Category: Games’ music

Final Fantasy VII OST

Post author By Sheet Music Library (PDF)
Post date September 29, 2021

Final Fantasy VII and the Music of Final Fantasy VII with sheet music

Sheet music available in our online Library.

Final Fantasy VII is a role-playing video game developed by Square (now Square Enix) and published by Sony Computer Entertainment as the seventh installment in the Final Fantasy series. Released in 1997, the game sparked the release of a collection of media centered on the game entitled the Compilation of Final Fantasy VII. The music of the Final Fantasy VII series includes not only the soundtrack to the original game and its associated albums, but also the soundtracks and music albums released for the other titles in the collection. The first album produced was Final Fantasy VII Original Soundtrack, a compilation of all the music in the game. It was released as a soundtrack album on four CDs by DigiCube in 1997. A selection of tracks from the album was released in the single-disc Reunion Tracks by DigiCube the same year. Piano Collections Final Fantasy VII, an album featuring piano arrangements of pieces from the soundtrack, was released in 2003 by DigiCube, and Square Enix began reprinting all three albums in 2004. To date, these are the only released albums based on the original game’s soundtrack, and were solely composed by regular series composer Nobuo Uematsu; his role for the majority of subsequent albums has been filled by Masashi Hamauzu and Takeharu Ishimoto.

The Compilation of Final Fantasy VII began eight years after the release of Final Fantasy VII with the release of the animated film sequel Advent Children in 2005. The soundtracks for each of the titles in the collection are included in an album, starting with the album release of the soundtrack to Advent Children that year. The following year, Nippon Crown released a soundtrack album to correspond with the video game Dirge of Cerberus, while Square Enix launched a download-only collection of music from the multiplayer mode of the game, which was only released in Japan. After the launch of the game Crisis Core in 2007, Warner Music Japan produced the title’s soundtrack. The latest album in the collection, Before Crisis: Final Fantasy VII & Last Order: Final Fantasy VII Original Soundtrack, was released by Square Enix the same year as a combined soundtrack album for the game Before Crisis and the animated movie Last Order.

The original music received highly positive reviews from critics, who found many of the tunes to be memorable and noted the emotional intensity of several of the tracks. The reception for the other albums has been mixed, with reactions ranging from enthusiastic praise to disappointment. Several pieces from the soundtrack, particularly “One-Winged Angel” and “Aeris’ Theme”, remain popular and have been performed numerous times in orchestral concert series such as Dear Friends: Music from Final Fantasy and Tour de Japon: Music from Final Fantasy. Music from the Original Soundtrack has been included in arranged albums and compilations by Square as well as outside groups.

Nobuo Uematsu composed the music of Final Fantasy VII in less than one year, matching the game’s development time, although he had taken two years to create the soundtrack for the previous title, Final Fantasy VI. Final Fantasy VII was the first game in the series to be developed for the PlayStation, and while the media capabilities of the console allowed for pre-recorded Linear PCM (often as Red Book audio tracks on the CD), it was decided to generate the music in real time on the console instead, using samples and note data. This decision has been credited as giving the soundtrack “a very distinctive mood and feel”, forming a strong association for listeners between the game and its soundtrack. Uematsu had initially planned to use vocal performances for the game to take advantage of the console’s capabilities, but found that the advanced audio quality required in turn made the game have much longer loading times in each area. Uematsu decided that the quality was not worth the effects on gameplay, though after the release and seeing Suikoden II (1998, PlayStation), which had used higher-quality music instead, he reversed his stance for Final Fantasy VIII. There was a plan to use a “famous vocalist” for the ending theme to the game as a “theme song” for the game, but time constraints and thematic concerns, caused the idea to be dropped. Uematsu has stated, however, that the move into the “PlayStation era”, which allowed video game composers to use sounds recorded in the studio rather than from synthesizers, had “definitely been the biggest change” to video game music.

Uematsu’s approach to composing the game’s music was to treat it like a film soundtrack and compose songs that reflected the mood of the scenes rather than trying to make strong melodies to “define the game”, as he felt that approach would come across too strong when placed alongside the game’s new 3D visuals. As an example, he composed the track intended for the scene in the game where Aerith Gainsborough is killed to be “sad but beautiful”, rather than more overtly emotional, creating what he feels is a more understated feeling. Uematsu has additionally said that the soundtrack has a feel of “realism”, which also prevented him from using “exorbitant, crazy music”. The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic to the game and asked him to begin the project there. The track was well received in the company, which gave Uematsu “a sense that it was going to be a really good project”. He later stated in the liner notes for the soundtrack album that the music for Final Fantasy VII was his “greatest harvest” to date. Final Fantasy VII was the first game in the series to include a track with digitized vocals, “One-Winged Angel”. The track has been called Uematsu’s “most recognizable contribution” to the music of the Final Fantasy series, though the composer did not expect it to gain such popularity. The piece, described as “a fanfare to impending doom”, is said to not “follow any normal genre rules” and has been termed “possibly the most innovative idea in the series’ musical history”. Uematsu approached the piece, which accompanies the final battle of the game, in a different manner than previous “boss tracks”: as he felt that using his normal approach would cause unfavorable comparisons to his well-received Final Fantasy VI boss tracks, he instead tried to take a different approach. Inspired by The Rite of Spring by Igor Stravinsky to make a more “classical” track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a “destructive impact”, he spent two weeks composing short unconnected musical phrases, and then arranged them together into a song, an approach he has never used before or since. The lyrics of “One-Winged Angel”, a Latin choral track that plays at the climax of the game, were taken from the medieval poetry that forms the basis of Carl Orff‘s Carmina Burana, specifically “Estuans Interius”, “O Fortuna“, “Veni, Veni, Venias” and “Ave Formosissima”. Uematsu has stated that the intro of “One-Winged Angel” is based on Jimi Hendrix‘s “Purple Haze“, that the piece revolves around the image of Sephiroth, and that despite the chorus and orchestra, he still thinks of it as a “rock piece”. He said in a 2005 interview that “One-Winged Angel” is his favorite tune from the soundtrack, and in 2004 that it was his favorite battle theme from any Final Fantasy game.

Final Fantasy VII Original Soundtrack is a soundtrack album containing musical tracks from the game, composed by Nobuo Uematsu and produced by Uematsu and Minoru Akao. It was originally released on February 10, 1997 through DigiCube and later reissued directly by Square Enix on May 10, 2004. The soundtrack spans 85 tracks over four discs and has a combined duration of 4:39:53. A limited edition was produced along with the original album, containing illustrated liner notes with several pictures of Uematsu’s workspace and personal effects, various cutscenes and in-game screen shots from the game, and a discography.

The soundtrack covers a wide variety of musical genres, including rock, techno, orchestral, and choral, although the soundtrack as a whole is primarily orchestral. While many of the tracks were intended as background music, reviewers noted the emotional intensity of several tracks, especially “Aerith’s Theme”, which plays during a moment described as “the most shocking moment in video games,” and has been described as the most memorable track from the album. The theme has become popular among fans, and has inspired various arrangements. Other notable tracks include “Main Theme of Final Fantasy VII”. Themes from this track play during several other tunes from the soundtrack, such as “Words Drowned by Fireworks”, to tie the soundtrack together.

Track listing

No.	Title	Length
1.	“The Prelude” (プレリュード Pureryūdo)	2:52
2.	“Opening – Bombing Mission” (オープニング~爆破ミッション Ōpuningu ~ Bakuha Misshon)	3:58
3.	“Mako Reactor” (魔晄炉 Makō Ro)	3:20
4.	“Anxiety” (不安な心 Fuan na Kokoro, lit. “Anxious Heart”)	4:02
5.	“Tifa’s Theme” (ティファのテーマ Tifa no Tēma)	5:06
6.	“Barret’s Theme” (バレットのテーマ Baretto no Tēma)	3:27
7.	“Hurry!” (急げ! Isoge!)	2:29
8.	“Lurking in the Darkness” (闇に潜む Yami ni Hisomu)	2:33
9.	“Shinra, Inc” (神羅カンパニー Shinra Kanpanī, lit. “Shinra Company”)	4:02
10.	“Let the Battles Begin!” (闘う者達 Tatakau Monotachi, lit. “Those Who Fight”)	2:47
11.	“Fanfare” (ファンファーレ Fanfāre)	0:55
12.	“Flowers Blooming in the Church” (教会に咲く花 Kyōkai ni Saku Hana)	4:59
13.	“Turks’ Theme” (タークスのテーマ Tākusu no Tēma)	2:19
14.	“Under the Rotting Pizza” (腐ったピザの下で Kusatta Piza no Shita de)	3:22
15.	“The Oppressed” (虐げられた民衆 Shiitagerareta Minshū)	2:38
16.	“Honeybee Inn” (蜜蜂の館 Mitsubachi no Yakata)	3:52
17.	“Who…Are You?” (お前は…誰だ Omae wa… Dare da)	1:24
18.	“Don of the Slums” (スラムのドン Suramu no Don)	2:11
19.	“Infiltrating Shinra” (神羅ビル潜入 Shinra Biru Sennyū)	3:49
20.	“Fight On!” (更に闘う者達 Sarani Tatakau Monotachi, lit. “Those Who Fight Further”)	3:32
21.	“Red XIII’s Theme” (レッドXIIIのテーマ Reddo XIII no Tēma)	1:28
22.	“The Chase” (クレイジーモーターサイクル Kureijī Mōtāsaikuru, lit. “Crazy Motorcycle”)	3:37
23.	“Dear to the Heart” (想いを胸に Omoi o Mune ni)	2:14

No.	Title	Length
1.	“Main Theme of Final Fantasy VII” (F.F.VIIメインテーマ F. F. VII Mein Tēma)	6:29
2.	“On Our Way” (旅の途中で Tabi no Tochū de)	3:44
3.	“Good Night, Until Tomorrow” (お休み,また明日 Oyasumi, Mata Ashita)	0:10
4.	“On That Day, Five Years Ago” (5年前のあの日 Gonen Mae no Ano Hi)	3:13
5.	“Farm Boy” (牧場の少年 Bokujō no Shōnen)	2:52
6.	“Waltz de Chocobo” (ワルツ・デ・チョコボ Warutsu de Chokobo)	0:34
7.	“Electric de Chocobo” (エレキ・デ・チョコボ Ereki de Chokobo)	4:02
8.	“Cinco de Chocobo” (シンコ・デ・チョコボ Shinko de Chokobo)	3:00
9.	“In Search of the Man in Black” (黒マントの男を追え Kuro Manto no Otoko o Oe)	3:04
10.	“Fort Condor” (鷲の砦 Washi no Toride)	4:00
11.	“Rufus’ Welcoming Ceremony” (ルーファウス歓迎式典 Rūfausu Kangei Shikiten)	2:14
12.	“It’s Hard to Stand on Both Feet!” (二本足で立つのも難しいものだな Nihon Ashi de Tatsu no mo Muzukashī Mono da na)	3:31
13.	“Trail of Blood” (血の跡 Chi no Ato)	4:13
14.	“J-E-N-O-V-A” (J-E-N-O-V-A)	2:32
15.	“Continue” (つづきから Tsuzuki Kara)	0:37
16.	“Costa del Sol” (太陽の海岸 Taiyō no Kaigan, lit. “Sun Coast”)	2:28
17.	“Mark of a Traitor” (裏切り者の烙印 Uragirimono no Rakuin)	3:32
18.	“Mining Town” (炭坑の街 Tankō no Machi)	3:00
19.	“Gold Saucer” (ゴールドソーサー Gōrudo Sōsā)	1:58
20.	“Cait Sith’s Theme” (ケット・シーのテーマ Ketto Shī no Tēma)	3:34
21.	“Desert Wasteland” (砂の流刑地 Suna no Ryūkeichi)	5:33

No.	Title	Length
1.	“Cosmo Canyon” (星降る峡谷 Hoshi Furu Kyōkoku, lit. “Valley of the Falling Stars”)	3:36
2.	“Lifestream” (生命の流れ Seimei no Nagare, lit. “Stream of Life”)	3:36
3.	“The Great Warrior” (偉大なる戦士 Idai naru Senshi)	3:24
4.	“Descendant of Shinobi” (忍びの末裔 Shinobi no Matsuei)	2:45
5.	“Those Chosen by the Planet” (星に選ばれし者 Hoshi ni Erabareshi Mono)	3:16
6.	“The Nightmare Begins” (悪夢の始まり Akumu no Hajimari)	2:58
7.	“Cid’s Theme” (シドのテーマ Shido no Tēma)	3:11
8.	“Steal the Tiny Bronco!” (タイニーブロンコを奪え! Tainī Buronko o Ubae!)	1:16
9.	“Wutai” (ウータイ Ūtai)	4:29
10.	“Stolen Materia” (マテリアいただき Materia Itadaki)	1:36
11.	“Win / Place / Show Chocobo!” (本命穴チョコボ Honmei Ana Chokobo, lit. “Place Chocobo”)	1:50
12.	“Fiddle de Chocobo” (フィドル・デ・チョコボ Fidoru de Chokobo)	2:50
13.	“Jackpot!” (大当たりぃ~ Ōatarī~)	0:47
14.	“Tango of Tears” (涙のタンゴ Namida no Tango)	0:49
15.	“Debut” (初舞台 Hatsubutai)	2:36
16.	“Words Drowned by Fireworks” (花火に消された言葉 Hanabi ni Kesareta Kotoba)	2:50
17.	“Forested Temple” (樹海の神殿 Jukai no Shinden)	3:51
18.	“Listen to the Cries of the Planet” (星の声が聞こえる Hoshi no Koe ga Kikoeru)	3:40
19.	“Aerith’s Theme” (エアリスのテーマ Earisu no Tēma)	4:18
20.	“Buried in Snow” (雪に閉ざされて Yuki ni Tozasarete)	4:51
21.	“The North Cave” (北の大空洞 Kita no Daikūdō)	6:05
22.	“Reunion” (リユニオン Riyunion)	3:34
23.	“Who… Am I?” (俺は…誰だ Ore wa… Dare da)	1:37

No.	Title	Length
1.	“Shinra’s Full-Scale Assault” (神羅軍総攻撃 Shinra Gun Sōkōgeki)	2:57
2.	“Attack of the Weapon” (ウェポン襲来 Wepon Shūrai)	2:52
3.	“The Highwind Takes to the Skies” (空駆けるハイウィンド Sora Kakeru Haiwindo)	3:35
4.	“Secret of the Deep Sea” (深海に眠る秘密 Shinkai ni Nemuru Himitsu)	4:17
5.	“Provincial Town” (偏狭の村 Henkyō no Mura)	2:26
6.	“From the Edge of Despair” (絶望の淵から Zetsubō no Fuchi Kara)	4:15
7.	“Other Side of the Mountain” (山の向こうに Yama no Mukō ni)	2:35
8.	“Hurry Up!” (もっと急げ! Motto Isoge!)	2:57
9.	“Launching a Dream into Space” (宇宙への夢 Uchū e no Yume)	2:50
10.	“Countdown” (秒読み開始 Byōyomi Kaishi)	0:50
11.	“Open Your Heart” (心開けば Kokoro Akeba)	2:47
12.	“Mako Cannon – The Destruction of Shinra” (魔晄キャノン発射～神羅爆発 Makō Kyanon Hassha ~ Shinra Bakuhatsu)	1:33
13.	“Judgment Day” (最期の日 Saigo no Hi)	4:07
14.	“Jenova Complete” (完全なるジェノヴァ Kanzen naru Jenova)	3:59
15.	“Birth of a God” (神の誕生 Kami no Tanjō)	4:11
16.	“One-Winged Angel” (片翼の天使 Katayoku no Tenshi)	7:19
17.	“The Planet’s Crisis” (星の危機 Hoshi no Kiki)	8:05
18.	“Ending Credits” (スタッフロール Sutaffu Rōru, lit. “Staff Roll”)	6:51

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Games' music

Farm Boy 牧場の少年 from Final Fantasy VII ファイナルファンタジーVII (sheet music)

Post author By Sheet Music Library (PDF)
Post date June 29, 2021

Table of Contents

Farm Boy 牧場の少年 from Final Fantasy VII ファイナルファンタジーVII with sheet music
Sheet Music download here.
Music of the Final Fantasy VII series

Creation and development

Final Fantasy VII Albums

Original Soundtrack

Farm Boy 牧場の少年 from Final Fantasy VII ファイナルファンタジーVII with sheet music

Sheet Music download here.

Music of the Final Fantasy VII series

The music of the Final Fantasy VII series includes not only the soundtrack to the original game and its associated albums, but also the soundtracks and music albums released for the other titles in the collection.

The first album produced was Final Fantasy VII Original Soundtrack, a compilation of all the music in the game. It was released as a soundtrack album on four CDs by DigiCube in 1997. A selection of tracks from the album was released in the single-disc Reunion Tracks by DigiCube the same year. Piano Collections Final Fantasy VII, an album featuring piano arrangements of pieces from the soundtrack, was released in 2003 by DigiCube, and Square Enix began reprinting all three albums in 2004. To date, these are the only released albums based on the original game’s soundtrack, and were solely composed by regular series composer Nobuo Uematsu; his role for the majority of subsequent albums has been filled by Masashi Hamauzu and Takeharu Ishimoto.

Creation and development

Final Fantasy VII was scored by the series’ main composer Nobuo Uematsu

Uematsu had initially planned to use vocal performances for the game to take advantage of the console’s capabilities, but found that the advanced audio quality required in turn made the game have much longer loading times in each area. Uematsu decided that the quality was not worth the effects on gameplay, though after the release and seeing Suikoden II (1998, PlayStation), which had used higher-quality music instead, he reversed his stance for Final Fantasy VIII. There was a plan to use a “famous vocalist” for the ending theme to the game as a “theme song” for the game, but time constraints and thematic concerns, caused the idea to be dropped. Uematsu has stated, however, that the move into the “PlayStation era”, which allowed video game composers to use sounds recorded in the studio rather than from synthesizers, had “definitely been the biggest change” to video game music.

The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic to the game and asked him to begin the project there. The track was well received in the company, which gave Uematsu “a sense that it was going to be a really good project”. He later stated in the liner notes for the soundtrack album that the music for Final Fantasy VII was his “greatest harvest” to date.

Final Fantasy VII was the first game in the series to include a track with digitized vocals, “One-Winged Angel”. The track has been called Uematsu’s “most recognizable contribution” to the music of the Final Fantasy series, though the composer did not expect it to gain such popularity. The piece, described as “a fanfare to impending doom”, is said to not “follow any normal genre rules” and has been termed “possibly the most innovative idea in the series’ musical history”.

Uematsu approached the piece, which accompanies the final battle of the game, in a different manner than previous “boss tracks”: as he felt that using his normal approach would cause unfavorable comparisons to his well-received Final Fantasy VI boss tracks, he instead tried to take a different approach. Inspired by The Rite of Spring by Igor Stravinsky to make a more “classical” track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a “destructive impact”, he spent two weeks composing short unconnected musical phrases, and then arranged them together into a song, an approach he has never used before or since.

The lyrics of “One-Winged Angel”, a Latin choral track that plays at the climax of the game, were taken from the medieval poetry that forms the basis of Carl Orff‘s Carmina Burana, specifically “Estuans Interius”, “O Fortuna“, “Veni, Veni, Venias” and “Ave Formosissima”. Uematsu has stated that the intro of “One-Winged Angel” is based on Jimi Hendrix‘s “Purple Haze“, that the piece revolves around the image of Sephiroth, and that despite the chorus and orchestra, he still thinks of it as a “rock piece”. He said in a 2005 interview that “One-Winged Angel” is his favorite tune from the soundtrack, and in 2004 that it was his favorite battle theme from any Final Fantasy game.

Final Fantasy VII Albums

Original Soundtrack

The regular edition of the album reached No. 3 on the Japan Oricon charts, while the limited edition reached No. 19. Overall, the album sold 148,000 copies as of January 2010, with the limited edition selling a further 21,000. The album was well received by critics. Allmusic awarded Uematsu’s original soundtrack a five-star rating.

Ben Schweitzer of RPGFan claimed that “for the most part, it’s a diamond”, with his primary complaint being the quality of the MIDI sound. He found the tracks to be “beautiful” and said that “One-Winged Angel” was “possibly the most innovative idea in the series’ musical history”.

Patrick Gann of RPGFan concurred and found all of the soundtrack’s tunes to be “memorable” and the Original Soundtrack to be “very worth the purchase”. Philip of Square Enix Music Online, however, disliked the sound quality of the soundtrack and saw several tracks as “trivial”, though he did note that Uematsu “has a flair for strong, memorable” pieces. In 2006, IGN ranked the album as the best Final Fantasy soundtrack to date and cited the “gripping” character themes and “One-Winged Angel” in particular as contributing factors. They also named “One-Winged Angel” as the best piece of music from the entire Final Fantasy series.

The original CDs for both releases were only published in Japan and include only Japanese track names. The official English track names were later added to digital releases of the soundtrack.

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Games' music

Relax and Reflect – A Fading Summer’s Eve – FINAL FANTASY XV (sheet music)

Post author By Sheet Music Library (PDF)
Post date June 28, 2021

Table of Contents

Relax and Reflect – A Fading Summer’s Eve – FINAL FANTASY XV with sheet music
Final Fantasy sheet music download here.
Final Fantasy XV music

Release

Relax and Reflect – A Fading Summer’s Eve – FINAL FANTASY XV with sheet music

Final Fantasy XV Relax and Reflect - A Fading Summer's Eve sheet music

Final Fantasy sheet music download here.

Final Fantasy XV music

Final Fantasy XV: Original Soundtrack is mainly composed by Yoko Shimomura, who is known for her involvement with the Kingdom Hearts series. Shimomura was responsible for at least 80% of the soundtrack; the rest of the pieces are variations of her compositions that were handled by other people. Yoshitaka Suzuki worked as composer/arranger, and Shota Nakama worked as composer/arranger/orchestrator. Shota runs a group called Video Game Orchestra (VGO) that does rock symphonic concerts and operates in the recording industry. VGO was contracted to work for Final Fantasy XV, and Shota conducted all recording sessions and contracted the orchestras and the choirs.

Every line ensemble was through VGO, and Shota’s team mixed it as well. This is the first time a Final Fantasy game uses a North American orchestra. Suzuki worked on the game for one year, on and off, and did have a crunch time. In total, he did around twenty-five pieces. At the same time, he was also composing for the movie, Kingsglaive: Final Fantasy XV. Nakama started working on the game in 2014, and worked on the trailers.

Some themes featured on Final Fantasy XV: Original Soundtrack aim to encompass “friendship” and “filial bonds.”^[2] Shimomura tried many different methods, discussed with directors to share the world view, looked at images for inspiration, and read and took in the story to be inspired.^[3]

The way Suzuki composed for the game was to get many gameplay videos. He imported them to his software, and then composed to the video as if he was in the game as a player. The sadness for the compositions thus came intuitively. Visually, he realized what was happening in the game, seeing it from two different points of view—composer and player—and tried to incorporate whatever emotion he was experiencing into it.

Suzuki has cited his experience with composing for the Metal Gear series as an advantage when he composed music for the base infiltration scenes in Final Fantasy XV. Final Fantasy has such a long legacy, and the composers valued its spirit, and thus would throw in the “Prelude” (such as in “Hellfire”), and put in little fragments of the previous melodies and motifs.

Yoko Shimomura was working on Final Fantasy XV: Original Soundtrack even when Final Fantasy XV was still known as Final Fantasy Versus XIII. Since the game was not originally part of the main Final Fantasy series, Shimomura felt she did not need to worry about following in other Final Fantasy composers’ footsteps. By the time Final Fantasy XV was announced, Shimomura had already developed a clear concept of how she could continue on her initial path. The rebranding of Final Fantasy Versus XIII necessitated new music.

Sho Iwamoto, audio programmer at Square Enix, talked at Game Developers’ Conference 2017 how music is incorporated into Final Fantasy XV. He designed and implemented an interactive music system, as there was a worry making the music interactive would distort the music or not make it memorable. According to Iwamoto, Final Fantasy music is known for being epic, memorable, to have a strong melody line, and to be one of the selling points of the series. The aim was to have seamless transitions while not losing “epicness”. The goal was not to avoid repeating the same music, but to enhance the player’s emotional experience by playing applicable music that would suit the situation.

For example, when riding a chocobo, the music picks up pace when the bird trots. The music also changes when the chance to summon appears and when the player summons, and during set piece boss battles, to reflect what is happening, such as the music fading into a dramatic finish just as the boss dies. In outposts like Hammerhead and at Galdin Quay, the background music seamlessly changes when the player steps into the restaurant. The transition time for the chocobo music is set longer so that the music would not change every time the player must slow down to avoid a tree or to turn.

Release

The album was released on December 21, 2016. The basic soundtrack was released on 4 standard CDs and on Blu-ray, which includes the music, movie data, and active internet support.

A limited edition version was also released. It contained the Blu-ray soundtrack with two bonus videos, a CD with select song arrangements, and a “Special Music Collection” Blu-ray with select tracks from all numbered Final Fantasy titles, Dissidia and Dissidia 012, Type-0, Justice Monsters Five, and Kingsglaive.

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Games' music

“Ahead on Our Way”, 旅の途中で FINAL FANTASY VII ファイナルファンタジーVII (piano solo) with sheet music

Post author By Sheet Music Library (PDF)
Post date March 3, 2021

Table of Contents

“Ahead on Our Way”, 旅の途中で FINAL FANTASY VII ファイナルファンタジーVII (piano solo) with sheet music
Nobuo Uematsu (植松伸夫
Final Fantasy VII

“Ahead on Our Way”, 旅の途中で FINAL FANTASY VII ファイナルファンタジーVII (piano solo) with sheet music

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Nobuo Uematsu (植松伸夫

Nobuo Uematsu (植松伸夫, Uematsu Nobuo, born March 21, 1959) is a Japanese musician and composer, best known for his contributions to the Final Fantasy video game series by Square Enix. A self-taught musician, he began playing the piano at the age of twelve, with English singer-songwriter Elton John as one of his biggest influences. Uematsu joined Square in 1986, where he first met Final Fantasy creator Hironobu Sakaguchi.

The two later worked together on many titles at the company, most notably in the Final Fantasy series. After nearly two decades with Square, Uematsu left in 2004 to create his own production company, which included the Dog Ear Records music label. He has since composed music as a freelancer for other games, including ones developed by Square Enix and Sakaguchi’s development studio, Mistwalker.

Many soundtracks and arranged albums of Uematsu’s game scores have been released. Pieces from his video game works have been performed in various Final Fantasy concerts, where he has worked with Grammy Award–winning conductor Arnie Roth on several of these performances. In the 2000s, he was the keyboardist in the hard rock band The Black Mages, along with Square Enix colleagues Kenichiro Fukui and Tsuyoshi Sekito.

The band played various arranged rock versions of Uematsu’s Final Fantasy compositions. He has since performed with Earthbound Papas, which he formed as the successor to The Black Mages in 2011. He is sometimes referred to as the Beethoven of video game music and has made several appearances in the annual Classic FM Hall of Fame.

Final Fantasy VII

Final Fantasy VII is a 1997 role-playing video game developed by Square for the PlayStation console. It is the seventh main installment in the Final Fantasy series. Published in Japan by Square, it was released in other regions by Sony Computer Entertainment and is the first in the main series with a PAL release.

The game’s story follows Cloud Strife, a mercenary who joins an eco-terrorist organization to stop a world-controlling megacorporation from using the planet’s life essence as an energy source. Events send Cloud and his allies in pursuit of Sephiroth, a former member of the corporation who seeks to harm the planet. During the journey, Cloud builds close friendships with his party members, including Aerith Gainsborough, who holds the secret to saving their world.

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Relax and Reflect – A Fading Summer’s Eve – FINAL FANTASY XV with sheet music

Post author By Sheet Music Library (PDF)
Post date February 24, 2021

Relax and Reflect – A Fading Summer’s Eve – FINAL FANTASY XV with sheet music

Music of Final Fantasy XV

The music for the video game Final Fantasy XV, developed and published by Square Enix as the fifteenth mainline entry in the Final Fantasy series, was composed primarily by Yoko Shimomura. Having previously worked on the Kingdom Hearts series, among various other titles, Final Fantasy XV was her first project for the series. Shimomura was brought on board the project in 2006, when it was a spin-off title called Final Fantasy Versus XIII,and stayed in her role during the game’s ten-year development cycle. Her music, based around themes of “friendship” and “filial bonds”, incorporates multiple musical genres, such as orchestral, bossa nova, and American blues. Several tracks, including the main theme “Somnus”, feature Latin lyrics written by the game’s original director Tetsuya Nomura.

Relax and Reflect - A Fading Summer's Eve - FINAL FANTASY XV with sheet music

Final Fantasy XV was expanded into a multimedia project dubbed the “Final Fantasy XV Universe”, for which other composers were hired; John R. Graham composed the music for the film Kingsglaive: Final Fantasy XV, with additional tunes from Shimomura. Yasuhisa Inoue and Susumi Akizuki of Righttrack wrote the music for the original net animation Brotherhood, while a team from the music studio Unique Note, who also worked on the base game, handled the mobile spin-off title Justice Monsters V. English indie rock band Florence and the Machine collaborated on three songs for the game, including a cover of Ben E. King‘s “Stand by Me“, which acted as one of the two official theme songs. Later contributors to the soundtrack, via downloadable content packs, were Keiichi Okabe, Naoshi Mizuta, Yasunori Mitsuda, Nobuo Uematsu, Tadayoshi Makino, and Taku Iwasaki.

Multiple albums have been released containing music from Final Fantasy XV and its spin-off media. Final Fantasy XV Original Soundtrack released in December 2016 in multiple versions, including a four-disc CD release, a Blu-ray release with additional tracks, and a special edition. The standard four-disc release was published internationally in 2017 by Sony Classical Records. The score for Kingsglaive released in September 2016 as a two-disc CD. Other releases include a digital album for Justice Monsters V in September 2016, and limited digital albums for both Kingsglaive and Platinum Demo, a commercial demo acting as a prequel to Final Fantasy XV. The songs from Florence and the Machine were released in August 2016 as digital singles under the banner title “Songs from Final Fantasy XV“. Reception of the albums was generally positive, with the main soundtrack album and Welch’s tracks reaching high positions on music charts.

The game’s official soundtrack album, Final Fantasy XV Original Soundtrack, released first in Japan on December 21, 2016. The album was produced by Koyo Sonae. The soundtrack came in multiple editions. The standard four-disc CD and one-disc Blu-ray releases featured the entire in-game soundtrack with the exception of “Stand by Me”, coming to ninety tracks of music. A limited edition featured two Blu-ray discs and a CD; the first Blu-ray featured the full game soundtrack, the second Blu-ray disc held the track selection from the party’s car radio in addition to Welch’s rendition of “Stand by Me”, while the CD featured versions of selected tracks arranged for piano by Yui Morishita and Takuro Iga. The limited edition also had additional contents including behind-the-scenes footage concerning the recording of the soundtrack. The piano arrangements were performed by Yui Morishita, a noted Japanese pianist. Selected tracks were also included in a “Special Soundtrack” Blu-ray disc released as part of the Final Fantasy XV Ultimate Collector’s Edition. The four-disc edition, which includes all available tracks from that version, was released internationally by Sony Classical Records in 2017. This version was released in Europe on February 24,^[63] and in North America on March 24.

The Blu-ray and CD versions both entered the Oricon charts at #35, remaining in the charts for a further nine weeks.^[65]^[66] The album was nominated for the 2017 Game Audio Network Guild’s “Best Original Soundtrack Album” award, though it lost to the soundtrack album for Abzû. Samar Farag of RPGFan was highly positive about the album and its mixture of tracks, saying that the shifts in style captured the game’s theme of a road trip, with the exception of the track “Bros on the Road” which he said was “more appropriate in Sonic Adventure 2“. The rest of the album was generally praised, with the last section’s dark tones and use of leitmotifs from “Somnus”, the environmental track “Valse di Fantastica”, and the character track “Ardyn” earning particular praise. Video Game Music Online’s Lucas Versantvoort gave the album a score of 3/5; while several tracks stood out as being good, he felt there was a lack of cohesive style present in other recent Final Fantasy scores, feeling that it was a lower-quality example of Shimomura’s work than her earlier work on Kingdom Hearts. He also found the other contributors’ work mixed, and disliked the mixture of different musical styles. Both reviewers praised “Somnus” as the album’s best track; Farag said he could “easily call “Somnus” one of Shimomura’s greatest songs”, while Versantvoort felt that it was underused in the soundtrack as a whole.

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Final Fantasy VII Aerith’s Theme エアリスのテーマ with sheet music

Post author By Sheet Music Library (PDF)
Post date February 17, 2021

Final Fantasy VII Aerith’s Theme エアリスのテーマ with sheet music

Games' music

Aerith’s Theme – Final Fantasy VII エアリスのテーマ with sheet music

Post author By Sheet Music Library (PDF)
Post date February 14, 2021

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Table of Contents

Aerith’s Theme – Final Fantasy VII エアリスのテーマ with sheet music
“Aerith’s Theme”
Nobuo Uematsu

Final Fantasy VII

Lyrics

Aerith’s Theme – Final Fantasy VII エアリスのテーマ with sheet music

“Aerith’s Theme”

“Aerith’s Theme” (エアリスのテーマ, Earisu no Tēma?) or “Aeris’s Theme”, is Aerith Gainsborough‘s eponymous theme originating from Final Fantasy VII. It was composed by Nobuo Uematsu.

It contains elements of “Aria di Mezzo Carattere” from Final Fantasy VI. Elements of “Aerith’s Theme” independent of “Aria di Mezzo Carattere” are also present in “Yuna’s Theme” from Final Fantasy X.

Nobuo Uematsu’s beautiful theme is one of the most famous pieces of video game music ever written – and deservedly so.

Nobuo Uematsu

is one of the founding fathers of video game music. His work – particularly for the epic Final Fantasy series – has inspired scores of composers and introduced a whole generation to the magic of orchestral music.

Aerith is one of the characters in Final Fantasy VII, and this theme appears during the game at key moments for the character.

The first thing we hear is a yearning melody, gently falling and rising. It’s simple, but memorable – like a song remembered from childhood.

Final Fantasy VII

“Aerith’s Theme” plays three times: during Elmyra Gainsborough‘s flashback where she tells the party of Aerith’s childhood; during the fight with Jenova∙LIFE and during the preceding scene; and when the party remembers Aerith’s sacrifice before raiding the Northern Cave. A short phrase of the theme is heard in the scene where Cloud sees Aerith’s hand reach out for him from the lifestream in the ending. “Flowers Blooming in the Church”

“Flowers Blooming in the Church” is an arrangement of “Aerith’s Theme” that plays as the background theme for the Sector 5 slums church and Aerith’s house in the Sector 5 Slums, as well as in several in-game cutscenes involving Aerith.

“Aerith’s Theme” is the nineteenth track of the Final Fantasy VII: Original Soundtrack third disc; while “Flowers Blooming in the Church” is the twelfth track of the album’s first disc.

Lyrics

Japanese
Nagaku tsuzuku kono michi no mukou ni Shinjirareru mono ga kitto aru Kaze no naka no tabibito no you ni Kita no sora o mezashite ikeba Kiekaketa atsui omoi Mou ichido mune no naka de Kagayaki yureru Namida nante koboshitakunai no Yowai jibun ni makenai tame ni Kazaranai kokoro dake ga Motte iru me ni wa mienai Ooki na tsubasa Te o hiroge utainagara Yuukyuu no toki ni dakare Inochi o tsunagu Nagaku tsuzuku kono michi no mukou ni Shinjirareru mono ga kitto aru

English translation
Straight on this long, continuing road There is surely something to believe in Like a traveler in the midst of the wind I have my eyes on the northern sky The passionate feelings That were beginning to vanish Once again sway in radiance in my chest I don’t want the tears to spill As so not to lose to my weaker self In eyes holding only an unadorned spirit There are great Unseen wings I open my arms while singing To embrace the perpetuity of time To be tied to life Straight on this long, continuing road There is surely something to believe in