Melodies of Life

Celebrating the music of Final Fantasy IX.

As human beings, we are a living collection of every outward influence we have ever consumed through our various senses. This, of course, applies to every bit of art we have ever enjoyed. It serves to reason then that we are primarily a reflection of the art that has had the most profound influence on us. Video games particularly are this unique and impressive collection of the arts — visual art, writing, and most importantly for myself, music. Most people would probably be able to tell you what their favorite book is, their favorite film, their favorite work of visual art, favorite record, etc. Final Fantasy IX and its soundtrack are two of those exceptionally influential works of art to me.

Today, November 14th, 2023, the ninth numbered installment of the Japanese role-playing video game series Final Fantasy celebrates its 23rd anniversary in North America.

To mark the occasion, I decided to take a break from my usual writings on the world of the DIY music scene and use my platform to celebrate one of my favorite video games (and accompanying soundtracks) of all time. The composer of the Final Fantast IX soundtrack, the incomparable Nobuo Uematsu, has considered this his favorite work he has ever accomplished. This is evident in the fact that, while he was tasked with composing roughly 20 pieces of music for the soundtrack of Final Fantasy IX, he composed a staggering 160 pieces instead — with 140 featured in the game and 110 on the soundtrack. As much as I would love to breakdown each and every one of those pieces, I decided to keep my sanity and simply cover 20 pieces instead. This curated list reflects a combination of my favorites of the soundtrack as well as the pieces I felt encompass the overall spirit of the game.

The following tracks are in order as they appear in the game and on the soundtrack, not a ranked order.

A Place to Call Home

The introductory track for the soundtrack is the first piece of music heard by the player when they boot up Final Fantasy IX. After the PlayStation and other developer logos flash, the start screen fades in and we hear a swell of midi woodwind instruments play the theme of the game, a reoccurring leitmotif throughout many of the pieces of music to follow. The counter point continues between the two forces, the melody in one, and persistent planing notes in the other. Aptly named, “A Place to Call Home” is an instant wave of nostalgia for me every single time. It’s such a simple theme and yet it permeates through multiple pieces across the soundtrack and holds such a soft place in my heart that almost moves me to tears upon every new playthrough I start of this masterpiece.

Vivi’s Theme

The theme song for arguably the central character of the game, “Vivi’s Theme” appears as we are introduced to and given control of our loveable, timid, inquisitive golem, following a quick battle introduction with our leading man Zidane. A particularly and appropriately bizarre track, Vivi’s theme begins with a bouncing back and forth between synthetic string tones. After these are established, we are greeted to the main theme of the tune by way of alternatingly legato and staccato string notes. Vivi’s theme so perfectly encapsulates this odd character we are immediately introduced to and are tasked with guiding through the first segment of the game. The piece is a well-crafted blend of confusion in the melody, while strong percussive beats mirror Vivi’s small, unbalanced footsteps, the occasional, sporadic cymbal chokes a musical metaphor for his neurotic nature. Similar to the previous track, hearing this at the beginning of the game feels like coming home to an old friend.

Swords of Fury

After exploring the castle town of Alexandria for a while and sulking over a fraudulent play ticket, Vivi manages to sneak into said play with the help of a curious rat boy. “Swords of Fury” triumphantly erupts to signal the beginning of “I Want To Be Your Canary”, the production Vivi so desperately wants to see. Strong percussive crashes and tenacious string bowing open up to subtle swells as well as responses by woodwinds and horns alike, paralleling the drama unfolding onstage. Violence soon descends between our characters, the gameplay entering a battle sequence just as “Swords of Fury” bursts into militant snare strikes and smooth flute trills — one of my favorite musical phrasings on the soundtrack. Descending string flurries, more horns flares, and commanding timpani strikes guide the emotional stakes of the battle before receding into the shadows. Already we are hearing a balanced combination of classic Final Fantasy themes with specific melodies and tones unique to this particular entry, establishing its identity.

Vamo’alla flamenco

“I Want To Be Your Canary” continues, promptly leading to the clashing of blades. The characters Zidane and Blank perform an intricate sword duel as a fiery flamenco track persists in the background. “Vamo’alla flamenco”, literally meaning “Let’s go, flamenco!” tells you all you need to know about this piece and its use in the context of the game. It is a high-tempo onslaught of string notes and accompanying castanet clicks while a smooth walking bassline ceaselessly charges underneath. Feverish strings mirror the melody set forth by the guitar rasgueados and is further continued in the horns. These equally impressive alternations continue along the various forces culminating in a charming declaration of the title “Vamo’alla flamenco!” by the single vocal line of the piece. Depending on your tenacity to perfectly complete the accompanying gameplay as well as your love for fun, feathered side quests in this game, there is no doubt you have heard this piece literally hundreds of times. Yet, for me personally, it never ceases to impress and entertain.

Court Jesters

As the name implies, “Court Jesters” is the theme the player hears any time they encountered the Queen’s equally jovial and sinister fools, Zorn and Thorn. A playful piano rag appropriately encapsulates the spirit of these two jokers. The chipper piano melody is eventually met with sporadic rhythms, dissonant single notes, and abrasive chords, while an undercurrent of well-placed intervals in the piano continue. Violent, synthesized snaps are chaotically peppered across the deep floor tom strikes, and jazzy cymbal taps. Crescendoing trills provide a brief respite before the main theme comes back around for even more controlled chaos. Every element of this track blends perfectly and haphazardly to create the atmosphere of a circus you never want to be attending, yet you can’t tear yourself away. Additionally, the way Uematsu sneaks in foreshadowing of a couple of the end boss themes is simply perfection.

Danger in the Forest

After the theater ship has crashed in the Evil Forest, a deceptively peaceful string piece welcomes the listener into its clutches. “Danger in the Forest” begins as the player gains control of Zidane again, attempting to assess the wreckage of the crash alone. Sleepy, consistent arpeggios in the strings create a somber lullaby accented with bright, plucked notes. Eventually, a dancing bassline guides the listener to foreboding, almost vocal, backing chords and brisk tremolos as the arpeggios carry on through the darkness. This track works perfectly to set the atmosphere for this first real explorative segment of the game. The instrumental color choices and steady rhythms effectively ensnare the listener much like the Evil Forest itself.

Over the Hill

Once our unlikely band of protagonists escape the clutches of the Evil Forest, the player is welcomed to the overworld map and, naturally, the overworld theme of the game, “Over the Hill”. This track is one of many across this soundtrack which expresses the main “Melodies of Life” leitmotif, this first time in the form of tiny, music box chimes introduced by an interesting collection of sporadic, synthesized notes. The melody is continued in an adventurous, melancholic flute tone, eventually evolving into pan flute, while almost imperceptible guitar rhythms dance beneath. Again, this is one of those themes in this soundtrack that has such a nostalgic hold over me — one of those pieces of music that I could sit wrapped in forever like a warm blanket. You hear this overworld theme hundreds of times across any given journey through this world and yet it feels like coming home ever single time.

Village of Dali

After the party narrowly avoids a frosty demise in the Ice Cavern at the hands of the first Black Waltz, they are finally greeted to a sprawling country field, a sleepy farming village tucked peacefully on the other side. “Village of Dali” opens with the softest, buttery acoustic guitar tones, drifting nowhere in particular, before being joined by our melody, a sequence of relaxed music box tones. In the context of this game, Dali serves has a much needed respite for our band of heroes. Musically, Uematsu has created the perfect companion piece to welcome the player into this false sense of security as well. Despite the innumerable times I have played this game, every time I enter Dali’s seemingly innocent, comforting embrace I want to believe that there is nothing beyond this point. There are no atrocities committed, no lives lost, no homes destroyed. Time could just stop here. Everything but this unconcerned, continuously looping melody.

Festival of the Hunt

The next highlight on the soundtrack, “Festival of the Hunt”, accompanies the story beat of the same name. Zidane, Vivi, and new acquaintance to the party, Freya, compete in a deadly ritual of survival and glory. In a similar spirit, this track comes crashing in like a Zaghnol — booming, accented tom strikes and a determined synthesizer melody menacingly raising the stakes as our challengers race through the streets of Lindblum in search of their quarry. The menacing ostinato and heavily-synthesized melody continue to dance around each other while an infectious drum shuffled steals the show across the track. Building on this particular segment’s intense feeling of danger and urgency, “Festival of the Hunt” rises to the occasion and feeds on the listener’s stirring dread more effectively than a ticking clock ever could.

Freya’s Theme

Unyielding, syncopated triple-time harpsichord rhythms introduce the theme of Burmecia’s brooding dragoon and my personal favorite party member, Freya. The established rhythm continues while the sweet, somber melody glides along, perfectly reflecting the mood of the crestfallen knight. Sharp string swipes fill out the rest of the piece and every element collects like a trance. The relentless harpsichord notes pour down for the duration of the piece, reflecting the perpetually precipitating environment of Freya’s homeland. Rhythmically, the choice of putting this piece in a dance signature effectively matches Freya’s nimble movements and effortless actions. There is also a rigidity, a solid structure to this piece that works so well as the theme for Freya, who only knows her duty to her kingdom and to herself. Though she is constantly in a state of intense agony and sorrow, she will never let her stoic façade betray her inner frailty.

Kuja’s Theme

During the climax of the story arc in Burmecia, the party is deftly defeated by Alexandria’s war general, Beatrix. As our heroes lie face down in the collecting rain puddles, our first of several red herring villains, Kuja, makes his dramatic debut along with his own theme. “Kuja’s Theme” immediately sets the tone with a sinister ostinato in the lower register of the piano before eventually being complemented by the opposing end. The dueling, polyphonic melodies dance around each other, two brothers staking their claim for dominance in this devilish duet of the solitary force. A foreboding, hypnotic piece, Kuja’s theme sets the stage for future events as the melody foreshadows its return across the soundtrack. Uematsu is a master of establishing returning themes, especially across this gargantuan 110-piece soundtrack, and this is no exception. A deliciously dark mood shift within the game and the perfect way to establish the central antagonist for a large portion of the journey ahead.

Dark City Treno

On to the second disc of the game, one half of our freshly divided party finds themselves in an ever-nocturnal den of opulence and debauchery. “Dark City Treno” lights up the night with an unconfined, determined jaunt of ebony and ivory. Treno’s theme establishes a call and response theme early on — a bright, adventurous melody in the right hand met by haughty, ascending chords in the left. This piece works on multiple levels to establish this sense of fun and frivolity while also creating a sense of confusion and suspense in the sporadic, directionless piano progressions throughout. One minute it feels like the track is headed towards a specific cadence, only to lightly scamper away without warning. The listener’s emotions and expectations are once again guided musically to match the current situation and feelings of the characters in the game.

Eternal Harvest

Some time later, the party makes their way up a colossal tree trunk to the sand-shrouded settlement of Cleyra, the Alexandrian army and general Beatrix hot on their tails. This suspenseful segment concludes with the remaining survivors of the village huddled in a chapel while ritual dancers attempt to keep the enemy at bay with a sacred piece of music. “Eternal Harvest” begins with a gentle, ascending harp arpeggio before the furiously passionate and equally expeditious rondo ensues. Again, the rat people of Burmecia are musically defined by a dance rhythm, building upon the previous rhythms heard in Freya’s theme. Unfortunately, the ritual is unsuccessful and the piece abruptly ends with the shattering of the Cleyran’s prized pendant. This passionate, unassuming dance piece almost feels inconsequential if not for its context within the story. However, it has always left a strong impression on me and there exists multiple versions of this piece which expand and extend it gorgeously.

Roses of May

Alexandria’s military general, Beatrix, may be ferocious and cold as steel, however her theme could not be further from those descriptors. “Roses of May” peels back the pedals of Beatrix’s hardened exterior to reveal a compassionate, loyal knight who would do anything for her homeland. This sweet, delicate piano minuet establishes a consistent, pastural theme in the right hand while confidant, persistent chords accent each downbeat in the left. Uematsu is on record talking about how he wanted this soundtrack to explore multiple styles, but revolve around a medieval theme musically. “Roses of May” accomplishes the latter and perfectly suits Beatrix with this gorgeous, effortless piece you could easily hear centuries ago without batting an eye. The theme established in this piece comes back again in the lively rendition “Something to Protect”, building upon her and Steiner’s relationship. Personally, while I love both, I prefer this original theme and appreciate the way it fleshes out Beatrix as a deep, complex character in her most vulnerable moments.

Daguerreo, the Hermit’s Library

Despite being the environmental music of a completely optional area in the game, “Daguerreo, the Hermit’s Library” serves a similar purpose as “Roses of May” in its own unique way. The piece begins promptly with a planing guitar phrase, establishing a Renaissance chord progression immediately. A brief, but effective stop on the soundtrack, much like the locale itself, it does not hide behind any other force. No other instruments are featured on this piece and honestly it does not need the help at all. Particularly in the context of where it’s featured in-game, this piece commands your attention with simple phrases and cadencing in the guitar, embellishing only in the form of the softest, plucked harmonics. “Daguerreo, the Hermit’s Library” further fills out Final Fantasy IX’s identity — an honest reminder of the game’s classical inspirations when the fantasy elements are stripped away.

Bran Bal, the Soulless Village

Shortly after the party discovers the existence of a parallel planet to their Gaia, they hastily traverse a portal to the sister world, Terra. Completely disoriented by their new surroundings, the group explores this strange environment where this eerily beautiful theme begins. Arpeggios in the harp establish the rhythm as fleeting strums ornament the atmosphere. Single, unimpressed percussive notes flesh out the melody before it unfolds into a mesmerizing flute solo. The theme returns, featuring a call and response between additional woodwind lines, further enthralling the listener. At this point in the story, our protagonist Zidane is facing the truth of his origins. He is in a strange new world, meeting people who resemble him for the first time in his life, his entire reality being plunged into a spiral. “Bran Bal, the Soulless Village” captures the essence of this environment and these curious feelings by employing an uncomplicated rhythmic loop and soothing instrumental tones.

Not Alone

During the climax of his existential crisis, Zidane descends into despair and anger, forsaking his friends and committing to his own path, alone. As this segment unfolds, a passionate rock ballad rises to meet the emotional weight of the following scenes. “Not Alone” forebodingly begins as deep, legato bass tones brew, a swift cymbal pattern establishes the rhythm, and accompanying synth tones swell on each downbeat. The main theme is teased on midi dulcimer strikes before being replicated on pan flute. Screeching guitar tones further duplicate the rhythm and with the inclusion of syncopated cowbell rhythms, our full-blown rock ballad is brought to life. A deep vocal chorale complements the melody, equally powerful kicks and snare slams delivering the emotional finale the story demands at this juncture. “Not Alone” explores this balance of feeling your entire world crash around you and realizing your friends are the only thing that can bring you back. In this moment, Zidane fully gives in to his emotions, accepting defeat, wallowing in self-pity, but his companions won’t watch their friend descend any deeper. The entire emotional landscape of this important turning point in the story is laid out within the two and a half minute confines of this utterly memorable piece.

The Darkness of Eternity

The journey through Bran Bal and Pandemonium concludes in a climactic final battle against Kuja, his true form revealed, his master plans ripped from his fingers. Uematsu’s keyboard prowess takes center stage across this epic boss battle track. Full, echoing organ chords descend, leading into a powerful, uncomplicated drum beat reminiscent of the one established in “Kuja’s theme”. The classic Final Fantasy battle note hums repeatedly before being met with a sweeping chord progression in the keyboard. Finally, the focal point of the track arrives in an infectious, dominant riff and lively, successive notes trickling down in its wake. The riff repeats several times in various modulations while Kuja’s leitmotif sustains beneath the recurring melody. Repeating triplets descend in sharp piano tones as a respite from the main theme. Eventually, the notes increase in frequency, desperately climbing in vain before the return of the distorted, imposing main melodic line. Tracks such as this one showcase Uematsu’s unparalleled abilities as a composer and a musician as well as the sheer amount of fun he has creating these pieces of music. There is no better evidence of this than the following track.

The Final Battle

Haunting, agonizing wails of dead souls fill the atmosphere of Final Fantasy IX’s final boss track. Sustained, synthesized notes introduce the beginning melodic line of this six-minute long journey. Before long, the true nature of the piece opens up with a frenzied, alternating rhythm in the cymbals and snare. Once more, Uematsu’s keyboard abilities are on full display as he shreds through the main melodic line of the track in several variations. The keys ascend to grand, sweeping chord progressions, handing over the momentum of the track to a voracious bassline. As the final boss theme continues, the syncopated melodic lines are further accented by sprightly chords on the keys. I have stated in the past how I am an absolute sucker for a good ostinato and this final boss track absolutely delivers in that department. The sense of exigency created through the repeated bass and keyboard progressions not only matches the energy of fighting an interdimensional being on the edge of time and space — it flat out rips.

Melodies Of Life

A celebration of Final Fantasy IX and its music would be grossly incomplete without the game’s iconic vocal theme, “Melodies Of Life”. Each Final Fantasy’s vocal theme is just as important and identifiable as the entries themselves that feature them. Heard during the final credits of the game, this heartbreakingly reminiscent 90s ballad brings our journey to an end and solidifies its main theme — love enduring through memory. Emiko Shiratori’s delicate vocal performance soars above bittersweet string swells, wistful halftime drums, and infrequent piano runs. Generously, the end of her performance does not mark the end of the song. As the final cadence arrives in the guitar and piano, we are left with but a second a silence before an orchestral version of the signature Final Fantasy title theme springs to life. The arrangement explores some variations on the theme, leading to a triumphant finale in every force. One final flourish and our journey has reached its end.

It’s difficult for me to put into words exactly what this game has meant to me over the years. I remember growing up around my two oldest siblings trading off control of the game, the familiar themes ever present in my life before I even knew the impact they were having on me. Finally, I began my own journey through Gaia when I was about 12 years old and something about it stuck. It could have been that it was my first Final Fantasy. Possibility it was my first solo journey in a fully fleshed out JRPG experience. Whatever the reason, Final Fantasy IX made a lasting impression on me that I carried through subsequent, annual playthroughs every summer for several years and still revisit to this day.

I owe so much of my early musical development to this game and I don’t think I fully understood that until much later in life. 140 pieces of music circulating in my little brain from such a small age — myriad thematic variations, a rich blending of several musical styles, a subconscious appreciation for leitmotif. Nobuo Uematsu has composed an endless amount of unforgettable pieces of music across his career, but it’s not difficult for me to see why Final Fantasy IX is his most beloved project. Given that this game was his last exclusive project he ever worked on, it truly feels like his magnum opus, his love letter to a series that he is most identifiable with across an unbelievable number of titles and scores. This game is such a special and influential work of art to myself and countless others. I feel endlessly lucky to have experienced it in my lifetime and to have grown with it for well over a decade.

“Melodies of life / Come circle round and grow deep in our hearts / As long as we remember.”

Further Listening:

“A Place to Call Home” (Distant Worlds Arrangement) - Nobuo Uematsu

“Vivi’s Theme” - Moises Nieto

“Vamo’ alla Flamenco” - Masayoshi Soken

“Jesters of the Moon” - Moises Nieto

“Danger in the Forest” - Allan Naslund

“Frontier Village Dali” - John Oeth

“Freya’s Theme” - Super Guitar Bros.

“Eternal Harvest” - Franco Albertini

“Roses of May” (Distant Worlds Arrangement) - Nobuo Uematsu

“Bran Bal, The Soulless Village” - TPR

“Not Alone (Distant Worlds Arrangement)” - Nobuo Uematsu

“Grand Cross” - The Black Mages

“Melodies of Life” - John Oeth

You can listen to the companion playlist for this article here.