Kenley Kristofferson

Composer.

Tag: yasunori mitsuda

VGM Wednesday – “People Imprisoned by Destiny” from Chrono Cross

“People Imprisoned by Destiny” from Chrono Cross, by Yasunori Mitsuda

I love moments like these.  For those who have never played Chrono Cross, this is the scene where we fight Miguel and it’s a fight that you don’t really want to have.  These are like the moments of war with a soaring choir overtop of bloodshed, or a slow motion sword fight with a slow and lilting orchestra behind it.  They’re scenes where the music and visuals shouldn’t match, yet they do…

… Or they don’t, and their juxtaposition makes something new in the process.

I don’t want to give any plot lines away, but the story and music make this battle so gut-wrenching that it’s almost difficult to get through.  It’s a bit analogous to the last fight in Mother 3, where you’ve finally put all of the pieces together in the story and you have to go in for one last fight and Lucas knows he has to do it, but you (as the player) don’t want to.

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That’s not it for me, though.  What really captures me about this piece is its focus on balancing melody and texture.  Even though the samples are synthesized, a video game is finally using an instrument’s range to sort its colour.  Granted, Chrono Cross does this a lot with its use of ethnic instruments (because range and colour are idiosyncratic ways of using them), but hearing the difference between the low strings in the first 8 measures, then afterward the high strings take the melody an octave higher and it changes your whole perception of the theme.

This is important because, with the exception of timpani, bass drum, suspended cymbal and one bar of harp, the strings are the only instruments playing for the entire piece.  Part of the draw of classic video game music is the colour that can be found between instruments of different genres.  Take “Terra” from Final Fantasy VI: Irish whistle, French horn, strings, electric bass, mandolin and drum kit.  There are three converging genres there, and that’s what helps make that characteristic sound.

Not so in “People Imprisoned by Destiny.”  Instead, Mitsuda explores colour and harmony with, not only just one genre, but one instrument group within one genre.  It’s one of those rare times in classic VGM that simplicity counts for more juxtaposition and, as a result, it is one of the strongest pieces in an already strong OST.

And even more so, the strings are the most homogenous section in the orchestra, meaning that the different ranges of the instruments sound the most consistent with one another.  To really differentiate colour, you have to evoke the voice in each of the different ranges of the instruments while still keeping some order and structure to the writing.  In our case, Mitsuda keeps the bass and tenor voices pretty simple, the alto voice takes the melody off of the hop and then harmonizes with the soprano when it takes over the line.

Sometimes, there really is more in less.

Enjoy!
Kenley

VGM Wednesdays – “Blue Skies Over Guardia” from Chrono Symphonic

“Blue Skies Over Guardia,” from Chrono Symphonic,  released in 2006 and remixing “Guardia’s Millenial Fair” from the Chrono Trigger OST by Yasunori Mitsuda

There some things in life that make me profoundly happy: Oreo ice cream, pleasant surprises, when the Winnipeg Jets win a nail-biter of a game and finally, music in odd metre.

“Blue Skies Over Guardia” is a 7/8 remix of “Millenial Fair,” so we feel the beat in subdivisions of 2 and 3 in every bar.  Some metres are simple (groups of 2, or 1-and 2-and etc.), compound (groups of 3, 1-trip-let, 2-trip-let, etc.) or a combination of both.  We call that type grouping “odd metre” (among other things).

 The style of drumbeat also emulates one of my FAVOURITE drummers of all-time.  Paul Wertico was the drummer on Pat Metheny’s “The First Circle” recording, which employs some driving (and subdividing) ride cymbal and some super cool rhythmic clapping.  That drum pattern influenced some of my own ride-cymbal-subdividing/odd-metre/clapping music of my own too…

It starts off as a 2+2+3, with the subdivision being set by the piano.  At about 0:29, the pattern changes to 3+2+2 and is really set by the horn melody.  THEN (and this is the craziest part) at 0:48, they converge so that the piano is doing the 2+2+3 while the rest of the ensemble is doing 3+2+2! CRAZY!

But it all works out because every measure still only has seven “small beats” (or subdivided beats) in it.  Incredible 🙂 DarkeSword really did a great job on this tune.

I love this album.  It’s from OverClocked ReMix and they are awesome – not much more needs to be said about that.  Go check them out, seriously.

As another aside, Chrono Symphonic’s “To Far Away Times” (the ending theme of Chrono Trigger) rocks my socks.  Just piano and vocals by the lovely Jillian Aversa and the late Reuben Kee.  So subtle, but so delicate.  Definitely check that out too.

Until next time,
Kenley

VGM Wednesdays – “Times Scar” from Chrono Cross

“Time’s Scar” from Square’s “Chrono Cross,”  released in 2000.

This game has been on my mind for a while now.  Lately, it re-emerged with its release on the PSN Store about a month ago and I really considered buying it again.  Next, a blog called “Score” wrote a 3-PART analysis on the tune and did a fantastic job.

If you like music theory and VGM, you want to follow this blog 🙂

Anyway, back to the retelling! I picked this game when I was in second year university (3 years after its release, I always seem to play games way later) and, after a passionate affair with Chrono Trigger  for much of my youth, there was such relief in playing this.

It often gets criticized as being a game that doesn’t make sense or is far too convoluted (and I’m not entirely disagreeing), but the soundtrack in this game is pure Mitsuda.  “Time’s Scar” is the opening piece of the game, luring us in with its mysterious add9 chords and big leaps in the shakuhachi.* Big leaps give a lot of emotional power and I am all about that open fifth that starts the melody.

Even just the opening instrumentation of classical guitar, shakuhachi and the wash of synth behind it really demonstrates the cross-cultural score that permeates this game – not just instrumentally, but stylistically too.  The Celtic rollicking of “Another Termina,” the island feel of “Plains of Time – Home World” (also recounting the theme of Chrono Trigger), the sweeping European Classical string feel of “People Imprisoned by Destiny“… it’s as though the listener experiences both the world of the El Nido Archipelago AND the geography of our Earth too.

While I love the game, the soundtrack is really the gem of the experience.   I usually want to find pieces that are less well known, but some scores really have a lot of personal significance to me and are really part of my musical experience and development.  So, even though this is a very common score and really a big member in the canon of VGM, sometimes things are popular because they’re good – this is one of those examples 🙂

Thanks for reading,
Kenley

* I wrote “Irish Whistle” first, but that wasn’t correct.