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| The Mad |
| Francis "Fermat's Last Theorem" Gayon |
Final Fantasy VI | Kefka and Dancing Mad |
| Author's Comments |
This piece features the theme of one of my favorite villains of all time, Kefka, and allows us a glimpse into his chaotic mind. The remix focuses on being, well, unfocused as it jumps from delicate contrapuntal melodies to Rachmaninoffian segments of unadulterated power and fury in a split-second. Notice that I also attempted to deconstruct the original piece itself, phrasing the segments differently and mutating the theme over and over. Composed using Sibelius 5 and rendered by Kouen using SONAR 7 Producer Edition.
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I apologize for running a bit late. I was on duty last night and had to wait until noon to get home and prepare everything. My lids may feel like they weigh a ton and I may look like a myasthenia gravis patient at the end of the day, but my excitement for the upcoming announcement is enough to keep sleep at bay, at least for the moment.
As promised last update, the exceedingly redundunt Round 3: 3x3 of "The Grand Audition 2009" has officially begun. Though it has a three-part theme, it's not so hard, I assure you. Besides, there's a gamut of track options for this particular round. Go to the round page for the details of this round. Don't forget to pay a visit to the main contest page just to be reminded (for those who have entered before) and to get an idea of the general rules to this competition. You have one month to finish this remix, so start getting your creative juices flowing. Good luck, remixers!
Now, as for this update's featured piece, it's based on the character theme of one of my favorite Final Fantasy villains of all time—the sometimes hilarious, often hateful, but always almost-delightfully crazy Kefka. As mentioned above, the remix is intended to mirror the villain's mind in that it is exceedingly erratic. After a brief introduction, the main theme enters at a brisk presto pace, staccato-laden and playful, but is immediately followed by a more flowy variation with its pedals and arpeggios. The repeat offers a more strikingly different variation, with the second part featuring acciaccaturas, rapid arpeggios, and triplet octave jumps with shifting chromatic passages interlaced with trills as the bass. The tempo, then, slows down by 40 bpm and an awkward, almost forced, arpeggio leads into a more lyric segment. The serioso atmosphere could not be kept for long and soon, fragments of the second tier of Dancing Mad insinuates itself into the piece. Soon, the chords become heavier and heavier until the piano erupts into what is perhaps my favorite part of the remix—the segment from 3:39-3:58. After the forceful segment, Dancing Mad returns briefly before Kefka returns in a delicate contrapuntal fashion. The piece ends with a con brio variation leading to a minor fragment first heard in the more lyric section of the mix, though accompanied this time by furious chromatic scales in octaves for the left hand. An ascending crescendo passage culminates in the first part of Kefka's melody before going into a dominant seventh to tonic cadence. Some may find the arrangement a bit too erratic to the point of being confusing, but I do hope you give it a try. Go on and download it, folks!
Well, that's all I have to say for this particular update of Sound Test. Have a very nice weekend, guys!
Fermat's Last Theorem
Sound Test Curator
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