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Paraskevidekatriaphobia 08.13.2010
Past Updates: 08.06.2010 | 07.30.2010 | 07.23.2010
"You can't possibly hear the last movement of Beethoven's Seventh and go slow."
- Oscar Levant, explaining his way out of a speeding ticket
16 - Cloud's Revelation
Daryl Banner Final Fantasy VII | Main Theme of Final Fantasy VII
Author's Comments
This is the overworld theme, but I placed it at this point in the soundtrack because portions of it are also played at a very key point in the story: when Cloud starts to remember the truth about what happened at Nibelheim between him and Sephiroth. He remembers, piece by piece, everything that happened on that day. And he recalls the confrontation on the bridge of the reactor, when despite being stabbed by Sephiroth's blade, Cloud found the power to overturn him, blade still staked through his body, and he overpowers an astonished Sephiroth, throwing him over the railing and into the raging mako below. It is a true turning point in the game, both for us, and for Cloud.

Now, armed with the truth, we know that maybe Aerith's death won't be in vain.

This song is about Cloud finding himself, finding the truth, and finding his long-needed strength to at last make way to the Northern Crater, where a final confrontation with Sephiroth is long overdue.

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As I mentioned last week, part two of my exams shall take place tomorrow and on Sunday, so this update will be very short. After those remaining 600 items shall be a couple of ulcer-inducing days waiting for the results. Again, wish me luck, folks!

Our piece for today features none other than the famous Main Theme of Final Fantasy VII. Who could forget running up to Tifa's piano and playing this tune correctly to get the manual for Final Heaven? Daryl told me the piece is mixed from that point in the game where Cloud sorts out his memories. This is the part of the game that truly struck me—the reason why Final Fantasy VII is included in my list of favorite games. Cloud's Revelation starts off with eerie variations of the theme's opening fragment before evolving into that glorious theme we all know, employing mainly woodwinds. Voices were employed as well, but the samples could've been better. The short segment with either a cello or a double bass at around 2:32 just before the orchestra erupts into a fortissimo segment was also quite nice. The piece ends by returning to its eerie beginnings and fades away with an Abm chord with a sole woodwind adding a D for dissonance. Grab your copy now!

That's about it for this issue of Sound Test! If you'll excuse me, I'll resume cramming while listening to The Gapra Whitewood from the Final Fantasy XIII Piano Collections. Have a great weekend, guys!

Fermat's Last Theorem

Sound Test Curator

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