IV.   MAIN THEMES

We'll start our in-depth Final Fantasy IX song study with the main themes, which, of course, is always a standard for any Final Fantasy title.

With a main theme, Uematsu is capable of not only making a melody that is so incredibly irritating NOT to like, but he also manages to capture the entire essence of the game's story perfectly. As with nearly all the Final Fantasies (VIII excluded), the main theme is prominently featured in the overworld. "Just Over Those Hills" is a note-by-note carnation, which plays against a rather innovative square-wave synth. The mood comes off surprisingly well, creating a calm and almost dreamy air. Simple in presentation, but very melodically structured - this is the quality that makes a Final Fantasy song so excellent.

Being a main theme, several arrangements of the same song exists; if you're anything like me, you would welcome each and every rendition that comes along. The soft but sonorous nature of "Captivating Eyes" is one of the more memorable versions, played when characters Zidane and Garnet first meet and, inevitably, have to say goodbye. And then there is a recorder solo version, "At The South Gate Border." Even when confined to a single instrument, the simplicity of this catchy melody roars benevolently. "Memories of That Day" takes a more disoriented take on the usually upbeat main theme - the regretful emotions that are to be felt is readily heard against the mournful instruments, and the unsettling piano backdrop.

There are even two bonus songs towards the end of this soundtrack; one 15 second and one 30 second renditions of the main theme, which was used for the Coca-Cola commercials that aired in Japan. Incredibly short, yes, but these are actually two of the most dynamical versions of the main theme you'll ever hear.

A.   The Romance Main Theme

Like every Final Fantasy, there is always more than one main theme to be found. A "romance theme," or perhaps a theme associated with the relationship between Zidane and Garnet, has its fair share of reprisals as well. The song, "Decisive Action ~ Search For The Princess," is the first occurrence of this theme. A Victorian-sounding harpsichord provides an initial solo performance, which then switches to a backdrop role for when the melody comes in. The second interval expresses a beautiful composite of sounds and rich resonance, making for a gorgeous introductory piece to this main theme.

A much more epic take is heard in "Mistaken Love," as the "dramatic" outcome of the Prima Vista's theatre performance plays out. The obtrusive crescendos make way for the vivid melody of Decisive Action, and, as you listen to the song more and more, you'll start to realize how much of a very renaissance-driven piece this is. Of all the romance theme reprisals, however, my personal favorite is "The Airship - Hildagaldy." Several melodic changes and measures play along to a highly upbeat tempo, making this one of the most enjoyable tracks in the game. Of course, the real icing is when the melody of romance kicks in the middle, which tends to add so much more personality to an already great song.

B.   FU-RA-SA-TO, The Sacred Beginning

The last main theme appears on the very first song of the soundtrack. Named "The Place I'll Return To Someday," this is probably the most profound of the three main themes. Representing a deeper, more spiritual side of the game's story, this melody is, without a doubt, the heart of the aforementioned medieval/renaissance motif found in IX. The recorder-solo song gives way to a great number of reprisals, which imminently comes towards the last two discs.

The ancient, lost temple of "Oeilvert" is only the beginning for the characters to discover a wealth of revelations, while "A Transient Past" serves as an event to enigmatically unfold the game's truths. Still more reprisals are contained in "Ipsen's Heritage," and the highly upbeat "Four Mirrors." And, of course, I'd be remiss if I didn't mention "Terra" - a hauntingly beautiful arrangement. The tones in this version are indescribably rich, which really brings out the true mystery and passion of this particular main theme.

As a note of interest, the instrumentation used for all the FU-RA-SA-TO songs (save for Terra) was re-mastered, giving them an enhanced sound. The difference is heard almost immediately, as they do seem to possess a rawer, more realistic feel. It definitely gives the songs their sense of ethnicity, with instruments such as a sitar, tribal drums, maracas, and other varieties of shakers.

As far as the main themes go, IX's are superb. The most important thing is that they are able to paint the game's overall images, and musically, they leave excellent marks of memories for the story. Each different reprisal is handled very well, and they never begin to sound redundant.

V.   CHARACTER THEMES

Just like in FFVI, nearly every significant character - as well as many non-playable characters - gets his or her own theme. Each theme varies widely in style from one another, greatly expressing each individual's personality.

A.   Vivi's Theme

The first of the eight main characters is "Vivi's Theme." This is one of the many examples at how well Uematsu uses sound. The four fundamentals that make up a song (bass, melody, percussion and supplement) change very frequently, creating the illusion of a large, composite piece. The song itself is very capricious in nature, portraying the clumsy, little black mage perfectly. "Limited Time" is a slower, more simplified arrangement. As the melody is heard more readily without the extravagant instruments, the song actually lends itself to having a somewhat classical sound - it is like how a chamber trio band, consisting of only a few instruments, would like to play this theme.

B.   Steiner's Theme

"Steiner's Theme" matches the big guy's personality to a tee - lumbering and somewhat dimwitted, while being comprehensively comical in nature. This is an excellent example of how well sound is used, and this particular method is the use of repeating measures upon itself. With each successive stanza comes a new instrument, layered on top of an existing one - a sleigh bell on its first, a "horse-trot" style percussion on the second, and a creaking tick-tock clock sound on its last. This cleverly and effectively draws the song out, making it thoroughly interesting to listen to. (An even better example would be "Quad Mist," a song that relies almost completely on percussion to carry itself through.) The reprisal of Steiner's Theme is "Reckless Steiner" - the sneaky-like overtone, which kind of contradicts itself against the comically dim-witted melody, makes this arrangement incredibly amusing to listen to. The big guy has a plan - and the way this particular scene plays out is pure entertainment.

C.   Zidane's Theme

"Zidane's Theme" is definitely not understated in its showing. Surely one of the of the best examples of what Uematsu meant by putting fun songs in, this one has become an instant favorite of mine. The use of several different melodic segments, combining into one, makes this an incredibly ingenious track. The epic backdrop first gives way to the initial, adventurous melody of Zidane. Shortly following, the second segment kicks in with the "tick-tock" sound effect, focusing a bit more on his fun and laid-back nature. Finally, the third and final segment sort of expresses his inner emotion, while at the same time, is careful to keep in check with the happy, bouncy mood. This three-part song, wrapped into one, makes for one of the most melodically engaging songs to listen to. Yes, I know, it does seem a bit crazy to look at a description like this on paper... but, really, that's what it feels like. I mention that last segment as being Zidane's emotional side, and his reprisal, "Where Love Doesn't Reach," will verify that. The harpsichord melds with deep, resonating strings, ultimately bringing out the charisma of this third part.

D.   Quina's Theme

"Quina's Theme" is basically "Marsh of The Qu Tribe"... on a bit of overdrive. All of the elements in Marsh, from the potent drum pounding, to the quirky electronic sound that serves as accompaniment, is sped up considerably. The synthesized choir bellows out a finely-tuned pitch, while the drums dole out an impressive tribal atmosphere. If people still say that IX's instruments are weak, then they surely haven't listened to this set of songs.

E.   Freija's Theme

"Freija's Theme," played during the Gizamaluke Grotto journey in the game, is another track that is medieval at heart. What might seem like a song with few melodic-spurts, becomes a more stylistic piece, due once again to the method of layered sound. The quick, staccato use of the strings midway adds some much-needed oomph, while the deep bass thrown in at the end brings out the true elegance of the song. Its reprisal, "An Unforgettable Face," is a sadly-moving piano/flute performance, that manages to reach a high level of harmony. And although, a bit more disguised in tone, "Burmecian Kingdom" is yet another arrangement, which is greatly appropriate for its scenery.

F.   Garnet's Theme

As with many of the female characters in Final Fantasy games, "Garnet's Theme" gets the main theme treatment. Another nice rendition, though I do feel that the backdrop strings and bass slightly distorts the lovely music box/glockenspiel instrumentation. The sleigh bells toward the end makes an interesting supplement, and really adds some nice ambience to the song.

G.   Eiko's Theme

"Eiko's Theme" also uses the main theme melody... sort of. On a sad note, the second rendition of her song isn't on the soundtrack. You see, in the game, an arrangement of this piece can be heard during what is known as the "love letter" event. That particular arrangement used the Just Over Those Hills melody (right down to the same exact notes), which played against the backdrop song we have here. So, what we're left with on the OST, technically speaking, is an instrumental-only track of that second rendition. Since this song does loop, I say it could've easily been played on the refrain - but, alas.... Still, this is actually a nice song - an upbeat, cheery guitar framework, with a great tom-tom supplement added in the middle. Unfortunately, that's all this song really is; just a "backdrop"... an almost hollow shadow of a once highly-melodic theme.

H.   Salamander's Theme

"Salamander's Theme" is the last of the eight main characters - cool and laid back, like the rastafied-wanderer himself. I wouldn't say that it sounds exactly like FFVI's Shadow's Theme, but the mood is no doubt identical. The layered pan-flute towards the end creates a nice diversion of sound to an otherwise simplistic melody.

I.   Kuja's Theme

Other themes, outside of the eight main characters, exist as well. The character of Kuja, one of the proposed baddies in the game, gets an appropriately eerie piano composition in "Kuja's Theme." Maybe it's just me, but this song seems to share very strong motifs with FFV's "Intentions of The Earth." The similarities, in fact, are uncanny. This is more easily heard in the stronger, more forceful "Melody of Corruption." [Here's an interesting tidbit; in the game, the Desert Empress dungeon mixes in the booming percussion of Melody of Corruption, along with Kuja's piano piece, creating an entirely new song. Unfortunately, this mix doesn't appear on the OST... not an overly big deal, but it would've been cool to have.] And then there is the slyer representation of Kuja, in "Footsteps of Desire." Dark, mysterious, unyielding... keeping things right on ground with the villainy theme.

J.   Other Character Themes

"Cid's Theme" is proud and majestic, matching the disposition of the king very well. (However, on first glance of THIS reincarnation of Cid, you surely wouldn't think so.) This is also the theme of Lindbulm's Grand Castle, which goes nicely with the sovereignty/epic-like motif: excellent, strong instrumentation throughout. And then there's the "Theme of The Tantalus," which plays a funky, Dragnet representation of Zidane's band of pal thieves. Their second rendition of "We Are Thieves!" lets the percussion do most of the talking towards the final segment.

Overall, I wouldn't imagine IX's character themes to ever reach the high-caliber status of past Final Fantasies. But, seeing this format used again, and to such a degree, is very much welcomed - they definitely give the characters a sharper edge of personality, and it shows tremendously.

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