In summer time 2000, on the younger age of 16, I wrote an embarrassingly terse evaluation of the Closing Fantasy III soundtrack. Granted, all the pieces about this entry within the acclaimed sequence appeared novel on the time, given its lack of official localization (till the DS model launch in 2006). However there was, and is, a lot extra to say about this soundtrack than “you could hear it for your self, it’s fairly good!”
So right here I’m, 25 years later, giving Uematsu’s rating to Closing Fantasy III the in-depth evaluation it rightly deserves.
By way of sheer amount, Closing Fantasy III stepped up in an enormous manner. For those who evaluate this soundtrack to All Sounds of Closing Fantasy I • II, you’ll discover that III (44 tracks) has about the identical quantity of music as I & II mixed. And when Nobuo Uematsu jumped into the world of the Tremendous Famicom, he additionally created the Closing Fantasy IV soundtrack with precisely 44 songs, and the same runtime to this soundtrack. All this to say, for its time, the soundtrack to Closing Fantasy III was massive.
As everyone knows, nonetheless, amount and high quality don’t have any intrinsic correlation. Even among the many Sq. Enix music catalog alone, there are quick and lengthy soundtracks which are superb, and quick and lengthy soundtracks that falter. And whereas we’d take into account a one-hour OST quick in 2025, this was an in depth soundtrack for its time. Was it a high quality soundtrack then? And what would we are saying now?
Given Closing Fantasy III was Uematsu’s final soundtrack for 8-bit, hardware-generated audio (aka chiptunes), whether or not for Famicom (NES) or Recreation Boy, he had loads of expertise to assist him craft one thing particular earlier than graduating to the following technology of {hardware} with its sound banks and synthesizers. Subsequently, Uematsu went all out together with his three audio channels, although I feel it’s protected to say that some songs obtained extra care and a spotlight than others.
One of many largest stand-outs is “Crystal Cave,” the second monitor on this album. Anybody who has performed Closing Fantasy III is aware of how this goes: customary prelude and textual content, title your 4 generic characters (the onion knights), after which the characters fall by way of a gap and have to flee a cave. This dungeon theme is remarkably well-crafted. There’s an arpeggiated line for the mid channel that builds from a minor chord, to an inverted main (fifth raised to minor sixth), then that be aware is raised once more to a significant sixth, then again down.
This chord development has since turn into a staple for Nobuo Uematsu and the Closing Fantasy sequence (see FFVIII “Fithos Lusec” / “Succession of Witches” theme). On this early occasion of the chord development, Uematsu builds a melody atop it that begins by working in thirds in opposition to the arpeggiation, then rolling sustained octaves within the diatonic minor scale. The bass line is fairly easy right here, however all the pieces else is tremendous catchy, and arguably a step above the dungeon themes of earlier Uematsu soundtracks (FFI, FFII, and The Closing Fantasy Legend / SaGa for Recreation Boy).
A lot as I like this dungeon theme, I feel the forever-favorite amongst followers needs to be Closing Fantasy III‘s world map music, “Everlasting Wind.” You need to hear the NES sound chip soar to new heights? That is the tune for you. By way of composition, this can be a easy piece of music, stepping by way of a typical chord development. However, once more, it’s that center channel, the busy counter-melody, that brings a lot life to the music. The bass is bouncy and the melody is memorable—however the center with its syncopation, reverb, and a spotlight to element, makes the piece fantastic.
When this explicit piece has been organized or remade, its success or failure falls squarely on whether or not they select to incorporate the center counter-melody or lower it as a result of it’s too busy or distracting. In my view, you chop this line at your personal peril. It defines this piece of music.
A bit of previous the midway mark, Uematsu serves up a one-two punch of emotional, watery goodness. “The Boundless Ocean” and “Elia, the Maiden of Water” are melodically wealthy, with harmonic construction benefiting from the subtlety and vagueness of recent chord extensions (seventh and ninth, primarily).
For those who’ve performed Closing Fantasy III and might keep in mind the context for these items of music—discovering the world you’ve identified is a tiny flying island over a world frozen in time and coated in ocean, and a sole maiden in a shrine awaits your arrival to deliver this world again to life—it suggests to me that director Hironobu Sakaguchi and his staff impressed upon Uematsu the significance of creating these moments memorable. And, effectively… mission completed.
One other private favourite for me is the brisk 6/8 piece “Let Me Know the Fact,” which serves as the world theme for Doga and Unei’s mansion. The repeating notes at first, fading in quantity to recommend a ringing echo, sound so spectacular for the constraints of the {hardware}. After which that quick, meandering melody? It’s a pleasure to hearken to, and talking as a hobbyist pianist, additionally it is enjoyable to play on repeat!
Closing Fantasy III‘s final set of dungeon themes, just like the dungeons themselves, are forces to be reckoned with. “Forbidden Land Eureka,” “The Crystal Tower,” and “The Darkish Crystals” crank up the depth to 11. The neo-baroque counterpoint on “Forbidden Land Eureka” is so epic, it might sound equally superior voiced with a pipe organ as with an electrical guitar. “The Crystal Tower” and “The Darkish Crystals” have a equally epic, virtually sacred presence on the album.
For you battle music followers, I’ve excellent news and dangerous information. Beginning with the dangerous information: there are solely three battle themes. “Battle 1” is your random encounter music. “Battle 2” is for boss fights. And naturally, “That is the Final Battle” is strictly what it says on the field. The excellent news is that these three tracks are all strong. The usual battle music has the memorable bass intro, and it experiments with the consequences channel to try to throw in some drums. I additionally suppose, and this can be controversial, that melodically the “Battle 1” of Closing Fantasy III is extra catchy and fascinating than its I and II predecessors.
“Battle 2” has some robust melodic concepts as effectively, notably within the B part when it performs off of the IV chord to keep up a significant sound. This, alongside the enjoyable percussion, virtually makes for a type of Mega Man stage theme. “That is the Final Battle” begins with a prolonged, slow-creeping intro that hits double time earlier than lastly breaking right into a killer rock anthem. Each the melody and the counter-melody are intense and livid right here. This explicit monitor makes me marvel how Uematsu would have crafted the ultimate battles for IV, V, and VI had he nonetheless been restricted to the NES sound chip.
Having mentioned a few of my favourite themes, I have to give the disclaimer that not all the songs listed below are superb. Or, maybe it’s higher to say, not all of those songs sounded superb given the constraints. Nevertheless, I nonetheless suppose the various melodies that make up the Closing Fantasy III soundtrack are amongst Nobuo Uematsu’s greatest. My proof? Subsequent preparations.
For instance, “Cute Little Tozas,” the music for the gnome village the place it’s a must to solid Mini on your self simply to enter. The tune is fittingly cute, however maybe overly so. It’s saccharine, and within the context of the 8-bit authentic, it doesn’t actually go anyplace. Arguably, the 2006 DS remake of Closing Fantasy III and the latest Pixel Remaster don’t do it any favors both.
However have you ever heard its vocal association, “Have You Ever Seen Me?” on the FF vocal assortment album Love Will Develop? Give the parents of Tozas some bluegrass fiddles and a star vocalist, and apparently, they will make one thing stunning. For many years, each time I hear this tune in its authentic kind, I can’t assist however bounce in and sing: “…within the forest you may have a whole lot of FUN!” Apparently, Uematsu was writing a present tune all alongside; he simply hadn’t realized it but.
Nonetheless not satisfied? Examine the unique NES model of “Fort of Hain” to its Pixel Remaster counterpart. On three audio channels, this piece feels plodding, uninspired, and even boring! Nevertheless, take the three audio channels and divide them into acceptable chamber music devices (woodwinds, strings, harpsichord), and abruptly it’s a robust dungeon theme. The melody sticks with me higher because of this remade model!
So, sure, that’s my take. Closing Fantasy III has a robust, typically underrated soundtrack. There are some clear favorites, however even the weaker tracks maintain the potential for greatness, held again solely by the constraints of the period. For these of you trying to find a bodily copy of this album, NTT printed it thrice within the ’90s, and it’s not terribly tough to choose up secondhand by way of on-line providers like Yahoo! Japan or Mercari. Digital distribution by way of Apple Music / iTunes, Spotify, and many others are additionally out there in a number of areas.
