https://www.youtube.com/watch?v=sMpzODudeks

Final Fantasy IV was the first major RPG to make it to the Super Nintendo, released in 1990. Not only did the game have a very good story and graphics for the time – the intro scene uses 3D – but it also marked the return of everyone’s favorite video game composer, Nobuo Uematsu. Thanks to an improved sounded chip with 16 bits he was able to push the soundtrack to new levels. Too bad the soundtrack release seemed to have suffered from budget limitations as only a few tracks are looped twice, and many tracks were missing, as short as they were…

One thing that strikes the ear when listening to the soundtrack is its close proximity to Final Fantasy III. It’s like it was a rehearsal for the SNES, which obviously has better capacities, and Uematsu used it to show what 16 bits can do. From the Prelude to the Battle Theme to Melody of the Lute, he not only prolonged the loops but especially took advantage of more realistic arrangements to improve them. The Prelude now features genuine-sounding harp, whose echo adds a mystical tone I just love, and the extended loop has flutes that add such a magical touch. For the Lute, it actually sounds like one and its slower tempo than Noah’s Lute are an excellent reflection of Edward’s fragile person and sadness, when he plays it at night to remember Anna. And for the battle theme (Fight 1), trumpets dominate rather than drums. Oh you can still hear the latter, which creates the perfect tempo, but they don’t drown the whole track.

Another feature that strikes the ear is the sheer appropriateness of the tracks. After choosing your saving slot, the game starts with the Red Wings coming back to Baron. It is accompanied by one of the best militaristic tracks of the 16-bit era. The trumpets both sound triumphant (as Cecil was able to get the requested crystal) and a little scary, considering how brutal the takeover was done. The drums and cymbals in the background add the right finishing touch.

Similarly, the “sad” themes like Castle Damcyan and Cry of Sorrow (including the intro to the latter) do sound very sad. The former has “muted trumpets” one could easily hear at a funeral, and its slow tempo increases that feeling. On its side the latter sounds like a broken music box to show the characters’ broken heart when facing a tragedy (Anna’s death in front of her father, Tellah’s useless self-sacrifice when casting Meteo) that tears their heart apart. Final Fantasy V and VI weren’t quite able to yield such emotions despite more modern arrangements.

In addition FF IV introduced many firsts. First, since they get much more development some characters get their own theme. Rydia’s and Edward’s are slow and reflect their fragile natures; Rydia especially even has flutes having a feeling of hope that this young girl will overcome her mother’s tragic death. It also introduced villain’s theme with Golbez Clad in Dark. The organ used to play the theme was spectacular for the time, reminding me a little of the Fugue in D Minor because of the (excellent) loudness or the arrangements. Palom and Porom, the annoying apprentice mage twins, have a very light-hearted theme appropriate for their constant bickering and age. It almost sound like a theme for circus clowns!

It also introduced what I call the “major boss battle” theme (Dreadful fight). When hearing it, you know you’re facing more than a regular boss; it’s much stronger and you level will need to be higher if you are to stand a chance. It’s one of the longest loops of the album (over 90 seconds), showing the effort Uematsu put into heightening the epic and dramatic feeling of fighting the Four Elements.

Furthermore it introduced unique themes to unique settings. Fabul, the monks’ castle, has an Eastern feel to it thanks to its excellent violins arrangements and occasional cymbals you could imagine from barehanded warriors. Land of Dwarves and Another Moon, on their side, were able to capture the mystery of their settings. The former is underground in a gigantic volcanic cave and sound mysterious, while the latter has weird arrangements on the main track perfect for this foreign world no one has set foot on for a while. Plus, the violins in the background heighten the mystery of this strange world.

Finally even the shortest tracks (that are not meant to loop) show how much Uematsu cares about details. Triumph is the best of them all (when Cecil conquers his own darkness and after defeating the Giant of Bab-Il); it sounds like a gigantic triumph, like a gladiator winning in the Coliseum. The trumpet is very loud, and the cymbals in the background heighten the feeling of triumph. Serpent Road (https://www.youtube.com/watch?v=sY6qDwxhpFI&list=PLCF7D6444B00D847A&index=48) has very low tones and sounds even a little scary. It’s perfect since you need such high vitality to cross this magical road; the arrangements show that you have survived the trip.

In short Final Fantasy IV has one of the best soundtracks ever composed. Even after 26 years it shows how great a composer Uematsu is. Not only was he able to create a unique track for nearly every situation, but he also kept improving the classical tracks from the NES and make them better.