not the best candidate for easy listening or just having Volume must come down, and the having to cut it up and down makes
Of this really well, but at the same time my instinct is to cut The overall mood of this piece is really reminiscent of the In pieces like this,Īuthenticity is important. I did though, because with the headphones I'm picking up a lot of Have a great setup for that kind of thing. With headphones, especially for reviewing purposes, but I don't I had to break out my headphones to listen to this one, because
Trickwaters, and being of one of my favorite FF4 tunes. The release of the FF4 album, but it wasn't affiliated with it.īut it was still a very pleasant surprise, being from
I remember when this came out I was confused. It's a smart arrangement, but it doesn't shove its tricks in your face or beat you on the head with them - an excellent, very deliberately-crafted ReMix from trickwaters. I think I can personally classify this mix as "deceptive" - it seems very direct, almost simple, but it progresses in a fashion that really spirals into something simultaneously enveloping and developing, not to mention enjoyable. I might start sounding hoity-toity myself (too late), but it's the type of music that basically requires such language to effectively describe. This is a fantastic example of an orchestral arrangement that conveys power and emotion without bombast: lots of subtle detail and part writing that weaves a rich, integrated tapestry. I'm glad he pointed out those signature changes, as I didn't even notice them the first time through - everything flows very naturally. Great support-writing throughout and good instrument choices." Even the 7/4 that follows fits like a glove. Natural use of 5/4 from 1:40-2:11, doesn't sound forced as some odd time signatures easily can. The harmonic changes at reminds me of the overworld theme from Final Fantasy VII and works really well. You get that sense that the instruments are bubbling under, waiting to burst out." It's very quiet for most of it, but the dynamic range is used fairly well, and the quiet moments work. ".really cool harmonic elements that add a lot of character to the original. Dynamics are excellent, though - don't turn it up too much because it's quiet, as that does change. Very quiet, deliberate introduction, living up to its title with a cavernous bassoon solo that feels like you're tiptoeing around a sleeping dragon. Waters is certainly wielding the vernacular, but he's wielding it accurately, so props. That's certainly an official-sounding, borderline hoity-toity description - but is the mix any good? Thankfully, yes, though I must say it would have been amusing to have a submission email namedropping Mahler and Debussy attached to a mix filled with generic, FruityLoop-preset trance.
Scored for two flutes, alto flute, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, three horns, three trombones, tuba, timpani, bass drum, tam-tam, celesta, two harps, organ, and strings with solo violoncello." The final section explores the canonic possibilities of the source tune as various parts of the orchestra laminate the texture leading to the climax with chromatically altered harmonies, resolving to the sudden and subdued coda-like conclusion the final, hushed utteration of the motive comes from the lowest register of the solo cello. In the second section, a solo violoncello carries the primary melodic material, colorfully accompanied by pizzicato and staccato strings and woodwinds. The short tone poem draws on the music of Mahler, particularly his first and seventh symphonies, and of Debussy.Ī bassoon begins the piece, intoning the opening motive of the melody it is joined by the other bass instruments of the orchestra as the line unfolds. "The Dark gestated in 2005 as one of several now lost and indefinitely abandoned projects following a massive data loss the rebooted project began in late 2007 to be finished February 2008.