Rose of May - Final Fantasy IX Piano Collections *HQ* (medium) [AtinPiano]

Facebook

Twitter

[0/5]

- AtinPiano -

- Toutes les chaînes -

Découvrez la vidéo Rose of May - Final Fantasy IX Piano Collections *HQ* (medium) de AtinPiano sur Le Fil YouTube de Piano Partage.

►Learn the piano here: http://goo.gl/Uw5CEn

►PATREON: https://www.patreon.com/AtinPiano
►FACEBOOK: http://www.facebook.com/AtinPiano
►TWITTER: https://twitter.com/AtinPiano
►SHEETS: http://goo.gl/XdcUZa
►MP3: http://goo.gl/aixilp

Happy New Years everyone!

This is Rose of May, also kown as Loss of Me or the Theme of Beatrix from Final Fantasy IX Piano Collections, composed by Nobuo Uematsu and arranged for piano by Shiro Hamaguchi.

This piano version is very special for me and probably the best one out of the whole FF Piano Collections. Let me explain why: Not only is Final Fantasy IX the best game of the whole series, it also has by far the best soundtrack and holds the record for the most sophisticated and distinct character themes, as each of them precisely represents their character. Out of all of them, Rose of May has always been the most special for me, because it reflects Beatrix' predicament and inner doubts so well. The piano version enhances this even further. This is not only due to the original melody and the whole set-up of the piece, but predominantly due to the sophisticated use of harmonics Uematsu employs.
Most "sad" pieces employ a very old type of romantic harmony (~late 18th century) to achieve this effect that sends chills down your spine, called "tonic, sub-dominant, dominant, tonic". This means that you put the 4th and 5th chord (sub-dominant and dominant) of your original chord (tonic) between your original chord, which creates that feeling of tension and release (e.g.: D - G - A - D). To get an impression of that, you can listen to the Theme of Tears from Gundam Seed, it solely depends on that technique.

At first glance, Rose of May does exactly what I've just described, but it never truely resolves the tension. Especially in the last third, you can hear that the tonic (d minor) never really appears, it's always somehow corrupted by a seventh or ninth tone. On the essential peak of the piece near the end, all the build-up concludes in a corrupted dominant (a7), instead of the tonic (d minor) which begs to be played but is not. Again, the conflict basically never gets resolved, which is even more underlined by the indefinite ending sequence (which then starts with the tonic, right after the corrupted dominant I've just mentioned) and when you connect this to Beatrix' inner conflict, you have the perfect character theme.

I hope, this wasn't too boring to read. =)

Enjoy!