part and she, of course, wants to keep the mood happy and outgoing. There are no motifs or sounds associated with fal’Cie here; no bells, triangles and other such sounds. All the bad thoughts are blocked out in ‘The Promise à la Vanille’.

Lost Hope

Lost Hope is another great piece of underscoring. It plays when Lightning and Hope sneak into his hometown of Palumpolum via the Nutriculture Complex underneath the town. They stumble upon Carbuncle, a Cocoon fal’Cie. They discuss the nature of the Sanctum fal’Cie – how they ‘protect us, nurture us’ and their own role in Cocoon, ‘we’re just leeches, parasites.’ The music is eerie and ambient and consists mainly of synths, all sounds signifying the unearthly fal’Cie. Starting at 0:15, the first three notes of Ragnarok appear above the synths played by strings, twice as A-C-B and twice as C-E-D. The alternating between B and Bb heard in Ragnarok and Primarch Dysley is also heard here at 1:35 – 1:46 (fig. 17).

            Eventually, Hope states that in fal’Cie eyes, humans are like pets. This causes Lightning to have a revelation about her own rash behavior since she became a l’Cie. She also realizes that she’s dragged Hope along with her. The appearance of a harp at 0:40 signifies the change in atmosphere. Seconds later, a fragment of Lightning’s Theme is played by a lone oboe, perfectly underscoring Lightning’s revelation. What’s interesting about this rendition is that the previous three notes from Ragnarok (A-C-B) are added to Lightning’s Theme. So what you get is: D-G-F-E-A-C-B (fig. 18). As to why Ragnarok is referenced in this track, I think it doesn’t so much reference Ragnarok itself as what it represents to our heroes: their Focus, their lives as l’Cie. Lightning tells Hope that the ‘goals’ she set for herself since becoming a l’Cie were the result of not thinking things through. The inclusion of Ragnarok thus marks a shift in Lightning’s way of thinking about her past actions and future goals. As Lightning verbalizes all her newfound revelations, the music consists of violins repeating a variation on Lightning’s Theme and strings zigzagging between the notes from Ragnarok: A-B-C-B-A-B-C-B-A.

            Lightning realizes she has to convince Hope to give up his quest for revenge, because this ‘plan’ was essentially borne out of her suicidal tendencies. As Lightning turns her attention to Hope, knowing how he’ll probably react, the eerie synths from the track’s opening return (1:34) while a lonely flute plays the theme with the aforementioned alternating between B and Bb (fig. 17). A ‘confused’, undulating harp is heard in the background. Now, Hamauzu amps up the drama: the theme keeps rising and rising with more sections of the orchestra joining in. As Lightning tells Hope that “Operation Nora is over”, the music reaches a dramatic peak.

            As Hope’s sense of purpose is crushed, the piece comes to a close with the same depressing theme we’ll hear later in All the World Against Us – a descending four-note melody: A-G-F-Eb. The eerie synths return to bring the track to an ambiguous close. Despite Lightning’s best efforts, the music tells us Hope is still bothered by having the rug swept from under his life a second time.

To Hunt L’Cie

Lightning and Hope are surrounded by PSICOM. It begins with brooding strings and an ominous horn melody: C-C#-G#. There’s a repeating four-note motif for strings (A-B-C-D), which might very well be a reference to the opening to Primarch Dysley (fig. 24).

            At 1:02, Snow and Fang show up to save the day and the music becomes more action-oriented. If the rhythm sounds familiar, that’s because it’s the very same rhythm heard in Forever Fugitives when Snow tried to rescue Serah. It includes the same statements of Snow’s Theme and Lightning’s Theme by horns and trumpets. At 1:30, we hear a very important theme not heard since Face It Later. It’s a short variation on the ‘determination’ theme (fig. 19).

            At 1:36 after another climax, the rhythm changes again. The strings and brass take center stage and Lightning’s Theme is stated with ever-increasing force, indicating our heroes have gained the upper hand. At 2:11 all the instruments disappear except for the PSICOM-esque percussion that ends the piece quite violently.

No Way to Live

Hope and Snow make their way through Palumpolum. Realizing PSICOM is on their way, Snow scares away an angry mob to protect not only himself and Hope, but also the mob, since they would be caught in the crossfire. The music emphasizes Snow’s heroics. The style is similar to Snow’s Theme with its emphasis on rock and Snow’s Theme itself appears at 0:32 on horns. Nevertheless, the rock tone is considerably darker and there are eerie synths and metallic percussion, not to mention the dramatic brassy theme at 1:00. This darkening of Snow’s Theme emphasizes Snow’s conflicting feelings about his actions: in order to be ‘the hero’ and save the people, he has to scare them away.

Sustained by Hate

This track is associated with two scenes: when Hope attempts to kill Snow and later when Snow apologizes to Hope. Snow rescues Hope despite almost being killed by him. After carrying him to safety, he gives him the knife back while apologizing. Hope knows this is his chance for revenge, but decides that Operation Nora is over.

            Sustained by Hate underscores the emotional culmination of Hope’s character arc. It’s an orchestrated version of Hope’s Theme. The key is different as well, Hamauzu giving preference to the dramatic key of A Natural Minor.

            A climax occurs around 1:50. This plays around the time Hope has a chance to kill Snow. There is silence. A Dysley-esque theme is played: A-B-C-D-C-B-A. If we assume that this theme is in fact related to Dysley, then its presence here might be explained as follows: angry, desperate l’Cie who have lost faith and succumb to emotions make for l’Cie who will turn into Ragnarok which is of course what Dysley wants. It makes sense that the aforementioned theme would play when Hope is on the verge of giving in to his rage.

            Then again, this theme also plays later when Hope has forgiven Snow, but reminds him that all the apologies in the world won’t bring his mother back. In this context, the Dysley-connection falls apart which makes this particular theme a bit tricky to analyze.

The Pulse L’Cie

This is played during the flashback where we see Fang and Vanille having just awakened from their crystal stasis in the Euride Gorge Energy Plant. Vanille wants to forget all about their Focus, but Fang – knowing it will only result in their turning Cie’th – disagrees and has Vanille escape while she distracts the guards.

            The Pulse L’Cie is a more restrained version of Fang’s Theme. It starts with a similar upbeat orchestral rhythm while the piano plays melodies also heard at the beginning of Fang’s Theme. Fang’s Theme itself appears at 0:35, D-A-G-F-E-D (fig. 32).

            At 1:42, the orchestral rhythm disappears and the Primarch Dysley-esque melody previously heard in Sustained by Hate appears: A-B-C-D-C-B-A. The inclusion of this melody makes sense, since Dysley is very much bound to Fang and Vanille and the others, trying to force them to summon Ragnarok. This is immediately followed up by another theme reminiscent of Primarch Dysley: A-B-C-D-C-B-C-D-E. The last time we heard this exact theme was all the way back in Defiers of Fate at 1:19.

            At 1:59 a short unfinished version of the ‘determination’ theme is heard, played solemnly by horns. At 2:24 another melody is played by celli: C-D-Eb-Bb-Ab-Gb-E. It’s those last four characteristic, whole steps which remind me of All the World Against Us.

            As with so many other tracks, this one also contains many ‘fal’Cie’-esque, bell-like sounds to emphasize the scene’s connection to the fal’Cie, Vanille and Fang’s disagreement over what to do about their Focus.

Serah’s Theme

This piece is heard in several scenes: during the fireworks festival with Snow and Serah on the 11^th day, when Serah tells Snow she is a l’Cie and shows her brand, during the compilation of all flashbacks of the 11^th day before the cast leaves for Gran Pulse and so on.

            Serah’s Theme is important, not only because it’s the only character theme to have lyrics, but because it’s the only character theme completely based on the main theme, The Promise (fig. 4). This emphasizes Serah’s symbolic importance to the story and characters.

Can’t Catch a Break

After walking through the Sunleth Waterscape for a while, Sazh and Vanille stumble upon two creatures, Enki and Enlil. This is the track that plays during the ensuing battle. Again, my expertise on jazz is pretty much non-existent, so to my knowledge, there aren’t any themes being reprised here. It’s the last of three tracks devoted to Sazh (Daddy’s Got the Blues and Sazh’s Theme), so naturally it has the same jazzy qualities.

            It’s interesting for this to be a battle theme, since it is quite upbeat. It makes sense though, since Vanille and Sazh are pretty much trying to survive without worrying about their Focus. They’re desperately trying to replace the crushing weight of their Focus with thoughts of sunshine and rainbows. This is reflected in the fact that this track is heard even during battles.

PSICOM

Chronologically speaking, we’ve heard this track before many of the previous ones, during the cutscene showing PSICOM troops landing in Palumpolum. It shares many similarities with Cavalry Theme. It has a militaristic feel and utilizes many of the same instruments. They also share a similar fanfare which makes sense, since Guardian Corps and PSICOM are the two great military forces on Cocoon. However, there are some subtle differences. The opening drum marches differs slightly. The percussion here is heavier, since PSICOM has heavier weaponry than Guardian Corps. Finally, the brass fanfare is busier in PSICOM. Whereas in Cavalry Theme the four-note fanfare was played cleanly by trumpet, the fanfare here is more complex, resulting in a ‘messier’ sound.

            Overall, PSICOM is the more ‘down and dirty’ track, more aggressive and oppressive than Cavalry Theme for several reasons. Commander Cid Raines of the Guardian Corps is eventually (in the Fifth Ark) revealed to be one of the ‘good guys’, at least from a moral and symbolic standpoint. PSICOM on the other hand does nothing but oppose you throughout the game. This is also reflected in their uniforms. Designer Nao Ikeda designed the Guardian Corps’ uniforms to feature more color than PSICOM soldiers whose uniforms are mainly black. Also, when Fang and Snow rescue Lightning and Hope in Palumpolum, several Corps members object to PSICOM commander Yaag Rosch’s methods, saying that citizens could be harmed in the crossfire. Rosch responds that dead l’Cie are the only things that matter. In short, PSICOM is more aggressive and it shows in their music.

Hope’s Theme

This is Hope’s true theme (fig. 20). After hearing it in its orchestrated form in Sustained by Hate, here it’s a simple piece for acoustic guitar. It’s a calm piece (reflecting Hope’s innocence), but also a vulnerable one (reflecting his emotional turmoil throughout much of the story). The Dysley-esque theme mentioned in Sustained by Hate and The Pulse L’Cie is also heard at 1:08 – 1:18 albeit in another key: B-C#-D-E-D-C#-B.

This Is Your Home

The background track for the Estheim residence. It’s essentially a minimalistic, slower version of Hope’s Theme. The theme has become more mellow and soothing now that Hope has finally made it back home.

Atonement

The appropriately titled Atonement is heard when Snow rescues Hope and apologizes to him. Although Sustained by Hate plays when Hope tries to kill Snow and when they talk later while Snow is carrying him on his back, Atonement aptly plays between those scenes – when Snow carries an unconscious Hope to safety, symbolizing his willingness to atone. He couldn’t save Nora when she fell, but he does save Hope from a similar fate.

            Atonement is to Snow’s Theme what Sustained by Hate is to Hope’s Theme, meaning it’s basically an orchestral version of Snow’s Theme (fig. 5). The first minute centers on a tender descending melody: G-F-E-D, a theme which proceeds to take off in several directions every time it’s played.

            A melancholy orchestral statement of Snow’s Theme appears at 1:09 with another part of the string section written in counterpoint. From around 2:26 and onward, the descending motif returns, while the counterpoint-melody is further developed with a violin. At 3:01, the descending motif disappears as statements of Snow’s Theme return played by strings. Around 3:17, both the violin and the string section cease to play ‘against each other’ and play Snow’s Theme together in unison.

Vanille’s Theme

Oerba Dia Vanille’s leitmotif is heard quite a few times: when she and Sazh are in the Vile Peaks, when they enter the Sunleth Waterscape and so on. The melody is similar to, say, Hope and Lightning’s themes in the sense that it highlights different facets of her character. Where Lightning’s Theme showed both Lightning’s warm and cold side and Hope’s Theme displayed both Hope’s innocence and melancholy, Vanille’s Theme shows both her ‘smiles-and-sunshine’ side and all the burdens she’s shouldering, her desperate attempts at evading all the misery she’s caused. Despite the happy, bouncy nature of the piano, there’s unmistakably an underlying feeling of melancholy present.

            This struggle between light and dark is reflected in the subtle reference to Ragnarok. The melody starts hopeful with its happy rise from G to C, but then it slowly drags itself down all the way to E (fig. 3). This part is almost identical to Ragnarok (fig. 8), even in the way it lingers on A. As I said earlier, it seems that Hamauzu is foreshadowing her eventual transformation into Ragnarok, especially since Vanille’s Theme and Ragnarok are the only themes that have this ‘rise to C and descend to E’ structure.

            Crucially, the ‘determination’ theme appears yet again, as a short variation at 0:36 – 0:42 (fig. 21) and more fully at 2:20 (fig. 22). I already explained Vanille’s connection to this theme and the fact it only appears in Vanille’s Theme confirms the motif is inextricably linked to her. In a sense, every utterance of the ‘determination’ theme functions as foreshadowing. Like Vanille’s Theme, it’s a motif that sways upwards and downwards. The ‘determination’ theme has the steadier climb, however. It stumbles again and again, but always presses onward and upward.

 The Final Stage

This little track plays during the short scene where Snow and Hope try to sneak through Palumpolum without getting detected by PSICOM. They talk about how Hope has changed since they last spoke, the nature of fighting and so on. Snow means well, but his remarks just fuel Hope’s hatred. There’s an undulating harp similar to the one found in Lost Hope, another track focusing on Hope’s emotional turmoil.

The Pompa Sancta

Sazh and Vanille arrive in Nautilus where they witness the Pompa Sancta, a show about the War of Transgression. The accompanying music is appropriately celebratory and tense, yet there’s a subtle melodic hint hidden amongst all the pomp and circumstance. Listen carefully or you’ll miss the variation on the ‘determination’ theme played by flute and strings from 0:27 – 0:37. The parade is closely linked to Vanille’s role in the story’s outcome, when Vanille crystallizes together with Fang to prevent Cocoon from crashing into Pulse, which is the moment the ‘determination’ theme reaches its apex. The theme’s inclusion here is, like in Vanille’s Theme (and everywhere else), a subtle bit of foreshadowing regarding Vanille’s ‘determination’ in the story’s grand finale.

 

Nautilus

This is the track that plays when Sazh and Vanille arrive in Cocoon’s capital of entertainment: Nautilus, a giant amusement park.

            It opens spectacularly with a colorful brass fanfare, suited to an amusement park. The key thing to remember is the introduction of a new theme which represents this so-called City of Dreams, heard most gloriously at 1:11 (fig. 23).

Chocobos of Cocoon – Chasing Dreams

This jolly bit of electronic wizardry is the end result of a collaboration between Hamauzu and synthesizer operator Ryo Yamazaki. It’s a straightforward adaptation of Uematsu’s famous Chocobo theme, so I hope you’ll take my word for it when I say there aren’t any hidden themes to be found here.

Feast of Betrayal

Sazh and Vanille are confronted by PSICOM yet again and attempt to flee Nautilus. Feast of Betrayal plays both during exploration and battles, like Dust to Dust. The ‘bounciness’ of this orchestral piece indicates we’re still in Nautilus, but the more tense, action-oriented approach symbolizes Sazh and Vanille trying to get away from PSICOM. The opening clarion call, resembling that of PSICOM, attests to the dangerous presence of the military. I also wouldn’t be surprised if the ending of the trumpet theme at around 0:38 is a reference to the opening of The Promise.

Eidolons on Parade

Eidolons on Parade plays during the lengthy cutscene where Sazh finds out Vanille was (in)directly responsible for turning his son into a l’Cie. Sazh’s anger causes his Eidolon to emerge. Though it could kill Vanille, Sazh decides he will stand beside her in the coming fight.

            The highlight is how Hamauzu incorporates the theme from Nautilus (fig. 23) at 0:26 and especially from 2:06 onward. Interesting that it’s, of all things, a dramatic rendition of Nautilus that underscores this tragic cutscene. I think Hamauzu meant for it to be an inversion of the purpose of a theme park: happiness. Nautilus was meant to be a place where Sazh and Vanille could be happy and escape their troubles. However, they find out it’s impossible to escape their pasts. Just like how Nautilus is turned into a place of sadness, so does Hamauzu twist the initially happy Nautilus into a dramatic orchestral rendition.

Test of the L’Cie

In his grief, Sazh unwillingly summons his Eidolon. You’ll hear Test of the L’Cie in the ensuing fight. It’s basically the spiritual successor to Eidolons with its heavy electronic style and rhythms. The track opens with an undulating theme that bears a striking resemblance to the swaying second half of The Promise, except here it’s in a different key: E-D-C-D-E-D-C-D-E and so on.

All the World Against Us

This is a short piece heard when the presumably dead Sazh is carried away in a coffin by Jihl Nabaat and her soldiers while Vanille follows. It’s a short, understated trauermarsch characterized by unresolved melodic progressions, like those heard at the start: A-B-C-D-Eb. This theme by the way appears to be a fragmented version of Nautilus as heard in Eidolons on Parade (fig. 24), except here it sounds more dramatic, because the E is swapped out for an Eb.

Also interesting is the descending theme at 0:55: A-G-F-Eb. This is reminiscent of, for instance, Debussy’s use of the whole tone scale in which there is no harmonic resolution, fitting for what seems to be the premature and tragic end of Sazh’s life.

Game Over

The music you’ll hear when staring at the game over screen. Hamauzu again teams up with Mitsuto Suzuki to create a densely layered, unsettling soundscape that I can only describe as resembling a fading consciousness. Thematically, the only thing worth addressing is a three-note piano motif at 0:22 that might be a variation on the three-note, undulating theme in the second half of The Promise. Whereas in The Promise the piano goes from G to A to B, this one keeps ascending to Bb (G-A-Bb), lending it a darker tone, befitting the game over screen. It would be quite poetic if this was indeed intended as a tragic variation on that swaying theme from The Promise, as its use in the game over screen would musically symbolize our heroes having failed to fulfill their Focus, aka keep their Promise.

Primarch Dysley

After a lot of teasing and countless references, we’re finally treated to full renditions of both Dysley’s main theme (fig. 24) and his secondary theme (fig. 1). Unsurprisingly, Primarch Dysley is based entirely on these two melodies.

            It begins with a gong/cymbal clash. Tense strings, celli and synths provide a dark undertone. At 0:26, Dysley’s theme appears played stately yet ominously by celli. A transition occurs at 0:52 where drums give the track a militaristic tone and the secondary theme is played by winds. Here you have both of Dysley’s themes layered on top of each other in perfect harmony. All the main instruments hereafter play these two themes or very slight variations on them.

In my analysis of Ragnarok, I explained how both that track and Primarch Dysley alternate between B and Bb. See 1:18 – 1:33 in Primarch Dysley for an example (fig. 25). This musical connection between Dysley and Ragnarok makes sense, since Dysley needs a l’Cie to summon Ragnarok. Cocoon would then be destroyed and this would bring back the Maker.

Fighting Fate

This orchestral powerhouse accompanies our heroes’ fight against Dysley who has now revealed himself to be Barthandelus, a fal’Cie. Dysley has revealed that our group’s Focus is for them to become Ragnarok, slay Orphan and bring about the destruction of Cocoon. This comes as a shock to our heroes not only because they had hoped otherwise, but also because Serah told them to save Cocoon, not destroy it. Ragnarok returns with unprecedented ferocity to underscore this shocking revelation (fig. 8).

Separate Paths

This piece plays in two scenes: when a crystallized Serah is found in Lake Bresha and later during the flashback of Lightning’s birthday where Serah tells her she’s become a l’Cie. In both cases, the track centers on the relationship between sisters Serah and Lightning.

This piece introduces a new melody (fig. 26). This melancholy theme and its variations (fig. 26 shows the one from 0:20 – 0:30) resemble a combination of the theme that opens Promised Eternity (fig. 27) and at 0:33 in the same track (fig. 9).

Setting You Free

This piece is played during a couple of scenes: when Vanille and Fang talk about the Arks, when Cid Raines speaks of the Maker and during the group’s conversation with Yaag Rosch in Eden. The common thread is that Setting you Free appears in scenes that revolve around the group’s Focus.

            Stylistically, Setting You Free sounds like a stripped-down version of Primarch Dysley which is very fitting, as Cid is talking about Dysley and our heroes’ Focus. Just like with tracks like Those for the Purge, The Warpath Home and Lake Bresha, even though Dysley doesn’t show himself often, his influence is always felt and the music reflects this. Like Primarch Dysley, Setting You Free has the same stately atmosphere and is basically one prolonged crescendo with mostly the same themes repeated with steadily increasing force. Important are the one played by fal’Cie-esque bells from 0:30 onward (fig. 28) and the one beginning at 1:04 (fig. 29). Both themes are natural variations on Primarch Dysley (fig. 24).

Desperate Struggle

Cid Raines confirms the fal’Cie have carefully guided our heroes on the path to Cocoon’s destruction to ensure the return of the Maker. He reveals he became Barthandelus’s puppet. He’s supposed to help our heroes destroy Cocoon, but, in an act of defiance, tries to kill them in an attempt to ‘save’ Cocoon. Desperate Struggle accompanies the ensuing boss fight. Like Tension in the Air, the other piece arranged by Junya Nakano, the focus is on ambience, percussion and rhythms, though I think there’s a Dysley-esque melody at 2:26 and 2:35.

Mysteries Abound

This track plays when our heroes are saved by Dysley from a crash and transported to a hallway leading to the Fifth Ark. Mysteries Abound is filled to the brim with bell-like synths and other such sounds. As has been seen a million times by now, these sounds accompany scenes dealing with the supernatural, the fal’Cie or our group’s Focus. It’s fitting that now, when our heroes have received the biggest blow to their morale since becoming l’Cie and don’t know what to do next, that Hamauzu bombards us with an ethereal track jam-packed with fal’Cie-esque bells and similar sounds.

A lot of time and effort was put into figuring out whether there any melodic references here. The track’s title is well-chosen in that regard… The most prominent theme on display starts at 0:14 (fig. 30). It reminds me the most of Promised Eternity (fig. 9), though I’m not really sure. The other thing I wanted to mention is the theme at 2:05 played by bells: C-Bb-F-C. This exact theme is also played at 1:29 and 1:48 in Separate Paths.

Will to Fight

This piece plays during several scenes, but most importantly as background music for the Fifth Ark. As indicated by the title, it represents our heroes’ ‘will to fight’ against their fate, their presumably inescapable Focus. This is reflected in the lyrics:

Live for your soul, resist now Yes, choose to fight Although it seems so far to be a perfect day Lift up your hands, and redeem your pride

This piece can be described by many adjectives: it’s bright, engaging and rhythmically propulsive in keeping with the ‘defying fate’-feel. It’s also a meandering, ‘wandering’ track; not at all a glorious piece with a sense of resolution.

            From 1:52 onward, a combination of bell-like sounds and a piano form a background for Mina’s otherworldly vocals. The chords are highly reminiscent of those chords heard in the opening of the Prelude; crucially, there they played Dysley’s secondary theme (fig. 1). I can’t quite hear whether these are the exact same chords, but the similarities are definitely there. Again, it’s Dysley’s invisible but overbearing influence that seems to form the backdrop for our heroes’ attempts at clinging onto hope.

            Finally, the placement of this song in the game is very appropriate. Although they try to convince themselves it might be a trick, they found out that their Focus really is to destroy Cocoon. This goes directly against Serah’s final wish. They also discovered that they’ve been led every step of the way by Dysley, master of puppets. A way out of their predicament now really does seem impossible. They’ve been transported by Dysley to the Fifth Ark which functions as a training ground for their eventual purpose of destroying Orphan and Cocoon. They decide, however, to hold on to hope – some more than others – and travel to Gran Pulse to see if they can find a solution there.

As they traverse the Ark, Will to Fight reflects their clinging onto hope. The piece and its lyrics are a reflection of our heroes’ current situation: its powerful rhythms and ostinati encompass their ‘will to fight,’ while the insurmountable threat they face are reflected in the subtle inclusion of Dysley’s secondary theme.

Fang’s Theme

This is the grand theme for Oerba Yun Fang. It plays during the scene where our heroes fly to Gran Pulse. It starts with a driven militaristic background provided by percussion, drums, strings and winds. This already gives a sense of Fang’s inner strength. At 0:26 – after a cymbal clash – Fang’s true theme appears played by horns (fig. 31). There’s a climax at 0:52 and, interestingly, a portion of Lightning’s Theme appears in another key. In Lightning’s Theme, this ‘secondary theme’ is found at 1:44 – 1:54 (fig. 14).

            At 1:05, there’s an interesting transition. We return to a Dysley-esque theme last heard in Sustained by Hate and The Pulse L’Cie (Disc 2, track 21): A-B-C-D-C-B-A. Also note another Dysley-esque theme heard immediately afterwards: A-B-C-D-C-B-C-D-E which we last heard in The Pulse L’Cie and Defiers of Fate.

            The melody played by the trumpets at 1:38 – 1:43 (D-A-G-C-B-A-G) is interesting in that the last four notes sound very much like the opening to The Promise, particularly the 2^nd – 5^th notes (fig. 4). At 1:58, Fang’s Theme (with a C added before the final note) is powerfully reprised. Afterwards, the aforementioned reference to Lightning’s Theme reappears from 2:07 onward, only now in a more subtle way.

Terra Incognita

This track, as its title suggests, introduces us musically to Gran Pulse. While Fang’s Theme played during the scene showing our heroes’ traveling to Pulse, Terra Incognita underscores the cutscene introducing us to Pulse and its wild open fields filled with wildlife. The music is tailor-made for a scene introducing a grand new world. It conveys images of nature with a feeling of wonder and grandeur.

The important thematic thread running through this track is the ‘determination’ theme, of course associated with Vanille (and Fang). The track even opens with a variation on the ‘determination’ theme: Eb-Bb-C-Db-Bb-C-Bb-Ab. At 0:28, the orchestra starts building up strength and it all leads to a glorious climax, the last notes of which (E-A-G-F#) are a reference to the 3^rd – 6^th notes of Lightning’s Theme (fig. 12). The piece segues into a quiet interlude. Important is another reference to Determination starting at 1:10 played by horns and strings (fig. 32).

            What’s striking about Terra Incognita is its organic feel. There are no overtly electronic sounds here (if there are, they’re inaudible). Compare this with many of the earlier tracks that prominently featured synthesizers and electronics: The Thirteenth Day, The Hanging Edge, Those For the Purge, The Pulse Fal’Cie, The Vestige, Lake Bresha, The Pulse L’Cie, The Vile Peaks, The Gapra Whitewood, Lost Hope, Chocobos of Cocoon – Chasing Dreams, Test of the L’Cie, Setting You Free, Mysteries Abound. There’s a clear distinction here. All these tracks convey Cocoon’s technological nature through ‘technological’, electronic sounds, while tracks like Terra Incognita convey Pulse’s nature through ‘natural’, acoustic sounds.

The Archylte Steppe

This is basically the game’s ‘overworld’ theme. The group walks out of a valley and into the plains of the Archylte Steppe filled with Pulsian wildlife. Hamauzu appropriately builds the entire track around the game’s main theme, The Promise and the choice of rhythms and ‘ethnic’ wind instruments convey the tribal world and feel of Pulse.

Chocobos of Pulse

This piece plays while you’re riding a Chocobo on Gran Pulse. Hamauzu again enlists the aid of his guitarist friend, Toru Tabei. The end result is a genuinely fun track that breathes new life into the Chocobo theme and just oozes jazz. Together with Chocobos of Cocoon – Chasing Dreams, these are the only two tracks to explicitly make use of an established theme of the Final Fantasy series. Apparently, Uematsu himself approved of this version.

The Yaschas Massif

This is the eponymous theme accompanying our heroes’ journey through the Yaschas Massif. This location is a more mountainous part of Gran Pulse with huge valleys and fallen trees. The Yaschas Massif introduces new colors to Pulse’s musical palette: bossa nova, courtesy of Toru Tabei who assisted with the arrangement. The track fits in with other, acoustic ‘Gran Pulsian’ tracks, like the jazzy Chocobos of Pulse and the tribal The Archylte Steppe. Listen carefully or you might miss the statements of Lightning’s Theme at 0:36 – 0:42 and 1:30 – 1:36.

Memories of Happier Days

This crucial track is mostly associated with Vanille’s flashback of her meeting with Serah on the 9^th day. The whole track is basically a variation on Vanille’s Theme. The openings are the same, but Memories of Happier Days omits the bouncy rhythm and goes straight to the core of Vanille’s main melody, making this track the more melancholy of the two.

At 2:04, after a short pause, there’s a shift. For the very first time, the entire ‘determination’ theme is played dramatically by strings and a piano. Crucially, the theme plays precisely when Serah tells Vanille that running away from people and your problems will solve anything, which is precisely what Vanille’s been doing. The fact that it underscores Serah’s message, only confirms the notion that the ‘determination’ theme centers around Vanille having to gain the ‘determination’ to fulfill her Focus. This is why the theme is given the full orchestral treatment at the end when Fang and Vanille heroically sacrifice themselves and why every utterance of the theme throughout the score foreshadows this moment. A variation on Lightning’s Theme (fig. 12) appears at 2:40 (E-D-G-F-E) before Hamauzu closes the track with one of his characteristically dense chords.

Sulyya Springs

The eponymous theme for the Sulyya Springs, a steamy watery area filled with flora and fauna. Hamauzu manages to capture the location perfectly, while simultaneously commentating on our heroes’ journey through the lyrics (written by Frances Maya) and the subtle use of leitmotifs.

            The track consists mainly of vocals, cello, piano and synthesized strings. The piece wanders at first, with the piano, strings and vocals exploring several melodies. At 0:48, the piano plays the ‘determination’ theme in its entirety (fig. 33), hinting that our heroes – and Vanille – are getting ever closer to the end of their arduous journey. The next section, 1:15 – 1:40, primarily features a flute and a cello. The flute plays fragments of The Promise, B-C-B-A-G and B-C-B-C-D (see 0:30 – 0:35 and 0:38 – 0:43 in The Promise). The cello does likewise, C-B-A-G, but pits The Promise against a fragment of Primarch Dysley, D-E-F-G (fig. 24). From 1:40 and onward, Mina’s vocals reprise The Promise, while the ‘Promise versus Dysley’ cello still lingers in the background.

            The lyrics seem to focus on our heroes’ plights as l’Cie. Just like how Hamauzu pits The Promise against Primarch Dysley, so do the lyrics reflect both our heroes’ hope of finding a way to escape their Focus (‘Won’t be afraid, leading the way’) and the tragic fate awaiting them should they fail (‘Wish me luck till the day I die’).

Won’t be afraid Leading the way Reaching for the glowing star Wish me luck till the day I die

Taejin’s Tower

Even though Taejin’s Tower now lies broken across Pulse, its music still lingers. It’s notable for the inclusion of the Mukkuri, an ancient Ainu instrument played here by Mina. This is definitely one of the more purely ambient pieces on the soundtrack with almost no melody to speak of. The overall feel is, like that other ‘Pulsian’ track The Archylte Steppe, tribal. This is due to the use of the Mukkuri, the ‘ethnic’, ‘wailing’ sounds and percussion. It also includes more synths than other ‘Pulsian’ tracks. This is most likely due to the tower’s association with the fal’Cie and the ancient electronic machinations our heroes use to get to the top.

Dust to Dust

Our heroes finally arrive at Oerba, but discover that what was once a picturesque little place has been turned into a ghost town, overrun by both snow and monsters. Oerba was their last hope of finding a solution to completing their Focus, but now, all seems lost.

Like with Sulyya Springs, Hamauzu’s music conveys both the melancholy nature of this icy ghost town and our overall position within the story through the use of character themes. Hamauzu’s emphasis on icy sounds reminds one of the stylings of Lake Bresha. Even the otherworldly vocals sound like they arise naturally from the icy soundscape.

            The melody of the vocals and strings appear to be based on two themes: Blinded By Light and Fang’s Theme. The first one is heard in the melody of the vocals (fig. 34). It has the same structure as Blinded By Light (fig. 13). The only difference is that it utilizes the lower E instead of the higher E and thus appears to be an inversion of Blinded By Light. Maybe this inversion signifies the loss of hope: the battle theme symbolizes our heroes fighting fate, so perhaps the inversion of this theme symbolizes their hope turning to despair.

As for Fang’s Theme, it’s heard on strings at 1:02 – 1:23. It’s not Fang’s main theme, but the part it borrows from Blinded By Light (fig. 14). It’s hard to decide what Hamauzu is quoting here, Blinded By Light or Fang’s Theme. Why he doesn’t just utilize melancholy variations on Vanille’s Theme or Fang’s Theme, I still find difficult to understand. Maybe the reason he incorporates Blinded By Light into Fang’s Theme is similar to why he does the same with Dust to Dust: Blinded By Light isn’t just Lightning’s battle theme, but that of all our heroes, a symbol of their perpetual struggle to fight their fate, a symbol that’s now on the verge of dying out.

            The lyrics are definitely more lacking in hope than those heard in Sulyya Springs. There they were still marching on with the hope that the means of escaping their Focus lay in Oerba. Now that they think their solution is nonexistent, they have nothing left to cling onto.

Nothing left to fear, l’Cie Cradled in eternity Shore of sand, your fate awaits Oh surrender in the light

The Road Home

As they make their way through Oerba, Dysley shows himself once again and reveals his true goal: to summon back the Maker. To do this, a large enough sacrifice is required, the death of Cocoon’s entire population. He adds that he has resurrected Cid and made him the new Primarch, which has caused rioting in the streets. According to Dysley, the Cavalry is preparing to attack Orphan. He leaves them an airship and a choice to be made: let the humans destroy Orphan – and Cocoon with it – or do it themselves. The Road Home is the start of the final act. It accompanies ‘the road home’, to Cocoon and to the score’s climax.

            The track opens optimistically, with a few wind instruments playing a variation on the ‘determination’ theme with a string-based rhythm in the background. At 0:07, ‘determination’ reappears, this time as a passionate orchestral rendition. The theme has been increasing in grandeur for a while now, ever since Memories of Happier Days and Sulyya Springs started playing the theme in its entirety. Hamauzu is telling us we’re nearing the grand finale, the point where Vanille will finally prove her worth.

            Eventually, the track ends with a tense ascending run (the melody of which resembles the first four ascending notes of Primarch Dysley, perhaps to indicate the threat they will be facing) as our heroes fly back to Cocoon.

Start Your Engines

Our heroes burst into Eden in style. Together with their Eidolons they barge into a motorcycle race and take out their pursuers. Start Your Engines accompanies the entire sequence.

            This piece is basically Eidolons, except this arrangement is less hectic and more self-assured. Whereas Eidolons sounded hectic to convey the do-or-die battle against the Eidolons, Start Your Engines is more ‘controlled’ because now our heroes are tactically using them to their advantage. In the melody department, where Eidolons eventually employs E-D-C-Bb-E-F-G-Ab as a theme, Start Your Engines transitions into A-Bb-C-Bb-A-Bb-C-Db-F-Ab at 1:51. In other words, Start Your Engines – with its Db-F-Ab – has a more triumphant feel.

Eden Under Siege

Our heroes make their way towards Orphan and discover that monsters from Pulse have been unleashed upon Eden, wreaking havoc and sending citizens into a panic. It’s a race against the clock – in more ways than one – for our heroes as they try to stop their Cie’th clocks and Cocoon’s imminent destruction. Eden Under Siege accompanies their journey through a ravaged Eden.

            Eden Under Siege plays like the perfect follow-up to Start Your Engines. Hamauzu bases the entire piece on the ‘Lightning versus Dysley’ concept. At 0:07, Primarch Dysley (fig. 24) is played aggressively by brass (fig. 35). Violins join in at 0:35 and play an ostinato that resembles the opening of The Promise (fig. 4). Then the trumpets at 0:42 and play a triumphantly fast-paced version of Lightning’s Theme (fig. 12). After a brief melody by horns, the violins play Dysley’s secondary theme at 0:53 (fig. 1) while the orchestra provides robust support. The track ends with a tense run similar to the ending of The Road Home.

The Cradle Will Fall

Our heroes go through a gate in Edenhall and arrive at the game’s final dungeon, Orphan’s Cradle, a strange location to say the least. It defies description and so does its music.

            There are a few melodies here, but the focus lies on ambience, creating that sense of foreboding, that the final boss is just around the corner. The Cradle Will Fall does this with plenty of bell-like synths to emphasize we’re firmly in fal’Cie musical territory. With the help of electronics wizard Mitsuto Suzuki, the end result is an ethereal, yet highly oppressive-sounding track. It starts off very softly with dissonant electronic jabs, like distorted audio signals (or something to that effect). A synthesized female choir appears, repeating four rising notes, a theme that will make a very brief cameo in Born Anew. Several other electronic sounds join together to create a wall of ambient sound.

The string synths appearing from 1:12 onward highly resemble the string clusters heard in The Promise from 1:04 onward, further enhancing the notion that our heroes’ journey is coming to an end. Melodies are heard occasionally, such as E-B-C-D-E-B-C-G at 2:00 and E-C#-D#-E-F#-G#-A#-F#-C# at 2:36, though I haven’t been able to figure out if these are references or just standalone themes.

Then, slowly, all sounds dissipate and that most ominous of instruments announces its presence, a lone organ, an instrument we haven’t heard since Ragnarok. Its inclusion here emphasizes that the prophecy announced in Ragnarok is about to be fulfilled; whatever happens, Ragnarok will play a huge role in the end of our heroes’ journey. The organ grows louder and more menacing upon which electronics join in, creating a terrifying climax.

Born Anew

The group crosses Orphan’s Cradle and arrive at the Narthex where they find Dysley once more who, again, tries to convince them to destroy Orphan. Naturally, our heroes refuse and defeat him, but he is revived as a shell surrounding Orphan. So begins the final boss fight.

            Born Anew immediately makes its presence known with earthshattering bursts from the percussion and choir. The main melodic focus is on Dysley/Barthandelus with Primarch Dysley stated like never before by mixed choir (fig. 24 and 25). Eventually, we transition into a quieter, but still tense, section with choir, percussion, winds. Important here is the rising four note motif stated by trumpets at 0:49. It’s a reference to the rising four note motif uttered by the synthesized female voices in The Cradle Will Fall, bringing to light how well that track anticipated this final battle. The track circles back to the ever more pronounced statements of Primarch Dysley and eventually ends with ‘dirty’ brass (2:34) and a tenor solo. (This solo may be a variation on the E-B-C-D-E-B-C-G melody I mentioned in The Cradle Will Fall, though this might be wishful thinking on my part.)

 

 Sinful Hope

Our heroes fight valiantly, but to no avail. Orphan knocks out Lightning and the rest, leaves Vanille and Fang conscious and tries to convince them to complete their Focus. To protect Vanille from Orphan’s torture, Fang says she will become Ragnarok. Lightning and the others try to stop her, but she breaks loose and tries to transform into an incomplete Ragnarok. Sinful Hope underscores this scene.

            This track is full of ethereal bell-like sounds and glistening effects to emphasize the scene’s relation to the otherworldly fal’Cie. Hamauzu underscores the scene by repeating a crescendo yet making it consistently heavier and more complex each time. After tense, tremolo strings, percussion and cymbal clashes rise and fall a couple of times, the resounding climax at 0:55 marks the entrance of Lightning’s Theme played by piano (fig. 12). Just like in Forever Fugitives, the fifth note is played a semitone higher, resulting in a more determined sound. Horns play a rising melody at 1:06 similar to those heard in The Road Home and Eden Under Siege, while dense piano runs add to the otherworldly feel. At 1:15, Lightning’s Theme is played by strings, while percussion adds a determined, militaristic feel to the track. The track ends (at 1:42 and 3:28) with what may be a fragmented version of Blinded By Light played in reverse à la Dust to Dust: E and then upwards to B-A-B.

 

Fabula Nova Crystallis

The transformation has failed this time and Fang notices that Lightning and the rest appear to have become Cie’th. They start attacking her, while Orphan is amused by Fang’s suffering. She eventually does transform into an incomplete Ragnarok and attacks Orphan. This scene is underscored by Ragnarok. Several scenes are shown in flashback, like when Hope tried to kill Snow, when Lightning punched Snow in Lake Bresha. Vanille comments that ‘anger didn’t drive us. We just had things worth fighting for.’ Fang is unable to destroy Orphan and reverts to human form. Frustrated, Orphan starts torturing her to force her to become Ragnarok yet again. This part is accompanied by Fabula Nova Crystallis, with the first half accompanying the flashbacks and the second half underscoring Fang being tortured by Orphan.

            This track basically reprises The Promise. The orchestration is slightly more lavish and it’s played a bit more solemnly. Another key difference is that Fabula Nova Crystallis picks up where The Promise left off; it brings the melody full circle, ‘completes’ it. The Promise (Disc 1, track 2) ends unresolved when the undulating string section simply ends on a B. Fabula Nova Crystallis follows the same pattern and it looks like it will end on that same B, but instead it seamlessly transitions back into the main theme again at 1:56 before ending, not on the aforementioned ambiguous B, but a G.

This track is another example of the story and the score coming to a close. The Promise was stated in full at the beginning, was then referenced in many tracks, and now it’s heard again, in its complete form. In fact, if you don’t count The Promise (Disc 1, track 2) because it only plays in the main menu and not a part of the actual story, then this is the first time we’ve heard the theme in its entirety. The score is coming full circle.

FINAL FANTASY XIII – Miracles

Fang tells Vanille to run, but Vanille refuses, saying she would rather fight and lose than run away again. Suddenly, Fang is saved by Lightning and the others, who have apparently ‘awakened’ from their Cie’th state. They strengthen their resolve once more and speak of a new Focus, one where Cocoon is to be saved. The moment it is revealed that Lightning and the others are no longer Cie’th, Miracles starts playing.

            It opens with a flute, backed by strings, playing variations on the ‘determination’ theme. Then, at 0:23, the ‘adventurous’ theme heard all the way back in Prelude is played warmly by strings (fig. 2). The variations on ‘determination’ are warmly played at 0:47 by the brass. At 0:59, the theme is played in full without any variations as the music comes to a climax between 0:59 and 1:15 during which there’s an optimistic key shift. Then, the adventurous Prelude melody is played even more gloriously due to the key change. At 1:32, all the instruments drop out and a single flute plays ‘determination’, this time including a clear ending: C-G-Ab-F-Eb-Eb. This, incidentally, is also how ‘determination’ bookended the adventurous theme back at 2:00 in Prelude, only this time the effect is more melancholy due to the flute solo.

The strings return at 1:43 and play a dramatic melody as we flashback to the moment on Pulse where Vanille and Fang promised they’d stick together. During this emotionally charged part, percussion provides support in a more optimistic vein than what we heard in the ‘militaristic’ section of Sinful Hope. At 2:17, we go back to the present where Vanille reminds Fang of the promise they made as strings appropriately reprise The Promise. At 2:25, when our heroes turn their attention to Orphan who’s screaming and sinking into the pool, the strings churn out a slightly dissonant chord, before ending on a nice Eb accompanied by horns (Bb).

Focus

Orphan’s true, childlike, form emerges from the pool. A short conversation ensues with Lightning delivering a speech and denouncing Orphan’s ways. This scene is accompanied by Focus and anticipates the actual final battle.

            Focus is basically a stripped-down version of Sinful Hope. It features the same kind of brooding, almost Wagnerian buildup and emphasis on horn-, string- and percussion-based crescendos. The difference is that Focus features less emphasis on melodic development and more on providing a tense, brooding background for Lightning’s speech as it anticipates the final battle.

            Horns, tremolo strings and, of course, the usual bell-like synths (in keeping with the fal’Cie-esque, otherworldly setting) provide a foreboding background for the ever-growing orchestral bursts of energy. These outbursts are interspersed with constantly changing timpani rolls and strikes. These unpredictable, seemingly random changes – and especially the pauses in between – generate tension and expectancy.

Nascent Requiem

During Lightning’s speech, Focus comes to an end and segues into Nascent Requiem. The climax at 0:40 is the point where Lightning’s speech ends and the true final battle begins. This piece is densely orchestrated, courtesy of Yoshihisa Hirano, and features lots of alarming dissonances, fitting for a battle against the clock. (Orphan casts the spell ‘doom’ on the party which means you have to finish the fight within a set time.)

            0:00 – 0:40 is marked by a brilliant buildup where instruments come and go as the tension keeps rising. A bell is heard, wind instruments play a flurry of notes, trumpets appear and disappear, wailing brass come and go, light and rhythmic percussion are constantly heard underneath it all, strings swirl, flutes play flurries of notes, cymbals clash, bell-like sounds galore, the list goes on. It all builds to a climax marked by rapidly descending trumpets and roaring percussion. Crucially, Dysley’s secondary theme (fig. 1) is heard underneath it all until 0:27, played by horns.

            After a piano and trumpet-led section (0:39), strings play a variation on the ‘determination’ theme at 0:52, after which the theme is passed on to the horns. This part is made all the more passionate by the rhythmic support from the percussion and brass. Next up after 1:12, there’s a dissonant section featuring a piano repeating a motif (G-Ab-Bb-B) and dense, ‘dirty’ brass clusters. A prolonged cymbal clash occurs at 1:25 followed by a piano solo playing what seem to be variations on the first four notes from Primarch Dysley­ (fig. 24). Percussion joins in and a dissonant roar from the brass is heard at 1:38 before both the ‘dirty’ brass and timpani join forces to create a dissonant climax. Everything quiets down a bit at 1:48. Notable here are the ‘fal’Cie’ bells and the wailing trumpets. At 2:13, brass imposingly play Dysley’s secondary theme with militaristic percussion in the background and occasional stabs by the brass. After some roaring percussion, we transition into a section for piano, all kinds of percussion, brass and so on (2:37). I believe that at 2:56 there’s a small reference to the dramatic theme heard from 1:43 onward in Miracles, specifically the part at 1:46 – G-Ab-Bb, only here in Nascent Requiem it’s a semitone lower, Fb-G-A.

            After all this orchestral mayhem, the piece calms down at 3:39 and moves into a surprisingly lyrical section for brass and strings. The melodic focus is on ‘determination’ and there all kinds of variations on this them, until a lone trumpet takes center stage and solemnly plays the theme one last time, foreshadowing what’s to come. It fades out, until only low brass brood in the background. At 4:16, the first forty seconds are repeated more aggressively to bring the piece to a stunning close.

 

Determination

Our heroes have made the impossible possible. They defeat Orphan. This also sends Cocoon crashing down towards Pulse. Gravity is negated and everyone desperately tries to hold on to each other (while they’re crystallizing since they’ve now completed their Focus). Now, Vanille does not run away. Now, she and Fang join hands and summon Ragnarok who creates crystallized lava pillars to keep Cocoon aloft. Determination underscores this climactic scene.

            The track opens forebodingly. Glistening, ethereal, bell-like sounds are heard in the background as a trumpet announces the beginning of the end: G-Ab-Eb-Eb-D. As Eden begins to crumble, tremolo strings repeat and develop the melody. The music swells at 0:33 and strings play a passionate melody as Lightning and the others try to hang onto each other. At 0:41, a part of Lightning’s Theme (or 0:52 in Fang’s Theme, depending on how you look at it) is played dramatically by strings (fig. 14), while horns are written harmoniously in counterpoint.

            At 0:57, we arrive at the emotional peak of the score and what I personally consider one of the finest, most powerful moments in the history of videogame music. This is the moment that all the previous iterations of the ‘determination’ theme were hinting at. Now, it’s finally heard in full orchestral glory. The theme has always centered on Vanille and it’s in this moment, when Vanille is at her bravest, when she and Fang summon Ragnarok, that it reveals itself to be a most determined theme indeed. In a moment of absolute brilliance, this powerful rendition of the ‘determination’ theme segues directly into the grandest, most passionate statement of The Promise heard yet (fig. 36).

After a long buildup by percussion, strings and winds play grand statements of Lightning’s Theme, the chords different each time. At 2:19, trumpets anticipate what seems to be a permutation on The Promise played by brass at 2:27 (fig. 37). The ending consists of rumbling percussion with strings playing prolonged chords, constantly descending by a semitone before violins maintain a high-pitched F to bring the piece to a close.

Kimi ga Irukara (Long Version)

Vanille and Fang have saved Cocoon. Lightning and the others awaken from crystallization and gaze upon the sight when suddenly, they see Serah and Sazh’s son Dajh walking towards them. It’s a happy reunion for Lightning, Snow and Sazh. Despite mourning the loss of Fang and Vanille, Hope is also happy. The game ends with a shot of Fang and Vanille inside the crystal pillar.

            Even though Hamauzu composed Kimi ga Irukara, it was arranged by Sin. It’s a hard track to analyze in terms of leitmotifs, since it comes across a standalone pop song. I can say that it accompanies the final cutscene rather well, especially its hypnotic opening with the synths. At 0:13, a subtle beat appears and a beautiful piano passage is heard at 0:28, before there’s a shift at 0:40 and the vocals are introduced.

Ending Credits

As the credits roll, Hamauzu wisely chooses to focus on the main theme, The Promise. It begins softly, with tremolo strings in the background as flutes play a fragment of The Promise. Cello and winds are added, before The Promise is stated again, only this time with a bit more volume. This is repeated until 0:45, while the brass section gradually makes its presence known. After a quieter section featuring a descending cello passage, The Promise is finally stated fully by strings as horns and flutes provide support. After a large crescendo, the fragmented versions of The Promise from the track’s opening return, played dramatically by strings and interspersed with horn calls.

            This continues until 2:18, when a violin tenderly plays Lightning’s Theme (fig. 12). This version also features the fifth note played a semitone higher, again providing more closure and less doubt – F-E-D sounds more assured than F-Eb-D. Then again, a flute plays the ‘normal’ version of Lightning’s Theme right afterwards. The orchestra explodes at 2:54. It’s the most glorious part of Ending Credits. The strings, woodwinds, brass and percussion all come together to play The Promise again and again, each rendition more powerful than the one before.

            There’s a gigantic climax at 4:00 after which the orchestra starts dialing out. The cello passage from 0:45 is repeated, flutes and horns come and go, while a harp plays arpeggios underneath it all. It all ends with soft tremolo strings and an almost John Williams-esque harp progression.