![11 - Shadows Theme [Sheet Music] Final Fantasy VI - Aural Transcription @Gallahaut](https://i.ytimg.com/vi/maX-ZJY2xYc/maxresdefault.jpg)
Uploaded December 2011 | Updated September 2026, 2 weeks ago
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack recording for reference.
Compare to the original track here!
youtube.com/watch?v=sSIkHrjPWTc
Track 11: Shadow's Theme
Composer: Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-customized soundfont by Mathew Valente
-SwitchSound File Converter
-Total Recorder
-Viena Soundfont Editor
-GarageBand
-iMovie
-iShowU
Using 128th notes to accurately depict the strumming of guitar chords is just silly in my opinion.
Watch in HD!
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Analysis:
This piece is rather simple with light texture. The Jew's Harp at the beginning is a very interesting choice of an instrument, giving the piece a more exotic/mysterious character to it. The ocarina, another interesting choice of an instrument, introduces it's catchy melody and is accompanied by acoustic guitar, bass guitar, and percussion section. The texture seems quite odd and almost gives the piece a "country western" feel; the ocarina surprisingly helps add to this effect. Overall, what makes this piece sound complete is the counterpoint between bass guitar and ocarina. The rhythm section is also fairly simple; however, it should be noted that the entire percussion section is really intended for drum set (high hat, snare, bass drum, side stick, etc.), but due to limitations regarding sound channels and soundfont editing, I was obligated to notate each percussion instrument on its own separate line.
The form is quite straightforward using an AABA format which is quite common among popular music (examples could be The Police's "Every Breath You Take," Gershwin's "I've got Rhythm," or even "Somewhere over the Rainbow." Though AABA is typically implicative of a 32-bar phrase, we could subdivide measures and notate the piece in a "fast 3/4," although I chose to notate it in 6/8 extending the internal beat.
----------
Download the full score pdf here!
mediafire.com/?8783yjxwmfhk7xy
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack recording for reference.
Compare to the original track here!
youtube.com/watch?v=sSIkHrjPWTc
Track 11: Shadow's Theme
Composer: Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-customized soundfont by Mathew Valente
-SwitchSound File Converter
-Total Recorder
-Viena Soundfont Editor
-GarageBand
-iMovie
-iShowU
Using 128th notes to accurately depict the strumming of guitar chords is just silly in my opinion.
Watch in HD!
----------
Analysis:
This piece is rather simple with light texture. The Jew's Harp at the beginning is a very interesting choice of an instrument, giving the piece a more exotic/mysterious character to it. The ocarina, another interesting choice of an instrument, introduces it's catchy melody and is accompanied by acoustic guitar, bass guitar, and percussion section. The texture seems quite odd and almost gives the piece a "country western" feel; the ocarina surprisingly helps add to this effect. Overall, what makes this piece sound complete is the counterpoint between bass guitar and ocarina. The rhythm section is also fairly simple; however, it should be noted that the entire percussion section is really intended for drum set (high hat, snare, bass drum, side stick, etc.), but due to limitations regarding sound channels and soundfont editing, I was obligated to notate each percussion instrument on its own separate line.
The form is quite straightforward using an AABA format which is quite common among popular music (examples could be The Police's "Every Breath You Take," Gershwin's "I've got Rhythm," or even "Somewhere over the Rainbow." Though AABA is typically implicative of a 32-bar phrase, we could subdivide measures and notate the piece in a "fast 3/4," although I chose to notate it in 6/8 extending the internal beat.
----------
Download the full score pdf here!
mediafire.com/?8783yjxwmfhk7xy
![11 - Shadows Theme [Sheet Music] Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/maX-ZJY2xYc/mqdefault.jpg "11 - Shadows Theme [Sheet Music] Final Fantasy VI - Aural Transcription
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack recording for reference.
Compare to the original track here!
http://www.youtube.com/watch?v=sSIkHrjPWTc
Track 11: Shadows Theme
Composer: Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-customized soundfont by Mathew Valente
-SwitchSound File Converter
-Total Recorder
-Viena Soundfont Editor
-GarageBand
-iMovie
-iShowU
Using 128th notes to accurately depict the strumming of guitar chords is just silly in my opinion.
Watch in HD!
Analysis:
This piece is rather simple with light texture. The Jews Harp at the beginning is a very interesting choice of an instrument, giving the piece a more exotic/mysterious character to it. The ocarina, another interesting choice of an instrument, introduces its catchy melody and is accompanied by acoustic guitar, bass guitar, and percussion section. The texture seems quite odd and almost gives the piece a country western feel; the ocarina surprisingly helps add to this effect. Overall, what makes this piece sound complete is the counterpoint between bass guitar and ocarina. The rhythm section is also fairly simple; however, it should be noted that the entire percussion section is really intended for drum set (high hat, snare, bass drum, side stick, etc.), but due to limitations regarding sound channels and soundfont editing, I was obligated to notate each percussion instrument on its own separate line.
The form is quite straightforward using an AABA format which is quite common among popular music (examples could be The Polices Every Breath You Take, Gershwins Ive got Rhythm, or even Somewhere over the Rainbow. Though AABA is typically implicative of a 32-bar phrase, we could subdivide measures and notate the piece in a fast 3/4, although I chose to notate it in 6/8 extending the internal beat.
Download the full score pdf here!
http://www.mediafire.com/?8783yjxwmfhk7xy")
![22 - Celes Theme [Sheet Music] - Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/mmy9min2Stc/mqdefault.jpg "22 - Celes Theme [Sheet Music] - Final Fantasy VI - Aural Transcription
Merry Christmas/Happy Holidays/Whatever yall like to say to spread happiness and stuff. Heres the part where Celes tries to kill herself. Somehow I clipped the second repeat in the editing process, so my apologies for the shortness. Also, is it a coincidence that Celes theme just happens to be played on a Celesta??? :P
As usual, an aural transcription and audio recreation entirely by ear. Dont believe me? Compare to the original soundtrack!
https://www.youtube.com/watch?v=WoBn04lcNmo
Overall, this tune is fairly simple yet thickly orchestrated at the same time. You know its going to be a good theme when it starts out with a tonic chord followed immediately by a iii chord. Uematsu also doesnt hesitate to raise the 4th scale degree early on in the melody (only the 6th note in!)
Aside from the 8-bar intro that sequentially modulates every two measures and the little tag at the end of the melody, this piece is really just one big parallel period that repeats forever in the key of Eb, although he does put this deceptive C minor chord at the cadence point of the a theme.")
![17 - The Veldt [Sheet Music] Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/oHfSU3CVpVQ/mqdefault.jpg "17 - The Veldt [Sheet Music] Final Fantasy VI - Aural Transcription
This audio recreation may not be as believable as my other aural transcriptions, but as always feel free to compare to the original soundtrack here: https://www.youtube.com/watch?v=UC-2jiCHvTc
This was definitely a very challenging aural transcription to execute effectively. Notes and rhythms took under an hour, but getting the percussion to sound right to the best of my ability while maintaining sanity definitely took several hours.
Though probably just a coincidence, The Veldt contrasts Gaus theme nicely with a relative minor relationship. This percussion heavy track portrays a wild west type of environment, which is the alternative name for the track. Interesting but unrelated, the Veldt is actually very far East on the world map.
Most of the percussion lines are given one rhythmic motif that remains consistent throughout the entire piece. At 37, there is a 2-bar motivic idea in the violin and oboe, which is traded off in the lower strings two bars later. Other than that, this piece is mostly just a consistent groove throughout.")
![12 - Troops March On [Sheet Music] Final Fantasy VI - Sibelius 6](https://i.ytimg.com/vi/q66mRGwcono/mqdefault.jpg "12 - Troops March On [Sheet Music] Final Fantasy VI - Sibelius 6
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack recording as reference.
Compare to the original soundtrack recording here! http://www.youtube.com/watch?v=9mmbBOw0SfI
Track 12: Troops March On
Composer: Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-Customized soundfont by Mathew Valente
-Total Recorder
-SwitchSound File Converter
-GarageBand
-iShowU
-iMovie
Watch in HD!
Analysis:
So heres our first official theme representing imperialism. The 16th note triplets on the weak beat is something seen throughout imperial themes. The rhythmic drive of this piece is comprised of an eighth note followed by two sixteenths. Though not something particularly special, it does stay constant throughout the entire piece.
The form is rather simple having only two contrasting themes that alternate creating the loop point. The first theme is handled by trumpets in a sort of call and response in the french horns, which answer the trumpets motivic idea during the consequential phrase. The B section is then taken over by the strings with horn accompaniment. The strings implement the use of the 16th note triplet as well and later use the motivic idea of the horn from the previous theme.
Its interesting to note the consistent use of a flat-9 throughout this piece. Though notated in C minor, the flat-9 almost implies that it wants to go to F minor, which it never does. When we reach the B theme the entire piece switches tonality completely to E-flat minor using direct modulation. This strange technique seems to be a personal trademark of Uematsus, using direct modulation from one minor key to the minor key a minor 3rd away. Further discussion can be found in previous videos. The chromatic descent in the strings at the beginning of the new theme is also a unique thing to notice. The first time, the strings are outlining an E-flat minor chord with an unresolved 4-3 suspension (unless you can argue that its resolving to the G-flat in the succeeding measure). The second time, the strings repeat the same notes on their chromatic descent, but the accompaniment changes it so that the strings are now outlining a Neapolitan chord with a major 7 (in other words, F-flat M7!). This resolves back to E-flat minor directly (skipping the use of a V chord), and then directly modulates back to C minor, creating the loop point.
Download the full score pdf here!
http://www.mediafire.com/?horokhu2ekb2ue2")
![21 - Under Martial Law [Sheet Music] - Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/uAbJ-HhwvkU/mqdefault.jpg "21 - Under Martial Law [Sheet Music] - Final Fantasy VI - Aural Transcription
Aural Transcription. Link to the original soundtrack here: https://www.youtube.com/watch?v=9AhqyAGGpog
Completed with lots of programs and stuff. :P
Alright, so heres a theme of oppression. Harmonically speaking, it starts out with an 8-bar intro in G minor that brings us to the main melody in E minor. This is a very common technique used by Uematsu to use direct modulation and arrive a minor 3rd away from the previous tonic.
Because the cadences after each phrase are identical and the melodic structure is practically the same, the melody in E minor takes on the form of a repeated period. After this the piece uses direct modulation yet again; however, this time Uematsu chooses to modulate to C minor, a major 3rd away from the previous tonic (or rather the key of bVI). This type of DIRECT modulation is much more uncommon in Uematsus music.
Overall, the piece consists of an 8-bar intro followed by a repeated period followed by the exact same repeated period but in the key of bVI.")
![20 - Kids Run Through the City Corner [Sheet Music] Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/upNZLH-HEjg/mqdefault.jpg "20 - Kids Run Through the City Corner [Sheet Music] Final Fantasy VI - Aural Transcription
Aural Transcription. Everything youre hearing is a recreation of the original soundtrack by ear. Check out the original track here: http://www.youtube.com/watch?v=cpZDSFitwQg
Analysis
The average town theme is typically a more simplistic and often soothing tune representing the peacefulness within the lives of the townspeople. This piece is in G major and has a simple AB structure. Although the first time through the A section is repeated (making it AAB), after the loop point the structure remains AB throughout.
The chord progression incorporates a nice bVII sound whose root is then raised a half-step to create the leading tone of the dominant chord which resolves back to the tonic. Represented as follows: I - vi - I - iii - IV - ii - bVII - V7. This half-cadence concludes the first phrase (a) of the parallel period which constitutes the entire A section. Following this we have the phrase a (a prime) which is as follows: I - vi - iii - V7/IV - IV - V - viiº(4/3) - I. The diminished 7 chord is also a nice moment incorporating the lowered 6th scale degree (Eb) which is often heard in the context of a iv or a iiø resolving to I However, due to the F# on the third beat of the measure, I decided to analyze the entire measure as a single chord (viiº7) resolving to I.
In the B section we get the following chord progression in the first phrase: IV - V - iii - I - IV - ii - I - iii. The second phrase (which can be called b) incorporates the use of secondary dominants as well as the bVII again: vi - V/V - vi - bVII - IV - V7 - viiº4/3 - I. Notice how in the melody the b phrase in the B section ends the same exact way as the a phrase during the A section.
Melodically speaking, this piece is full of patterns that are repeated throughout. During the entrance of the second flute, the melody is almost entirely a tonal transposition up a third, though near the cadence some contrary motion is added. At the beginning of the B section, the strings also take on the same shape as the melody except transposed down a tonal third.
Accompanimentally, the electric bass is playing roots just about the entire time and the acoustic guitar is arpeggiating the chord progression throughout. The string section is also playing chord tones for the most part, but it does add a nice texture to the piece.
Download sheet music here!
http://www.mediafire.com/download/31cjpcsvvbq8z7x/20 Kids_Run_Through_the_City_Corner.pdf")
