#1
|
||||
|
||||
Breath of Fire composer credit discussion
Welcome to discussion on the composer breakdown for the original Breath of Fire soundtrack. Unlike many other scores I've attempted to do this with, BoF provides some unique challenges that lie mostly in the inability to find enough commercial work from the composers involved (particularly Yasuaki Fujita and Minae Fujii) in order to make solid connections based on compositional style.
My method here was to sort the tracks based on style and compositional tendencies, and attempt to match with a composer. Regrettably, this method worked to the point where I was completely confident in my conclusion with one only group (Group A). And that's where the community comes in. I hope to get a lot of feedback and discussion here, particularly when it comes to assumptions about Fujita's and Fujii's involvment. The evaluation below will be broken down into 2 parts: first, the grouping. The general implication is that a single composer was responsible for all the tracks in one group based entirely on style. However, I remain uncertain, especially in Group C. Group D does not make this assumption at all, since it is the "miscellaneous" category where I put tracks that I can't quite decide on. Furthermore, this doesn't necessarily mean that a composer did not compose more than one group of tracks. Below each track I listed some key features of the music that I believe to be important when considering the composer. The second and final part will speculate about style for each composer based on past and future works relative to Breath of Fire (1993) and attempt a specific breakdown. The following tracklist is based on the Breath of Fire Soundtrack Special Box compilation album. ---------------------------------------- BREATH OF FIRE ORIGINAL SOUNDTRACK (Group A) / Orchestral; orchestration used is uniquely sophisticated for its time (Group B) / Orchestral; orchestration used is simple relative to Group A (Group C) / Jazz/pop; the music demonstrates a style that involves jazz/pop influenced harmonies and chord progressions (Group D) / Unknown; does not possess features of previous groups, or features are difficult to distinguish based on musical content present Definitions orchestral: instrumentation is largely orchestral; piece is written as if for an orchestra sophisticated orchestration: use of advanced orchestral techniques in instrumentation, coloring, voicing, harmony, tempo changes, etc. virtuosic piano: piano is written as if performed live with tempo variations and deliberate technical display; virtuousic in the classical style piano: piano is featured prominently, but not necessarily in a definable style brass calls: use of brass instruments (esp. horn and trumpet) in a "hunting call", i.e. quarter note following by dotted eighth followed by quarter note relative to time signature or variation thereof; used primarily as countermelody romanticism/chromaticism: harmonic movement that is chromatic; evocative of romantic era harmonic tastes march rhythm: a section employs a "march" rhythm in the classical style; may incorporate synth bass beneath otherwise purely orchestral instrumentation pizzicato figure: this appeared enough that I felt it deserved its own tag. String pizzicato is used in a very simplistic way, as straight ascending notes apart of a chord, as if emulating simple piano accompaniment. The use of pizzicato is markedly different than that used in the more sophisticated orchestral settings such as "Strong Fortress" drums: drum set is used -GROUP A- Composed by Mari Yamaguchi 101. Blood Relation orchestral; sophisticated orchestraion; virtuostic piano; romanticism/chromaticism 102. The Dragon Warrior orchestral; sophisticated orchestration; virtuousic piano; brass calls 103. White Dragon orchestral; sophisticated orchestration; virtuousic piano; romanticism/chromaticism 106. Starting the Journey ~Breath of Fire~ orchestral; sophisticated orchestration; march rhythm NB: theme appears in mostly the same arrangement in Breath of Fire II as the second overworld theme; therefore, the composer of this track was left uncredited in the Breath of Fire II soundtrack 111. Victory Song orchestral; sophisticated orchestration; march rhythm 114. Strong Fortress orchestral; sophisticated orchestration; brass calls 116. Bonds [JINGLE] orchestral; march rhythm 117. Culvert orchestral; romanticism/chromaticism; piano 118. Skycsraper orchestral; romanticism/chromaticism; piano 119. A Brave General orchestral; sophisticated orchestration 121. Holy [JINGLE] orchestral 122. Distant View orchestral; sophisticated orchestration; brass calls; march rhythm 201. A Road orchestral; sophisticated orchestration; piano 209. Dejection orchestral; piano; chromaticism 210. Premature Death orchestral; virtuousic piano 211. Expedition orchestral; sophisticated orchestration; brass calls 212. Music City orchestral; sophisticated orchestration 217. The Empire orchestral; sophisticated orchestration; brass calls NB: theme is used again in "A Powerful Emperor"; therefore, the composer of the two tracks is the same person. 218. A Powerful Emperor orchestral; sophisticated orchestration; brass calls NB: see 217. The Empire 220. The Final Level orchestral; sophisticated orchestration; piano; romanticism/chromaticism 221. Black Dragon orchestral; virtuousic piano NB: use of piano is short, but the octave figure is certainly a virtuousic use of the instrument. Also, the melody heard in the strings is referenced in "Grab the Tail" from Breath of Fire II. 222. Dawn orchestral; virtuousic piano; brass calls; march rhythm 224. Great Achievement orchestral; sophisticated orchestration Group Summary: Tracks 102, 122, 211, 217, 218, and 224 were 100%, beyond the shadow of doubt authored by the same composer. And based on the scores of Super Ghosts 'n' Ghouls and the Magical Quest triology, that composer is most assuredly Mari Yamaguchi. -GROUP B- 107. Day and Night orchestral; pizzicato figure 112. Gentle Breeze orchestral; pizzicato figure 125. Small Hermitage orchestral; piano; pizzicato figure (except played on piano) Group Summary: I am certain that "Day and Night", "Gentle Breeze", and "Small Hermitage" all have the same author. Originally this group was larger, but after further examination I had to make some changes. I left the original group here regardless. -GROUP C- 108. Profit piano NB: piano, bell instrument, acoustic bass, flute. Nothing much to say about it except it's clearly in a very different style from much of the rest of the score. 110. Beginnig of Battle drums NB: the use of piano is similar to the aforementioned "virtuosic piano", wherein the piano is written as if performed live 113. Sleep [JINGLE] piano Two simple arpeggiated piano chords. 120. Deep Forest piano; drums NB: I've been having an awful time with this one. At first listen it seems like it unquestionably belongs in Group C, especially considering the very "Mega Man" feel of the piece. I think I've just been analyzing too much, so I just left it where it seems to fit best. 123. Fishing [JINGLE] piano NB: whoever wrote this also must have written "Release". Since it's piano+bass blues, I'd say whoever wrote these two also composed "A Drunk's Life". 124. Release [JINGLE] piano NB: see 123. Fishing 202. A Drunk's Life piano NB: see 123. Fishing 207. Swimming piano NB: the composer of this is also most certainly the composer of "Flying" 208. Battling drums NB: it would stand to reason that the composer of this also wrote "Beginning of Battle" 216. Flying piano NB: see 207. Swimming 214. Ancient City drums 219. God's Footprints piano NB: when examining the use of the piano here, the composer of this is also likely to be the composer of "A Deep Forest". -GROUP D- 104. Quickening piano This piece is made up of two repeating bars of music. The main instrument is piano with an unidentified bell instrument (could be glockenspiel, celesta, or even music box) providing coloring in the upper register. This bell instrument is used elsewhere in the score. 105. Fate orchestral; piano Originally in Group B, I had lingering doubts that, especially when its sister track "Sorrow" is taken into consideration, "Fate" didn't belong with Group A. It's very tricky, but the slight hints of romanticism make me think Yamaguchi was responsible for this important theme. NB: theme is also used in "Sorrow", and the arrangement style of both tracks is similar, therefore, the composer of "Fate" and "Sorrow" must be the same person. 109. Sorrow orchestral; pizzicato figure; romanticism/chromaticism NB: see 105. Fate 115. Solution [JINGLE] There's so little to this piece that it's hard to judge, though it does remind me of Yamaguchi. 203. Secret City orchestral NB: this was a difficult placement, but ultimately it reminds me more of the more "advanced" orchestral material. I believe the composer is Yamaguchi. 204. Sand Palace NB: see 203. Secret City 205. Memories This is one oddball of a track, and the only one which I feel compelled to attribute to Minae Fujii. This is mostly because it really has no precedent on the rest of the score in terms of style and harmony, and Fujii is the composer who I know the least about. Anyone have anything to add? 206. Trade City orchestral; piano NB: This straddles the line between orchestration styles, and I can't decide if it fits better into Group A or B. Feedback would be much appreciated. 213. Song and Dance piano; drums Carnival-esque samba. We know from an interview that Yoko Shimomura only composed 1 track for this score. I'm confident that this is the one. 215. Emergency orchestral; drums NB: another vague one. I think based on the harmonic style and moments of orchestration it's likely to be Yamaguchi's work. 223. Return orchestral NB: see 206. Trade City ------------ General Summary Composition works referenced: Mari Yamaguchi: Area 88, Super Ghosts 'n' Ghouls, Magical Quest trilogy Yasuaki Fujita: Mega Man 3 Minae Fujii: Mega Man 4 Based on what I've heard, I am attributing the more sophisticated orchestral works and those that feature moments of romanticism and chromaticism to Mari Yamaguchi. However, she also has proven her ability to work in non-orchestral styles as evidenced by Area 88, so it may not be fair to exclude her from nonorchestral works. Yasuaki Fujita strikes me as more jazz/pop-oriented--at least at this point in time--while I can only attribute the non-sequiter "Memories" to Minae Fujii. "Song and Dance" remains my pick for Shimomura's sole contribution to the score. Here is a breakdown of my evaluation: Mari Yamaguchi: Disc 1.01-06, 09, 11, 14, 16-19, 21, 22; Disc 2.01, 03, 04, 09-12, 15, 17, 18, 20-22, 24 Yasuaki Fujita: Disc 1.08, 10, 13, 20, 23, 24; Disc 2.02, 07, 08, 14, 16, 19 Minae Fujii: 1-07, 12, 25; Disc 2.05, 23 Yoko Shimomura: 2.13 ?: 1.15 2.06 ------------ Without further ado, this thread is open for discussion! Please post your comments and ideas.
__________________
Soundcloud | A'deo Chronicle OST | Horse Isle 2 OST | Mega Man XA | Royalty-Free Music Vol.1 Last edited by Jormungand; Jul 4, 2010 at 10:35 AM. |
|
|
Similar Threads | ||||
Thread | Thread Starter | Forum | Replies | Last Post |
Kirby composer breakdown discussion | ChunkyLover130 | Video Game Music Discussion | 15 | Jun 9, 2020 09:04 PM |
Breath of Fire III composer breakdown discussion | Jormungand | Video Game Music Discussion | 48 | May 31, 2014 02:47 PM |
Breath of Fire (#753) | Phonograph | Product (Game) Discussions | 3 | Aug 2, 2013 03:05 PM |
Final Fight 2 Composer Discussion | HarukameiKasumo | Video Game Music Discussion | 3 | May 14, 2011 08:12 AM |
Rockman X 1 Composer Discussion | HarukameiKasumo | Video Game Music Discussion | 33 | May 7, 2011 01:08 AM |