![18 - Gaus Theme [Sheet Music] Final Fantasy VI - Aural Transcription (watch in HD) @Gallahaut](https://i.ytimg.com/vi/UqQ599hGR6I/maxresdefault.jpg)
Uploaded June 2012 | 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 as reference.
Compare to the original recording here!
youtube.com/watch?v=R9kGEgmNbTk
Track 18: Gau
Composed by Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-Custom Soundfont by Mathew Valente
-TotalRecorder
-GarageBand
-iShowU
-iMovie
Please comment, like, sub, and enjoy!!
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Analysis
This piece begins with a melody for solo cello over an arpeggiated guitar accompaniment. This entire melody will actually repeat itself when the rest of the orchestra comes in. When this happens, the guitar and solo cello drop out, and the flute takes over the melody line. Additionally, the harp takes over the accompanimental figure that was seen previously in the guitar. The electric bass and two string parts are also added to give it more of an orchestral color.
Though the piece is short and only consists of a nice melody repeated twice, the interesting thing about this composition is mainly the harmonic structure. In A major, it starts off with a I chord going to a iii chord. This is fairly common in popular music, but it is a really nice effect. During the 4th measure, the piece has already modulated to the key of the dominant. In measure 9, the piece lands back on the original tonic and repeats the I-iii harmonic progression. However, this is succeeded by an interesting use of an F#m7 (or vi7) that acts as a iv7/iii going to iii. Finally, the most popular video game cadence (bVI-bVII-I) is used again in the key of C# minor (taking into consideration the use of the picardy 3rd of course). This final cadence on C# major is the end of the piece where the loop point starts again (in A major!) Though this is a chromatic mediant relationship, Uematsu simply uses direct modulation to get back to A major.
----------
Download the full score pdf here!
mediafire.com/view/?y9cj6u35hflepgf
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack as reference.
Compare to the original recording here!
youtube.com/watch?v=R9kGEgmNbTk
Track 18: Gau
Composed by Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-Custom Soundfont by Mathew Valente
-TotalRecorder
-GarageBand
-iShowU
-iMovie
Please comment, like, sub, and enjoy!!
----------
Analysis
This piece begins with a melody for solo cello over an arpeggiated guitar accompaniment. This entire melody will actually repeat itself when the rest of the orchestra comes in. When this happens, the guitar and solo cello drop out, and the flute takes over the melody line. Additionally, the harp takes over the accompanimental figure that was seen previously in the guitar. The electric bass and two string parts are also added to give it more of an orchestral color.
Though the piece is short and only consists of a nice melody repeated twice, the interesting thing about this composition is mainly the harmonic structure. In A major, it starts off with a I chord going to a iii chord. This is fairly common in popular music, but it is a really nice effect. During the 4th measure, the piece has already modulated to the key of the dominant. In measure 9, the piece lands back on the original tonic and repeats the I-iii harmonic progression. However, this is succeeded by an interesting use of an F#m7 (or vi7) that acts as a iv7/iii going to iii. Finally, the most popular video game cadence (bVI-bVII-I) is used again in the key of C# minor (taking into consideration the use of the picardy 3rd of course). This final cadence on C# major is the end of the piece where the loop point starts again (in A major!) Though this is a chromatic mediant relationship, Uematsu simply uses direct modulation to get back to A major.
----------
Download the full score pdf here!
mediafire.com/view/?y9cj6u35hflepgf
![18 - Gaus Theme [Sheet Music] Final Fantasy VI - Aural Transcription (watch in HD)](https://i.ytimg.com/vi/UqQ599hGR6I/mqdefault.jpg "18 - Gaus Theme [Sheet Music] Final Fantasy VI - Aural Transcription (watch in HD)
This is an aural transcription meaning everything you hear was completed entirely by ear using only the original soundtrack as reference.
Compare to the original recording here!
http://www.youtube.com/watch?v=R9kGEgmNbTk
Track 18: Gau
Composed by Nobuo Uematsu
For this project I used:
-Sibelius 6
-SynthFont
-Custom Soundfont by Mathew Valente
-TotalRecorder
-GarageBand
-iShowU
-iMovie
Please comment, like, sub, and enjoy!!
Analysis
This piece begins with a melody for solo cello over an arpeggiated guitar accompaniment. This entire melody will actually repeat itself when the rest of the orchestra comes in. When this happens, the guitar and solo cello drop out, and the flute takes over the melody line. Additionally, the harp takes over the accompanimental figure that was seen previously in the guitar. The electric bass and two string parts are also added to give it more of an orchestral color.
Though the piece is short and only consists of a nice melody repeated twice, the interesting thing about this composition is mainly the harmonic structure. In A major, it starts off with a I chord going to a iii chord. This is fairly common in popular music, but it is a really nice effect. During the 4th measure, the piece has already modulated to the key of the dominant. In measure 9, the piece lands back on the original tonic and repeats the I-iii harmonic progression. However, this is succeeded by an interesting use of an F#m7 (or vi7) that acts as a iv7/iii going to iii. Finally, the most popular video game cadence (bVI-bVII-I) is used again in the key of C# minor (taking into consideration the use of the picardy 3rd of course). This final cadence on C# major is the end of the piece where the loop point starts again (in A major!) Though this is a chromatic mediant relationship, Uematsu simply uses direct modulation to get back to A major.
Download the full score pdf here!
http://www.mediafire.com/view/?y9cj6u35hflepgf")
![23 - Save Them! [Sheet Music] Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/XpOc7VPV1_o/mqdefault.jpg "23 - Save Them! [Sheet Music] Final Fantasy VI - Aural Transcription
Aural Transcription; everything was completed entirely by ear. Compare to the original soundtrack here! http://www.youtube.com/watch?v=xehpm1vLrDQ
Here is my 50th aural transcription video! This was actually rather difficult. There were many small details that sounded like mistakes or random notes in various sections, but perhaps these were intentional to create the chaotic environment that was most likely intended for this piece.
Completed with:
-Sibelius 6
-SynthFont
-TotalRecorder
-iMovie
-GarageBand
-iShowU
Please like, comment, subscribe, and most of all... ENJOY!
Thanks!
(Update: What the heck its been over 7 months and still no analysis or pdf! Here goes!)
This piece if full of chaos! Rhythmically and harmonically speaking that is... and hey, lets throw in form too! There are a lot of things that help drive this piece, but I think rhythmic motifs and harmonic attacks. Right from the get-go the piece is introducing clustery patterns left and right and then throwing sporadic sixteenth notes at us. There really isnt a definitive melody, but the short melodic figures that do exist are being thrown around the instruments.
Finally, in measure 23 we get the familiar theme attributed most often to Terra. However, even this theme only lasts a short time before it becomes fragmented as another pattern that transitions to another unpredictable section.
Download the full score pdf here!
http://www.mediafire.com/download/r52xra55mrx28sn/23 Save_Them!.pdf")
![15 - Phantom Forest [Sheet Music] Final Fantasy VI - Aural Transcription](https://i.ytimg.com/vi/i9fw3G7kx2A/mqdefault.jpg "15 - Phantom Forest [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 as reference.
Check out the original soundtrack recording here!
http://www.youtube.com/watch?v=5tbZ_C7H_4k
Track 15: Phantom Forest
Composer: Nobuo Uematsu
One of my favorite tracks of the game; its easy to get lost in it. Also, this is by far probably my most accurate transcription in my opinion up to date. I really tried to step things up and spend a lot of time on the editing, panning instruments, mixer, echo, reverb, and equalizer option. Please compare it to the original, and I hope you enjoy it! ;-P
For this project I used:
-Sibelius 6
-SynthFont
-Custom Soundfont by Mathew Valente (The Chrono Trigger Resurrection Guy)
-TotalRecorder
-SwitchSound File Converter
-GarageBand
-iShowU
-iMovies
Watch in HD!!
Comment, rate, subscribe, enjoy! :P
Analysis
This piece begins in A minor using chromatic movement from the dominant going to the submediant and back to the dominant (much like the 007 Theme). More accompanying instruments such as the acoustic guitar and bass guitar are slowly added in to the groove, and finally the flute introduces its haunting melody over the strings.
There is not much harmonic change during the statement of the melody aside from the scale-degree 5 to scale-degree 6 chromatic movement over 4 bars. However, during the antecedent of the melodic figure during its second statement, the harmonic structure lands directly on a neapolitan chord. Though the chromatic movement isnt entirely consistent, the fact that the 5th of the chord does some sort of movement every measure in the acoustic guitar does stay pretty consistent. After the neapolitan chord, the piece goes directly back to A minor continuing with its initial accompaniment figure.
Finally in measure 37, a new idea is introduced as we modulate directly to the bVI (F major). This figure appears first in the strings, then repeated in the flute. Its also interesting to note the counterpoint between the bass guitar and strings as its actually written very well. As the flute answers the strings, the flute then extends the original idea bringing us to a V chord of F. The acoustic guitar eventually works its way to outlining a V7 chord and we go back to F major repeating the secondary theme again.
This time around the harmonic structure is a little different going I - vi - bVII (functioning as a bVI of G major) - bVII - I (in G major). This gives us the popular bVI - bVII - I chord progression thats found all throughout video game music. At this cadence point, the accompaniment alternates between G major, A half-diminished7 and C major before reaching the loop point and repeating everything all over again.
Download the full score pdf here!
http://www.mediafire.com/?7yn2ur3h2u9zky1")
![Verum Rex - Secret Ending Theme [Sheet Music]](https://i.ytimg.com/vi/khIb2xxPFug/mqdefault.jpg "Verum Rex - Secret Ending Theme [Sheet Music]
(Somnus meets Dearly Beloved)
Aural transcription and audio recreation by ear.")
![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")
