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Final Fantasy VI Analysis Series PART 3: Dancing Mad
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- Опубликовано: 23 окт 2018
- In the third and final installment of this 3-part series on the music of Final Fantasy VI, I give a full run down of the 15-minute epic that is the game's final boss theme, Dancing Mad. There are loads of strong composition choices to study in this piece, and more than a few references to other tunes from the game's soundtrack, so taking it apart and analyzing was a ton of fun. Hope you enjoy!
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#finalfantasymusic #videogamemusic #musictheory
"Effectively destroying the entire world and marking the halfway point of the game" would sound like a comical exaggeration if I hadn't played the game myself.
It's true and I've never played another game that went so far. That's what makes FF VI's plot and scope still the pinnacle
ive never played it and can confirm
I like how the video is shorter than the song
Yeah, this felt too fast considering his other videos are 15 minutes on a 4 minute piece. Still good though.
Hahahah
Technically that's because the original SNES upload loops each phase once.
I mean, the game version is like 17 minutes long but that's because it loops a lot. I think Uematsu conceived it as 12 minutes, since in other versions like the black mages or earthbound papas version that's its length.
that’s most song analysis videos actually now that i think about it
An 18 minute final boss theme that features a movement that switches between 7/8 and 4/4 every bar. This is the purest form of beauty.
I always just counted it as 15/16 or something like that. But then I don't know how it was originally written.
Meganopteryx it would be 15/8 wouldn’t it?
What mike portnoy loves most lol
There was a 5/8 in there somewhere too.
@@Canalbiruta The Dance of Eternal Madness
All of that analysis and you didn't mention the fact that he embedded Kefka's laugh into the actual piece (it's in the SPC data of the actual soundfont/sound data! That is NOT a sound effect the game puts there after processing the music. It's *IN* the music!) right after the slow somber part. No, he's *not* lamenting about how he can't win against the motley crew. The fact that his laugh comes right *after* the somber part, just as the song loops back to the 'let's rock' gives me the idea that he's _laughing_ at the party. He decides to take pity on them and decides to go easy on them and then goes "NAH. You die now!" with a laugh when he gets bored. Kefka would never think he's in the wrong or that he's going to lose. He's a total psycho.
The madness overtakes him once more.
I realize that the tone of my comment could be taken in the wrong way; I didn't mean to say that the analysis was off or bad or anything like that, I enjoyed it quite a bit and thought it was awesome, I was just thoroughly surprised that you didn't even mention the laugh, which was a key component (IMO) to the whole thing, the cherry on top.
While I understand the interpretation that the slow section is a moment of lucidity for Kefka before the madness takes him again, I am more inclined to agree with Dhalin: that the somber organ music only exists so that Kefka can subvert it. After all, the only reason he hasn't destroyed everything is that the world is still so much fun to play with. Allowing the possibility of hope and then crushing it is the ultimate joke, hence Kefka's mockery when his theme comes crashing back in after the somber part.
With the dialogue he starts the battle with, it seems like his godly powers give him a brief moment of sober reflection upon everything, asking what's the point of anything in an almost Nietzschian way, only to embrace the utter pointlessness of everything and let his madness be the testament of being itself. Thats how I feel those measures at least. Like for one brief moment, in the face of defiance, he found a sobering situation that actually let him lament the existence that lead to this moment in a way only one who's become a God would, but scoffs at all of it for the pure frivolity and intoxicating wildness of the madness that got him there.
yeah, Dancing mad is also the first piece in VGM history to actually be interactive if I'm not mistaken.
I think the key thing to keep in mind with analysing Final Fantasy VI is the core thesis of the game: you can't change what's happened, you can only move forward. Every character has a past trauma that they need to grow beyond. They can't change what they've done or what's been done to them, all they can do is move forward, and make a better world. This thesis reaches its peak when Kefka destroys the world. There is no redo, there is only action.
Kefka is someone who may have had past traumas, and never moved on from them. Just as you climb the tower and get closer to his godly form, you are equally ascending from the depths of his mind, to what he wants to display to the world, but that poisoning you spoke of, when his leitmotif worms its way into his most divine form's music, that's his subconscious, his past traumas, everything damaged and diseased about Kefka, boiling to the surface and eroding everything he's worked for, because he never faced his trauma, and never grew beyond it. He just built a godly scab over the wound.
Granted, this is more of a literary angle. I don't know enough about music theory to comment on it to anywhere near the level you do. I spend most of the time watching your videos going "hm, yes, tonic, I know that word, and sharp notes and flat notes, yes, very interesting!"
hey, that's pretty good.
"... you can't change what's happened, you can only move forward. Every character has a past trauma that they need to grow beyond. They can't change what they've done or what's been done to them, all they can do is move forward, and make a better world. This thesis reaches its peak when Kefka destroys the world. There is no redo, there is only action."
That's beautifully put, thank you.
All of the best Final Fantasy games have a core thesis, like FF6 does. It's why I don't like FF8. The thesis of FF8 is kind of weak. Friendship? Togetherness? At its deepest, maybe good intentions can turn to evil deeds? FF4 has stronger themes running through it, like loyalty to a higher purpose, changing ourselves from what others have made us, to the best WE can be for ourselves, by our own will.
I think Final Fantasy 7 does a lot at once, but the strongest theme is reconciling death. The entire notion of the lifestream, Aeris' death, Vincent's guilt at letting Lucrecia birth Sephiroth, which caused her death, Cloud's assumption of Zack's identity, to live on in his honour. Everything about FF7 revolves around accepting death. The casualty count of secondary characters is seriously high in FF7. Death is EVERYWHERE in that game, more so, perhaps, than in any other FF game. Sephiroth's ultimate goal is to ascend to godhood, to conquer death, and to find the Promised Land, a land overflowing with lifestream energy (which, if people have been paying attention, is basically the souls of the dead, in a cycle of rebirth). His plan even involves dying, himself. He summons the meteor to wound the planet deeply, and at that moment, free his spirit, and merge with the lifestream, to take control of it. Your enemy in FF7 is someone who would pervert the course of death.
Great comment
It's not mentioned during the compulsory scenes, but at one point (I believe after the dinner party scene) it's mentioned that Kefka's magic transfusion went awry, which is what caused him to become psychopathic. That may be the "trauma" of which you speak.
As a musicology student i long ago intended to talk about ff6's musical themes evolution as a thesis defense with many examples explained in your great triptych presentation and parallels with composers.
Teachers just laughed at the simple idea of considering Uematsu's work on ff6's ost as a part of music history.
Thanks god it was decades ago and many students probably did it successfully since then.
Very instructional and accessible videos !
Im preparing my thesis on the piano with piano collection and piano opera, i will finish playing dancing mad from piano opera :D
His inclusion of Kefka's theme to translate the third movement from major to minor is fucking so god damn brilliant I can't even comprehend what level this man is at.
I always noticed Kefka's theme on the third movement but never thought to interpret it the way he did. Its used as both a smooth transition and a way to show the "real" Kefka behind the godly facade.
I'VE BEEN WAITING FOR THIS OMG
hype levels 100000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000%
Did ya see that Shinji?
I only hear Bach Bach Bach Bach
I read this comment right as I heard Kefka's laugh and it does sound like "Bach Bach Bach Bach".
I read that with Akihiko Sanada's voice
I feel like the insertion of Kefka's own laugh during the fight is worth mentioning.
"It poisons the music" Great catch! :)
I think perhaps the movement in the third tier is the most provocative. The imagery of the monster you are fighting is in such stark contrast to the depravity you've seen Kefka commit up to this point. Here is a reference to the Pieta, one of the most moving works of a master, depicting the broken body of Christ being held by his mother. And here, Kefka is trying to commandeer that type of imagery for himself, a monster who has massacred and broken the world. So at that point, to hear Kefka's theme again, but this time in a major key, it is incredibly jarring. Uematsu was masterful to use something as simple as a key change to evoke such feelings.
The three pairs of wings are an unambiguous reference to the seraphim - a pair of godlike beings that some of the more surreal passages in the Bible describe as part of YHWH's divine presence. It's also worth noting that *EVERY* figure in that boss rush has Kefca's face. Kefca has cast himself as Lucifer - usurper of God's throne.
I definitely didn't recognize the leitmotif on my first listening of the final battle. Now that you've pointed it out, I'm utterly amazed.
How did you comment so early?
@@jacobcaron2280 Pre-released through Patreon, I think.
I'm a patron, so I get to see the video early. You can become one too.
You probably felt it, though.
Exactly what I felt.. made the appreciation of the piece even bigger!
Also, on a side note, thanks for being a patreon and helping him in a way making this video!
I love how effectively this game uses leitmotif. The fact that every single character’s theme is revisited in both their high and low moments shows just what a brilliant artist nobuo uematsu is
I think the sad piece at the end of the theme is supposed to represent Kefka's nihilism in full force. After all this time we finally get a full unfiltered sight into the true nature of kefka in the form of this chaotic melody. Notice that before the slower part can evolve into anything more meaningful is is consumed by the original chaotic melody that started of the piece complete with Kefka laughing maniacally, as the madness once again overtakes him before he can come to any sane conclusions.
This piece could also be indicative of the party's hope for the future and the struggles they face to get here which would also pair nicely with Kefka's theme cutting that short, as so long as he's still there that hope will never be realized.
A combination of an internal and external clash if you will.
It's certainly appropriate for a man who thinks that the ability to kill whoever he wants to is the essence of divinity.
Well put, sir.
It was always interesting to me that this part of the piece tended, at least when I was playing, to synch eerily well with Kefka's big attack spell (called 'Goner' on the SNES release, later re-translated as 'Forsaken').
FF6 is my favorite game of all time, period.
You did it justice, and I even learned something here that I had never noticed/heard before, despite my many playthroughs.
Thank you!
I keep going back and forth on my favorite, but this is easily the one I'm the most familiar with.
He's said it in interviews, but it is obvious Uematsu is a fan of prog rock. Amazing stuff.
I really love what you did for FF6. Thank you!
I really wish you would have digged deeper into dancing mad, but than again I probably could listen to you for hours and still not have enough. Also wow.. you really put a lot of time, work and effort into transcriptions! keep it up
PS The word play of Kefka poisoning the heavenly theme is genius :)
I always feel that way about 8BMT, whenever I finish a video I just want to watch more and more.
Mister Apple true. I just kinda expected a 50min analysis for an 18 min piece 😅
+@@qhodave Pfft, what is this, Gamexplain?
Mister Apple 8-bit music theory. It says so in the title, intro, outro and next to the subscribe button.
+@@qhodave (I know, it's just a joke about how Gamexplain make really long analyses of short things. Admittedly not a very funny joke.)
The FFVI OST is Uematsu's favorite work for a reason. ❤️
Actually IX is Uematsu's favourite work. VI is his favourite game.
@@alexgeorge3068 I don't know where you heard this, but in a few Distant Worlds concerts I've gone to, VI was stated to be his favorite work (thus why he plays Dark World for solos).
Also, he states in an interview that VI is his favorite game and OST.
www.ign.com/boards/threads/nobuo-uematsu-confirms-that-ffvi-is-his-fave-ff-game-and-fave-ost.452667698/
But IX ost is mostly generic compared to VI ost, so shouldn’t Uematsu be challenged in his assessment?
And FFVIII's is pure beauty
@@all.the.same.iProductions generic, blasphemy! Go listen to the ff9 soundtrack on spotify, it's 110 tracks, stuff like Cids Theme and Dark City Treno, it's not generic.
I dont even need to play FFVI to appreciate this masterpiece. I found it through theatrhythm and it quickly became one of my all time favorite video game songs. One winged angel is also good, but when i heard this precedent, i got a bit envious that one winged angel is the song that gets all the fame.
I've never clicked so fast in my life. Love your content!
I was expecting a mention of ELP! They were a pretty big influence on the music for Final Fantasy, especially this track. Keith Emerson who was the keyboardist for ELP, loved quartal harmony and made it something of his signature. The climax of Dancing Mad that starts with stacked 4ths is almost a direct quote of the first measures of ELP's track Tarkus. That song could qualify as a boss theme all it's own and it's not even part of any game!
Tier 3 is my favorite section, I think. I love the motifs used and how the piece gets darker and more powerful as it goes on. It’s the most classically-inspired part too, and as a classical-music fanatic, I have to appreciate it. Uematsu is a genius. Busting out tier 3 on a piano is one of my favorite things to do. It’s the coolest piece I know!
Also, I think “organ-shredding” is my new favorite term.
FF6's critics tend to to say Kefka's a ripoff of the Joker, and there's so much wrong in thinking that. The similarities mostly end with their appearances as "clowns". First off, Kefka's an ambitious character, egocentrical, power-hungry and goal-oriented towards attaining, whereas the Joker cares about being Batman's antithesis and chaos.
Kefka's main motivation is not actually to wreak havoc, but to fuel his own power to feed his ego. His nihilism is a result of his extremely inflated sense of self, which leads him to view humanity as his playthings compared to his own might.
The motivation for their appearances also reveal different motivations. The Joker looks like a clown to create a persona or mask an accident. Kefka wears makeup and flamboyant outfits out of aesthetics, to increase his beauty - more comparable to a Kardashian or instagram model.
Joker's a thinker, a strategist, a leader. He's a great manipulator, and charismatic enough to make his own psychiatrist fall in love with him, and in some way endear him to his arch nemesis. Kefka's emotional and impulsive. He's antisocial and unable to control his erratic behaviour which ostracises him from any person he could've related to.
Just stop conflating these two rich characters.
Yah the joker is the mascot of chaos and kefka is a fuckin loser
I have litterally never heard this comparison. FF6 just isn’t my favorite because i think that magic is overpowered and a lot of the charachters unique characteristics are either not very useful, or straight up worse versions of other characters.
@@hockeycrafter6086
Magic is a totally optional "easy mode" button. You literally don't need to put espers on your martial characters, or use the most powerful ones. The developers put espers in the game so people who struggle too much can still enjoy the story. Wanna solve both those problems? Don't use espers. It makes magic only as powerful as the rest, and everyone's special abilities get much more fun and useful.
also, you've literally never heard someone call Kefka a Joker ripoff?
Inthinkable if a main mechanic breaks a games difficulty, it should be a criticism against the game. Even if it’s avoidable. FF8 and 2 get knocked for the same reasons. Now don’t get me wrong, 6 is far superior to 8 and 2. I just think it has flaws that are worth discussing. Just like all the other fan favorites. Like 4,7,and even my favorite 9. None of them are perfect and a lot of people have perfectly valid criticism towards them. Also no I’ve never heard anything but praise towards kefka and I’ve never heard him compared to the joker.
You make a valid argument
I don't understand any of this, but YYYYAAAAYYYY!!!
Same. His videos are very captivating for me nonetheless. Love this guy.
@@necrotron5689 Get a life.
I was already a big fan of Uematsu, but this series gave me a newfound appreciation for his work.
It's truly some great stuff.
If you have a Steven jewniverse avatar your opinion doesn't matter. Enjoy your degenerste rapey gem cartoon tho
Man, you really hot some serious problems.
I hope you can let go of your hate at some point.
@@sertaki gem fusing is literally borderline rape, fix your weird fantasy first
Lol the opinion-avatar meme started with "You have anime avatar so your opinion doesn't matter" kek
@@red__guy no it started with everyone who disagrees with me is gay
I've been listening to this song in various differing interpretations since the announcement of this video. I believe there's no better piece of video game music anywhere. On the last part I do have to share my opinion (even though no one asked for it or cares), which is that it represents the human sadness that is inside Kefka, that has, despite him being disconnected of his feelings altogether (since he is a psycopath). Sadness, that is present in all humanity, of how hard life really is. There is something there, that resonates to every listener, even though it's in the form of Kefka, a monster. There still exists something in him that anyone can relate to, and it defines him more than you realize. In no shape or form we see in the game Kefka showing any of these emotions. So yeah, that's what makes this piece so great in my humble opinion.
I just wanted to say that music and video games are my two favorite things...like...ever. This channel really does hone my love for both topics to a degree where I get giddy when I watch your videos. You take everything I’ve learned about music and apply it to something a previously never felt possible. By opening up a new world to explore in music theory, you really have become my favorite content creator (even though I hate that term) and I just wanted to say thanks!
What you said about the third part of Dancing Mad, the beautiful fugue, is exactly what I said when I played ff6. That part reflects how supreme and heavenly Kefka sees himself.
Man you got some great taste, impeccable taste. Love to see FFVI get the appreciation it deserves. Man that game is so good, like damn, I’d even say it’s the best game ever. Love it!
I did not realize that super deep bass line on the third tier also replayed Kefka's theme until you pointed it out and I listened for it. The song is even more amazing than I thought!
Not just any demon, but pretty much Lucifer himself - as pictured in Dante's Divine Comedy.
Final Fantasy 6 has always been a great part of my life. Between the emotions of isolation relating to Terra and Celes, the Sadness that befalls Cyan and Locke, the flames of rebellion driving the Figaro brothers. Finally the madness and depravity that is Kefka. This game was a ton to take in when i was a kid and as i grew older i always found my self appreciating subtle nuances in the story i just didn't get as an Eight year old. The music, the characters, the scenery where all masterfully put together. I'm grateful that 24 years after it's release it's still being analyzed, revealing more depth that i would have never realized on my own.
Thank you for making this series, you did a wonderful job breaking down the songs and explaining them in a easy to follow manner.
If you are planning on doing another Final Fantasy game i'd like to toss FFXIII-2 into the pool. Caius was a wonderful villain who is quite possibly the most relative character ever written. His goals, his emotion, his musical themes all capture this in a wonderful way. His Main theme is epic, heroic even but also weaved with Sadness and resentment. A hero blessed with a role he would come to know as eternal torment. The songs based on him all revolving around his duty to protect the Seeress who is repetitively born to only die again and again without end. Meddling from the very Goddess who blessed (Cursed?) Caius with immortality and Yuel with infinite rebirth shortens her life more and more. His resentment of this resounds through out the game as you travel through time to see it take root little by little.
This development along with the musical themes are just incredible and powerful. I would love to hear a break down of his themes in a similar fashion. I apologize for rambling on about the plot behind his character but I understand a great deal of people have not played it due to mixed feelings over it's Predecessor and I wanted to shine a light on it's positive qualities.
Thank you again for a wonderful Series on such a great and honestly, video game culturally impactful game.
Musical Motifs always give me chills, which is one reason Dancing Mad is one of my all time favorites
Great videos. I am struck by the prevalence of the minor second in the pieces surrounding Kefka, from that iib chord to all of the bits of melody that use the semitone step to generate tension, to even the change from c to C# between movements. It is fascinating to see how much of Uematsu's composition boils down to the thoughtful use of specific intervals. Thanks for showing this to us.
Yeah, you can see this tendency of using intervals directly in other tracks by him like in the beginning of "The Airship Blackjack" and the intro beyond the prologue of the Final Boss theme from FFIX, all in which uses stacks of fourths in the same way used in the Omen track from FFVI.
One leitmotif that I think you missed - in the first tier, when the music pulls back after Catastrophe and the subsequent maintained-tension we get a part you describe as majestic but that I always associated with a funerary lament. I'm pretty sure that this lament part is actually the opening to "Save Them!".
That section always gave me the shivers - each time we hear Catastrophe prior to Dancing Mad, the music pulls back and doesn't deliver on the promise of the rising tension. This time, however --- The music opens with those big bells (I'm a sucker for the bells tolling), theres a tense undercurrent with those triplets, then we get those big, assertive whole and half notes promising that THIS time there will be closure. THIS time we mean business. THIS time... we're being played a Lament. We've barely begun the fight, and I'm being hit with a profound sense of "But we already lost". When I realized a while ago that Kefka was actually mocking us with a track literally named "Save Them!" I had to put down the headphones for a while to let it all sink in.
Remember how, when everyone's in Narshe and we had to keep the baddies from reaching Banon? Yeah. That music. By the way, Banon's dead now. So is everyone else who lived in Narshe. So are huge swaths of the human population worldwide. How's that whole "Saving" thing working out for you, heroes?
But after that moment of dark reflection, Dancing Mad kicks it up a gear again as our heroes rally their resolve - Kefka MUST be taken down!
Hmm, you're right, it does sound a little bit like Save Them. The intervals are different, though.
Awesome!
I remember how when I first heard ELP Tarkus I immediatelly thought of Nobuo and, amongst others, the prog rock part of this piece. Just a random thought on Nobuo's likely inspiration that shows a lot in his different works as well lol
I was trying to find a comment like this because that prog rock part made me instantly think ELP
@@benefitsben3240 the stacked 4ths at the start of the climax is basically a direct quote of the beginning of Tarkus
This just proves that Nobuo Umatsu is a music genius. My favourite game composer EVER! I wish I could ever shake Uematsu-sensei's hand. And boy, I would probably cry doing that. I love his music with my whole heart!
I wish I could ever shake Uematsu-sensei's hand. And boy, I would probably cry doing that. I love his music with my whole heart!
@8:14 love the video, I also love huge reference to the opening of EVERY SINGLE battle theme in FFs I through VI in the diminished chords (measures 145 and 146) Likely foreshadowing that the real, final battle is the next one. Thanks again!
Just posted the same observation, hah! I think the metaphorical implication is that ultimately, Kefka is no better than a randomly encountered monster, killing for no real reason and functioning only to help the heroes to evolve. And he doesn't even get the normal boss theme! Uematsu really does seem to be saying here that Kefka is scum.
Time to analyze the 4/4+7/8 of Final Tier.
I love this piece a lot.
Strangely, he wrote in 7/8 + 4/4, but I was also thinking in reverse like you, 4/4 + 7/8. Maybe anybody has the official version of this? Both seems correct but what did Uematsu write?
@@lancepaulis9814 | frankly, Uematsu writes in strange ways, but I don't know what his original time signature intentions were here. I personally feel 4/4+7/8 over the inverse, but who knows? This chaotic part could've called for sheet music that makes no sense.
Why not 15/8?
/jk
Though, seriously, the bass line is pretty explicit in it being 7/8 + 8/8, especially grouped as 2+2+2+1; 2+2+2+2.
Let's not forget that 5/8 bit in there, too! 10:37
It's interesting because it really could be either. The melody is phrased as if it's 8+7 but the bassline is phrased as if it's 7+8.
Chrono Trigger and Final Fantasy VI are the best examples of a good game soundtrack. After I finished hearing and transcribing every instrument of those songs (especially Dancing Mad) and how it connects to the gameplay it just blew my mind! Kudos my friend!
"driving triplet synth bassline" should be alternating between high octave accent and fifth accent.
So, it would be do, do, do, DO, do, do. do, do, sol, do, do. and so on.
This.Is.Amazing. The time and love put into this...wow. Congrats. Seriously. Can't wait for a full Super Mario RPG or Secret of Mana music analysis!
Finally! After 10,000 years! I can die in peace now. Unless you wanted to tackle One Winged Angel. I could stick around for that.
Jake G have you seen Nobuo Uematsu break down One Winged Angel? It’s really good!
I'll have to check that out! He's a god among men.
@@thetrickster42 Would you happen to have a link for that?
@@BJGvideos ruclips.net/video/9BzkrgVivk4/видео.html
That leitmotif arrangement in the last movement blew my mind. Awesome video!
Finally! I almost wish it was longer, I could listen to you analyze music for hours! The fact that the last movement was kafka's theme as a harmonized diminution blew my mind. I can't believe I haven't noticed that. Truly genius stuff.
Not sure if this has been pointed out but transition from the end of the section playing when you fight kefka's divine form to his final form descending is a direct call out to the final fantasy battle encounter theme. It begins with the flying upwards run repeated three times to emphasis then it jams on the prog rock drum and bass for a few bars before beginning the final version of kefka's theme. This is an embellished variation of the theme that goes across all the early final fantasy battle encounter themes just like you point out in your FF7 battle theme video.
Thank you so much for this. I love this song. And I've always loved how previous themes from the game were recycled in this version to elicit a different emotion. But not being a music major myself, I've never been able to interpret the technical musical nuances myself. Your video is awesome.
Thank you for your videos. I wanted to let you know your vidoe on Modes in Persona 5 has really helped shed a light on why modes are cool, and important. I actually understand how to apply them, and have begun practicing their application and contrast.
Thanks again!
Hi - I just wanted you to know that I LOVE your channel and that this video inspired me to learn piano about a year ago…I can now play all of Dancing Mad and the leitmotifs bring me sooooo much joy. Thank you for your work!!!!
OH man, you really did good here. I like how you show us the musical notes and the progressions and everything happening in the music alongside the battle. AS a kid, this composition was wild and epic but as an adult I can understand the artistic choices and creative genius that Uematsu put into creating this especially as limited as the SNES! Best damn piece of video game music out there.
I've been waiting for this! This theme has been in my head, as this was the final Savage raid in FFXIV just a few months ago. They way they translated this 2d fight into a mmo end-game raid really exemplified this theme once again.
YEEEEEEEEEEEAAAAASSSS!!
Your videos and analysis have made me interested and internalized much more in musical theory and in game music, which has made me learn a lot. And precisely this is one of that themes that seemed to me perfectly composed and executed. Thank you for this.
Do you have any suggestions for where to start for those with a genuine interest in music composition and soundtrack-game synergy, but no real experience with music or the theory of it? I've wanted to begin learning about composition and theme and motif for a long time but have never found my hook...
Excellent video. One of the best boss tracks ever.
+1
Would love to know as well!
Composition is one of the hardest things to learn in my opinion. Gonna wait for the 8-bit's response for you, but what I can say now is that a lot about it has to do with functional harmony, more specifically how tension and relase is managed in music. I don't know a better way to explain it than saying you must learn this through ear training. I use Functional Ear Trainer for Android (there's a desktop version too) for more or less 3 years, more or less regularly and it helped me a lot to understand what's the "logic" behind composition more intuitively. If you're not as lazy as myself, you can complement the ear training for the app with improvisation exercises in your instrument (I did some throughout the years and it helped IMMENSELY) focusing on specific concepts (like, "this week I'm gonna improvise in the minor key, in the next I will learn a melody based around the tritone" and so on), because that'll help you recognize those techniques in your everyday hearing. Also be curious to what you hear, try to analyse yourself the music you like the most, even if you don't discover its details in the end, just the exercise of getting into music deeply will reinforce your auditory memory I believe.
8-Bit probably will come with a more objective answer than mine, but I hope you found this at least interesting to read.
@HicksZ34 Your answer is basically what I would expect from 8-bit to the subject, nice! I know this book because of the Aruffo's Perfect Pitch Research, it's a very intersting book from what I can tell taking the excerpts I've read into consideration.
If you are truly interested in composition, get a college degree. I understand that might not be for everyone, or that you can't afford it.
There's lots of ways to start. I definitely recommend just starting to write. Download a DAW, or a tracker and start messing around. Or if you play an instrument, make up short little melodies on it. It doesn't have to be anything special, but it's a nice start.
I've also heard transcription is really useful to understand music.
I've found a lot of value in learning 2 and 3 part counterpoint. Should be some resources on that online, but I'll happily explain the basics to you at some point.
I hope that helps!
This has been one of my favorite video game pieces for years. Thanks for the deep analysis, and helping me to appreciate it and Uematsu that much more.
What a brilliant, shining treasure of an artist Nobuo is.
I never thought i have fun with a educational music video, but you said it yourself, this is the greatest boss music of all time. Excellent!
I may be completely wrong, but I think that the middle section (the one alternating 7/8 and 4/4) of the last movement is heavily inspired by Emerson Lake & Palmer's Tarkus (somewhat harmonically and rythmically, with the following abrupt interruption that is Kefka's Theme and the gong thing from Tarkus).
You are correct, a lot of people have pointed it out over the years and Uematsu is a huge fan of prog rock.
I've always said, semi-jokingly, that mvt 3 was inspired by JS Bach, and mvt 4 was inspired by Keith Emerson. Glad to see that others hear it, too.
Yes!!! That's exactly what I thought of! ELP FTW!
It's amusing actually how most of Japanese VG composers are big fans of rock music and frequently put references in their own works. A few days ago I found another occurrence as I realised that Samus' theme from Metroid is basically the end solo of Black Sabbath :p
You are no the only one who thinked that, i did it to and its a fact that the piece is so inspired in tarkus
Thank you so much for making these 3 videos. It has given me some insight into the work of my favorite composer and biggest inspiration.
I found this video a bit more accessible than some of your others, and it gave me a whole new appreciation for a song that I already liked and a composer I already adored. Please do more Final Fantasy music!
I've played this game so many times, and listened to the soundtrack so many times, but it still gives me chills every time I hear it.
OMG THANK YOU, I've always wanted to watch/listen to an analysis of Dancing Mad, it's such an amazing theme
Incredible music, Uematsu is such a master at the craft. Its amazing how the final movement uses the crazy (but not previously out of control) Kefka theme in such a high-energy way when his power is fully unleashed with the fast paced rhythms, although the rhythms are altered enough to not invoke "listening fatigue." Uematsu's use of leitmotifs truly does set this up to be as grand of a finale as you can hope for.
This multi-part deep dive may have been my favorite thing you've done to date. Great work! Here's to more in the future ^_^
Great series. A major part of what makes these songs so powerful are the specific timbre choices made using the SNES's limited sound chip. I can listen to a million midi "upgrades" and they never carry the same emotional impact. You might call this nostalgia, but my 9 year old nephew seems to agree. I was also disappointed to not get an analysis of "the decisive battle" but that's just my obligatory youtube comment.
The way this piece weaves the various game's themes and shirts them to match the tone of each phase is pure genius
Aldo that weird-ass time signature is the bane of my learning to play that last movement on piano XD
I dont understand 99% of what I say, but this channel is deeply under rated
such an amazing job analying ff6's music and dancing mad :D
you've created another layer of appreciation on Nobuo Uematsu's music and I'll treasure that
I knew Dancing Mad was incredible, but god I had no idea how DEEP and levelled it was with complex imagery like this. The use of ending this song with a prog-rock riff is also the same thing that Uematsu did with FF8 where the first two of Ultimecia's three final boss themes are these strange deep almost tribal themes of an ancient god, then ending with a strangely floaty rock piece as the heroes' modern influences bleed into her sphere of power.
I love when Uematsu does this, it's gloriously multi-layered and thank you for making me appreciate this soundtrack more.
Heed the first movement, remember the destruction of the world.
Now, behold the destruction of life, dreams, hope; it is the fate of all things.
Heed the second movement, and stand in awe.
Now, behold your former vain attempts at stopping the inevitable.
Heed the third movement, this is the power you oppose.
Now, behold your savior and god; there is no salvation, prayers fall on deaf ears.
Heed the fourth movement, the skies are tearing apart.
Now, behold the wild dance of a calamitous star.
As I said in the first episode of this series: You could've easily turned this episode into an hour-long special, but I appreciate that you kept it short and concise while still managing to cover everything that makes Dancing Mad so very, very great.
The major then minor key version of Kefka's theme during the fugue is simply genius. Gives me chills every time.
Thank you so much for this. Great vid. Subbed.
I have always loved Uematsu's compositions. This breakdown shows how much genius he displayed and how he indirectly influenced me as a musician since FF6 was the first I played in the series. Being able to play with existing ideas and keep the feel or even jump genre within the same song structure is one of the things I just thought I happened across but I was unknowingly inoculated with Uematsu's genius. Now that I think about it, I started playing the piano shortly after but within the same year I played FF6.
This isn't just a boss battle theme, its a work of art right up there with Mozart
Oh god how I love this series. You’re really great
This is soooooooo good!! Also, the final movement, the "prog rock tune" is totally the "f*** yeah" battle theme. It's like when an anime opening tune comes back in a final battle. Beautiful.
Man, thanks for reminding me how mind blowing this sequence was as a kid. I wasn't ready. No one was. And looking back on it now with all the things you've pointed out, holy shit. What a masterpiece.
My man! I've been rocking this tune since this game came out damned near and you still showed me cool shit that I hadn't yet picked up on. Fucking wonderful analysis. Uematsu is a bloody genius.
I still think the crowning Gem of the song, is how they worked his trademark giggle, into the freaking music.
I subscribed last night before heading to bed. This video is why I appreciated this theme over any in the Final Fantasy Franchise. Kefka is firstly my favorite villan, and secondly was a pleasure to remake.
You are litteraly the only youtuber I follow, your videos are so great dude
I was scared this wouldn’t come up after the second video talked about something different. Thanks for dedicating a video to my favorite moment and song in all of video games
Image developing for the SNES. You have limited bytes of available storage and no, you MUST not only compose a comlex 17 minute song, but you MUST also have the game coded to properly transition each movement as the fight progresses. What a madman.
...Congratulations. An extremely well made analysis. I wasn't expecting you to go that far, I did recognize most of the motiffs, except for the ones found in the last tier. Those blew my mind. Thank you for this series!
OHHHHHHHH MY GOOOOOOOOOD!!!!!
I can't thank you enough for making these videos, and especially this one. Dancing Mad have long been on my mind, trying to make sense of it harmonically and thematically and you just made everything so clear. Thank you so much!
I am truly moved by your shedding light on Nobuo Uematsu's masterpieces. It is a brilliant piece of work that you have brilliantly allowed us to rediscover. After all those years, I am only beginning to realize the genius of many old-school video games composers. Thank you so much for your analysis! It was very enlightening and enjoyable.
Ah, bass lines and rock organ on the SNES fill me with such joy. There's just something so special about it that makes me feel good, and SNES Final Fantasy games just keep serving them up. A very satisfying breakdown.
I had this moment in recent years when I realized just how much I was predisposed to like prog rock because of games like this.
This whole channel has been like a dream come true for a music theory and video game music enthusiast like me. Keep the great content coming!
Greatest video game score of all time. Whole game. Insane. So “unnecessarily” masterful. A masterpiece.
11:40 it reflects Kefka's core motivator of existential nihilism. a brief glimpse of his internal sadness, the crying clown, before he laughs it off and the song returns to the upbeat part
the dialogue before the battle feels like someone's group of friends trying to talk them down from suicide
This is my favorite channel on YT by far. The content is always so great... thanks for putting out these vids!
this was worth the wait. in this time, I revisited "Dancing Mad".
this is one of the best videos I have watched in this channel. never before had I appreciated VGM as when I was watching this. especially when analyzing the final movement, with Kefka's leitmotif appearing recurrently.
thank you, 8-bit Music Theory.
This is a great analysis of this piece. Speaking of prog rock, there's a huge influence from Emerson, Lake, and Palmer in "Dancing Mad," particularly from the ELP song, "Tarkus."
This was rad. One of the best breakdowns of a piece that's been discussed to death already, Love it.
This might be my favorite video that you've ever put together. It's just brilliant. I've always loved this game and this theme, it's been a favorite since I was 10. I consider myself more musically aware of leitmotifs and the kinds of stuff you discuss here than your average person... And I had somehow never consciously noticed the connection with the opening and Catastrophe, or the appearance of Kefka and the title theme.
Just... Brilliant. Thanks for making this!
OMG I have touted the awesome image-invoking intensity and complexity of this piece and I never realized the 4th movement was just Kefka's theme chopped and screwed to fit that wild time signature! I agree 100% with your comment about the most satisfying use of leitmotif. That made me so happy to learn.
Also, seeing Kefka's attack, "Goner"...did someone use that as inspiration for another final boss's attack in a more recent game? hmmm? HMMM?
Absolutely brilliant analysis!! Unbelievable amount of dedication, thought, and even visuals. Well done, sir!
I love that this channel exists.
My favorite things about this song are that a) he was so skilled at manipulating 8 bit sound systems that he managed to pull this amazing arrangement out of it and b) the way this song does a solid job of echoing Kefla's storyline - the first section reflecting the torture he underwent to gain his powers and it breaking him, the second his embrace of the madness and the enactment of his plan to become a god, the third the progress of the plan and his victory when everything comes together and the final piece him coming to terms with the fact that he can lose as he fights against the heroes and his acknowledgment of his fate as he dies.
You are doing God's work. Thank you for this amazing content, it made my day so much better :)
One of Nobuo's secret tricks that he uses over and over throughout his compositions is fusing jazz or blues ideas with particularly compatible classical ones. The idea of using a jazz improv/solo technique with fugue actually makes a lot of sense.