Originally launched in 2001, Final Fantasy X marks a turning point for the long-running video game series.
Final Fantasy X is the first Final Fantasy title to feature music that was not composed solely by Nobuo Uematsu, who up until then had been the leading voice in the music of Final Fantasy. He was joined by fellow composer Junya Nakano and pianist Masashi Hamazu. The music of Final Fantasy X was directly impacted by both the styles of each composer and its Asian (mainly Thai and Japanese) influences.
Final Fantasy X features three prominent leitmotifs. (Many of the videos featured below play the songs on loop and are not intended to be played to completion.)
Leitmotif One: Suteki Da Ne? (Isn’t It Wonderful?)
Suteki Da Ne is the main theme of Final Fantasy X, and is featured heavily throughout the game. In the short film Beyond Final Fantasy, Nobuo Uematsu spoke on his thought process when creating the song:
Regarding the theme song, my first concern was to find someone to sing it. The Asian-inspired theme had nothing to do with the choice, but since I was personally interested in Okinawan music my staff and I looked at various CDs of that particular region. That’s when one staff member found some CDs by Rikki. I had never heard a voice quite like hers and I contacted her immediately. After that, I had the chance to visit her hometown of Amami Ooshima and meet her several times. I had a certain image for the song in mind, but it was difficult to complete. The deadline was fast approaching so I tried changing my work environment to finish the song. I took the synthesizer from my office and brought it into the reception room. After the girls at the front desk left for the day I sat there alone through the night composing my songs. After this switch I was able to compose nearly ten songs in an hour. Any of them could have been used but I took the one I considered best for the theme. I completed the melody first so I had Nojima write the lyrics afterwards. We both celebrated the night it was completed.
There are several songs in-game which feature this melody in some form.
Daughter Of The Great summoner, which is centered on the deuteragonist of the game, features gentle percussion and a staccato version of the melody from Suteki Da Ne. The character, Yuna, has lived a life rife with challenges. Though usually a cheerful enough character, she experiences moments of melancholy, which is reflected in this song.
Spira Unplugged is a song that is only heard while the main cast is traveling from one space to another. In a rare difference for the music featured in game Spira Unplugged has an obvious Bossa Nova influence. Its name is a deliberate reference to the environment the player is exploring. The world of Spira has bounced back from tragedy many times, reflected in the somber yet hopeful feeling of the song.
A Fleeting Dream, alternatively called Zanarkand Ruins, has the most emotionally charged version of the Suteki Da Ne leitmotif. It is first heard after a major turning point in the game’s plot. It features heavy percussion and begins with slow pacing along with strings to build tension.
Leitmotif Two: To Zanarkand
To Zanarkand, though not the theme song of Final Fantasy X, is more largely associated with the game than even Suteki Da Ne. It is the first song that players hear once the game begins, and its melody makes returns in many different forms. However, the first time players are exposed to its melody, it is in the form of a simple piano track.
To Zanarkand is only played twice. Its melody, however, is featured in many different forms.
Movement In Green, like Spira Unplugged, is only heard while the player is traveling the world of Spira. It can almost be said that Movement In Green is Spira Unplugged’s compliment. Both songs are travel music and are meant to reflect the hopeful world around them. Movement In Green is unique in that an accordion is used to create its melody. The song is heavy with different types of percussion. A cymbal keeps a constant rhythm, a triangle is heard in threes, and heavy drums are played along with the melody.
Revealed Truth is played at the height of a plot twist reveal in-game. It is composed entirely of string-like sounds (the original soundtrack is mostly composed of electronic instruments, as opposed to real ones, which is rectified in the HD remaster of the soundtrack). The song is not necessarily meant to be pleasant, and plays on loop throughout the scene in which it is first heard.
The ending theme of Final Fantasy is only heard during one of the game’s final scene, and is often associated with the departure of the game’s protagonist. Its soft beginning and end reflect the conclusion of the game’s story. Its middle portion is the most emotionally charged moment of the game and is the only part of the song that uses the To Zanarkand leitmotif. It begins slowly, gently, and then builds into a grand orchestral rendition of the melody. (This song also briefly features another leitmotif.)
Leitmotif Three: Hymn of the Fayth
The Hymn of the Fayth, alternately known as the Song of Prayer, is an important song for the people of Spira. The Hymn’s lyrics are composed of nonsense lyrics meant to resemble Japanese, and its general theme is heard many times in the game. Different versions are typically associated with different characters, so for the sake of time, most of these have not been included in this list.
Sending To Another Dimension is a short version of the Hymn of the Fayth, and is played during the funeral of several characters. In the world of FFX, death is largely viewed as a temporary state of being. This is reflected in the grand, almost victorious nature of this rendition.
Hymn of The Fayth- Yunalesca is a unique song. It is meant to be disturbing, as the character associated with it is an antagonist. This is reflected in the discordant notes sung by the chorus. A key change has altered the direction it usually follows. As the melody has been heard countless times before, this change–namely the ending notes–has seemingly robbed the song of its tonality to the untrained ear. The song is unsettling for many fans of the game.
There are many other examples of these leitmotifs being used in Final Fantasy X. The versions chosen for this discussion were the most notable uses of each leitmotif and featured key variations on each theme.
Standout Songs
The songs listed below do not use any of the aforementioned leitmotifs and are personal favorites.
The Splendid Performance
Masashi Hamazu, one of the co-composers for the soundtrack of Final Fantasy X, is primarily a pianist. The Splendid Performance, with its bright chords, springs, and rolling percussion do much to build excitement. Though simple, it exemplifies Hamazu’s skill with his instrument.
Servants of the Mountain
Servants of the Mountain is a good example of Final Fantasy X’s Asian influences. The song features common oriental music tropes to build tension and bring it full circle.
Via Purifico (Piano Arrangements Version)
For each mainline Final Fantasy game, an album of piano arrangements of songs the game’s soundtrack is released. The original Via Purifico track was a heavy, meandering piano track. The Piano Arrangements version features obvious classical influence, directly reflecting Uematsu’s own love for classical music, while also retaining the feeling of the original song.
References
Ten little-known facts about Final Fantasy X
Liminal Space 