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| To the Sword of Kings |
| Francis "Fermat's Last Theorem" Gayon |
Final Fantasy XII | The Stilshrine of Miriam and Destiny |
| Author's Comments |
Still part of my solo piano series which includes The Wiccan Lesson, the two Spherical Aberration pieces, and The Mad, To the Sword of Kings is considerably subtler. I was listening to the Final Fantasy XII OST when I noticed a bass sequence somewhere in the middle of The Stilshrine of Miriam that was strikingly similar to Destiny's opening progression. Thinking it was something pretty good to work with, I started playing with the themes and this is the end product. Composed for piano using Sibelius 5 and rendered by Kouen using SONAR 7 Producer Edition.
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So why is today's update entitled "Carwash?" Two words: Burn Unit. The term was coined a some time ago because of what comes to mind when one sees the burn patients lining up to get their wounds washed and dressed. I had just shifted out of this last sub-rotation in surgery, and I have to exclaim my utmost jubilation! Don't get me wrong; I love surgery and it's a top differential for a career later on, but when you spend an entire week looking at delectable images of eschars and ecthyma gangrenosum, it just gets tiring.
In other news, Round 4: Vox Populi begins today. This shall be the last of the qualification rounds and will be the last shot to gain the right to participate in the final round. Thinking I had asked too much in Round 3, I made the theme relatively easier this time around. Submission ends in a month's time. Don't forget to visit the main contest page just to be clear with the mechanics of the competition. As always, the best of luck to all remixers.
As for the piece in today's update, it's a pretty straightforward piano remix of The Stilshrine of Miriam. The left hand plays mainly quavers, giving the piece an almost dull and dreary feel—something I wanted since the theme is the ambient music of an ancient place. Destiny enters seamlessly at 1:02. The part that leads to it is the fragment that I spoke of in the Author's Comments. I literally just had to shift Destiny's key by a half-step and it fit in perfectly. The similarity in progression is stressed as Destiny is played simultaneously on the left hand while the said fragment is repeated at 1:30. The Stilshrine of Miriam then proceeds, but is cut short and a repeat is instituted. The repeat is more embellished and utilizes a more flowy, triplet-laden bass in most of its parts. The final part of The Stilshrine of Miriam finally appears after the repeat, at 3:33, and leads into the final part of the piece. As I have done before with A Lazy Summer Afternoon and several other pieces, I utilized an ascending arpeggio with a fragment of the main theme to end the piece in a dramatic fashion. Go ahead and give it a try. I hope you guys like it!
That's about it for this update. Have a safe weekend, folks!
Fermat's Last Theorem
Sound Test Curator
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