Uploaded June 2013 | Updated September 2026, 2 weeks ago
I wrote this sometime around May 5, 2010 in one night as part of a class project. I finally decided to do some editing and post it up here for fun. It seems to be obviously inspired by Bach's Three-Part Invention No. 15.
P.S.: Don't try to play it. That would be just silly.
I wrote this sometime around May 5, 2010 in one night as part of a class project. I finally decided to do some editing and post it up here for fun. It seems to be obviously inspired by Bach's Three-Part Invention No. 15.
P.S.: Don't try to play it. That would be just silly.
![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")
![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")
