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"Love goes away, like night into day.
It's just a fading dream.
"

As we brought out a masterpiece to the world [...], we asked ourselves, "Can we really fight 24 hours?" And the answer was, "We will fight 8,760 hours!"
Nobuo Uematsu on the music in Final Fantasy V
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A well-established JRPG franchise such as the head-bangingly popular Final Fantasy series deserves excellent soundtracks to go with them. Nobuo Uematsu is famous for having composed the soundtracks to many of these games, but other composers have come in from time to time to help round out the series' discography.

In fact, can we just say that the MUSIC has a game of its own and be done with it?...No?

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    General 
  • The Final Fantasy Main Theme, also referred to as the Prologue. Especially the way it was used as the Theme Music Power-Up for the Combined Energy Attack in Final Fantasy IV, and its reprise in the endings to Final Fantasy VI, VII, VIII, and XV..
    • Interestingly enough, the VIII arrangement is the de facto version played during a lot of Final Fantasy concerts and you can hear the snippets of its tune in subsequent versions of the theme. Maybe it is because of its militaristic orchestral grandeur?
    • Also the awesome version in the opening of Final Fantasy XII.
    • This version takes the awesomeness Up to Eleven as it was orchestrated by the Japanese Self Defense Force! (What's more, they were in a collaboration show with the US military. Cue Manly Tears from the soldiers who have played any FF game.)
  • The Crystal Theme. AKA the Prelude. It's even more awesome when you realize it was a Throw It In!; the song took Uematsu all of ten minutes to put together. It's normally either the first music you hear in a Final Fantasy game or the last.
    • In VII and VIII you hear it when you die (VII also plays it at its title screen). VIII's is played in a beautiful, haunting minor-key rendition.
    • The Dissidia version of the Prelude is incredibly beautiful, sounding like a mixture of all the versions made so far.
    • And now that XIV's take on the Prelude is out, it's not too much of a stretch to say Uematsu seems to keep building on one of the classic tunes in gaming music history in pleasing ways. It's also incredibly soothing.
  • Victory Fanfare, one of the tunes to be etched into every FF fan's mind.
  • The Chocobo Theme(s).
  • Every main entry in the series has "Piano Collections" albums, which are (for the most part) solo piano versions of the more memorable pieces. They are fairly advanced arrangements (and the sheet music is available for most of them) and a good number of them sound amazing, if only for the sheer virtuosity required to play them.
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    Final Fantasy I 

    Final Fantasy II 

    Final Fantasy III 

    Final Fantasy IV 
  • Final Fantasy IV: Zeromus. Or, if you prefer, the rocked out version by Nobuo Uematsu and The Black Mages.
  • The Final Fantasy IV Main Theme. Though it appears in several guises throughout the game, its main version, which plays in the overworld, captures just the right blend of adventurous and solemn to fit the game's overall tone.
  • Golbez, Clad in the Dark defines awesome villain music, even if it blatantly riffs on Bach for a while. The more upbeat remix in the Tower of Zot also deserves mention to play up the intensity of the moment of rescuing Rosa and the determination to kick Golbez's ass.
  • The Dreadful Fight, and its Dissidia remix. Starts out imposing and awe-inspiring, then becomes frantic and adrenaline-charged, then wraps around to become imposing and awe-inspiring again. All told, the perfect music to accompany some of the game's most intense battles. Notably, the first time you fight one of the fiends (Scarmiglione), he's accompanied by the normal "Boss Battle" music you've heard several times up to that point, and he's not terribly difficult. Then you cross the bridge, he comes back, and this theme starts up, along with a complete change in the fiend's appearance, letting you know This Is Gonna Suck.
  • Red Wings, the intro theme. It speaks to this song's versatility that it evokes one emotion during Cecil's moral quandary at the beginning of the game, an entirely different emotion during Cecil's Paladin trial, and yet a third one for the Red Wings' Big Damn Heroes moment.
  • The Battle Themes.
  • The Theme of Love. A song so good it's being taught in Japanese schools in music classes. The vocal version of the song, Tsuki no Akari, makes the song even more epic.
  • Hey, Cid!. A simple yet inspiring and cheerful song.
  • Within the Giant, played in The Very Definitely Final Dungeon. In the one before it, too.
  • The Tower of Bab-il, a dungeon so expansive in scope it requires its own theme to match. The rising and falling triplets in the strings under the trumpet melody help to strike just the right balance of urgency and grandeur.
  • A Long Way To Go; perhaps the perfect evocation of that sentiment in music. Also one of the pieces to seriously benefit from a remake, with the added snare drums kicking the message out.
  • The Mysterious Girl's Battle Theme (The Eidolons Shackled) in The After Years. Every time it plays is a huge Moment of Awesome.
  • The final boss themes of The After Years (the final boss, The Creator, has no less than four different themes for each of its phases) are just as awesome, with the last one (The Battle For Life) being fittingly epic and very daunting at the same time, alternating between notes of pure despair and fantastic drums leading to some very upbeat segments.
  • Troia. It just makes you want to wallow on the grass while bathing in sunlight. Although it might be argued that the remake got a bit muffled, there are fan remixes a-plenty.
  • Yang's bone-chilling Theme.
  • The Lunarians' Theme; initially feels like it should be in Silent Hill, then shifts key to offer a glimmer of hope and beauty in the darkness.

    Final Fantasy V 
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    Final Fantasy VI 
  • Maria and Draco, aka The Dream Oath Opera. Yes. It's an OPERA. For a VIDEO GAME. That's awesome enough on its own. Best known for having Aria di Mezzo Carattere, which one of the heroes gets to sing.
  • The SNES Intro of FFVI is quite nice, yet the original introduction music is the most memorable: first with the ominous 16 bits foreshadowing music, then with the heroine's theme...
  • Dancing Mad from Final Fantasy VI is especially notable because it samples at least three songs from earlier in the game, melding them together with some Bach to create the opera of madness. The fact that Nobuo Uematsu lists it as one of his favorites should be a tell-tale sign. The final section of the song is particularly awesome. You've got a variation of Kefka's main theme, an Uncommon Time signature and a tempo change, not to mention Kefka's distinctive laugh as part of the music.
  • The Regular Battle Theme. The Advance remake is even cooler, the more distinct guitar and drum samples give it a techno rock feel that really gets you pumped. Then the Black Mages version went and did a Metallica-sized number on it.
  • The Boss Battle theme.
  • Battle To The Death; when you hear this for the first time, you know Atma Weapon is not to be fucked with. Since Dissidia always picks the greatest battle themes, naturally there's a remix of this theme.
  • Catastrophe, a dark, ominous, mournful reprise of the game's opening theme; it plays at the end of the Floating Continent to let the player know shit's about to get real.
  • Slam Shuffle oozes with the kind of sleaziness that only a town like Zozo could produce... and when performed by The One Ups it becomes pure distilled win.
  • Kids Run Through the City Corner, also known as "Town 1". This is the main theme for towns in the World of Balance. Also a nice piano arrangement from the piano collection. And from Final Fantasy: Pray, now with lyrics in Portuguese.
  • Under Martial Law, used for Empire-conquered towns.
  • From That Day On..., the main World of Ruin town theme.
  • Devil's Lab, the music for the Magitek Research Facility.
  • The Music for The Disc-One Final Dungeon, The Floating Continent.
  • It played several times before, but when Metamorphosis starts to play during Kefka's ascension, you know you won't be saving anybody, let alone the world.
  • "Epitaph", the flashback song just before getting the Falcon, and "Searching for Friends", the new world map theme just after. It comes just after the game has spent the last several hours hammering in the sheer hopelessness and gloom of your situation, and even gives you one more Tear Jerker in the form of just how Setzer got this spare airship from a lost love in the first place, complete with appropriately sad flashback music. But then... then Epitaph fades out, and Searching for Friends fades in just as Setzer declares that the Falcon just may save them all. On top of being a damn good song in general, it has this unmistakable aura of light-at-the-end-of-the-tunnel-style hope. Hearing this theme gives the message that all the sudden, you're back in the game, that you have one more chance. Even inside the game, Edgar declares "For once I feel hopeful!" Very powerful scene, the music absolutely makes it. See for yourself.
  • The ending theme — yes, all 20 minutes of it. Especially when the FF Main Theme kicks in towards the end.
    • That moment when Celes's Theme is playing, and Locke's Theme starts playing underneath it, in perfect sync. Chills.
    • And again when the simple whistle in Shadow's Theme is replaced by sweeping strings—as he decides to stay behind.
  • Forever Rachel and Cyan's Theme. Both were involved in some pretty intense Tear Jerkers...
    • Gau's Theme only makes a few short appearances in the game. This is really too bad because Gau gets a nice orchestrated piece on the Final Fantasy VI: Grand Finale album.
    • And speaking of Cyan, The Unforgiven starts to roll when Cyan goes on his Roaring Rampage of Revenge. Interestingly, this music seems to be more associated with Sabin since it plays during three of his key moments: when he confronted Vargas and had Duel Boss with him, when he (and Shadow, if he's available) helped Cyan fighting Imperial soldiers, and when he held a crumbling house to give time to Celes to rescue a trapped child.
  • The shared theme of Edgar and Sabin, and their Coin of Fate.
  • Kefka's Theme. Cheerful with dark undertones and very catchy, such an unusual villain theme...
  • Shadow's Theme. Just try and say it isn't epic for a ninja to have a spaghetti western styled theme. Listen and see the fragment in the Credits from 3:00 to 3:43 and you'll think Shadow, you fucking awesome bastard.
  • Epic music for The Very Definitely Final Dungeon is law, and thus Kefka's Tower.
  • Locke's Theme. It could be the theme song to adventure, heroism, bravery, and/or finesse.
    • It and Forever Rachel seem to almost come from the same piece, which is tragically fitting.
  • Protect the Espers!.
  • Relm's Theme. The song perfectly reflects the adorable innocence (that tamed Shadow's killer dog, by the way) of the 10-year-old heroine. Also, it has some splendid bagpipes.
    • Try playing it at the same time as Shadow's Theme, they complement each other surprisingly well, and lends different meanings to both.
    • Which also got a gorgeous vocal remix in the Final Fantasy album, Love Will Grow.
    • Speaking of Relm, Strago got a nice little tune there.
  • Setzer's Theme is the one that suits him well.
  • Do some SLAM-dancing with a Mog's Theme.
  • Throw people to Umaro's Theme.
  • A strange tune, but Gogo's awesome and so is his Theme.
  • Okay, so Celes's part in the opera is unmatchable, but the fitting yet suitably goofy Grand Finale, playing as the rest of your party and Ultros accidentally hijack the opera's ending by knocking out the actual leads and fighting for keeps over Celes—that's got to be worth something.
  • Not as well known, but Mt. Kolts remains an endearing song and makes you think you are going on some great adventure.
  • Phantom Forest is a very mellow but creepy song that will get embedded into your head.
  • Empire Gestahl is incredibly intimidating and powerful, perfect for the song of The Empire.
  • Phantom Train is a great classical piece of grim horror.
  • Techno de Chocobo fittingly leaves you with the impression that Uematsu must have been really high on E when he made this. And the Chocobo, too.
  • Dark World plays on the overworld in the World of Ruin before you get the Falcon, as well as in WoR Narshe. It's a musical piece that explains in so many ways that you failed to save the world, and this is your life right now.
  • The Tower of Fanatics. If anything says 'Religion of Evil', it's this.

    Compilation of Final Fantasy VII 
Final Fantasy VII / Final Fantasy VII Remake
  • The Main Theme. E major, C sharp minor, E major, C major, D dominant 7, E major.
  • The Main Theme / Bombing Mission with full orchestra is absolutely gorgeous.
  • Holding my Thoughts in my Heart. Beautiful, just beautiful.
  • Cid's Theme and its slower and sadder version, Sending A Dream Into The Universe. When it plays, you know it's time to get back in the saddle and save the world.
  • Fight On!. Also known as Those Who Fight Further. Also known as one of the best standard boss battle songs ever.
  • The brilliantly creepy J-E-N-O-V-A is even better than the standard boss song. The electronic ostinato, four-to-the-floor drum tracks and synth melodies set the tone perfectly: This is an Outside-Context Villain and your Materia will not save you from a space alien.
    • Then there's Jenova Absolute for your final battle with Sephiroth's "mother".
    • What about the Advent Children remix?
    • Even the Advent Children remix cannot compete with the Distant Worlds orchestral version of the same song.
    • The Remake has a wonderful meta variation during the unexpected battle with Jenova DREAMWEAVER, where it starts as a very good, albeit standard orchestral arrangement ... before it switches it up in the third phase by suddenly shifting to an incredible, amazingly faithful, synthy-as-hell remix of the classic J-E-N-O-V-A. To put things into perspective with how masterful this switch to the synthy rendition is, it plays as the battle enters the most frantic, final phase. This is after the player has spent a decent amount of time fighting one of the most anticipated battles in the game and listening to the aforementioned orchestral arrangement, and then is hit with the synth remaster out of nowhere to very good effect, as evidenced by the reactions of these various players. As one savvy commenter on YouTube put it: "The composers knew EXACTLY what they were doing."
  • Birth of a God, played for the penultimate boss fight. It's overshadowed by One-Winged Angel, but still an awesome track in its own right. In Remake, part of the track is reincorporated into "Operation: Save Aerith" (at around the 0:54 mark), when our heroes storm the Shinra parking garage in search of Aerith, with high-pitched violins used to provide the sense of tension and emotional severity, along with french horns to convey the haunting atmosphere.
  • Aerith's Theme. Most notable for playing during the Jenova:LIFE battle following her death.
    • And how about Aerith's Theme for full orchestra?
    • Following the Remake's release, we now have multiple versions of Aerith's theme, ranging from heartwarming, melancholic, triumphant, or romantic, and each of them are absolutely breathtaking. The version that plays during Aerith's optional romance scene in Chapter 14 is simply beautiful, having a wonderful ethereal feel.
  • The timing of the music at certain points creates a CMOA. In Cloud's original flashback section, Sephiroth begins his murderous rampage through Nibelheim by dramatically announcing, "I'm going to see my mother." Cue spine-chilling theme song of pure evil. The scene's music is perfect because up until Sephiroth says that, the music in the mansion had been just the backing percussion and bell sounds... the rest of the theme kicks in as he leaves to go burn the place. The true account of what happened in Nibelheim has dull, repetitive background music all the way through it until the point where Sephiroth stabs Cloud through the chest. The very moment that Cloud grabs Sephiroth's sword and begins to overpower him the music reaches a dramatic and beautiful swell and becomes appropriately heroic.
  • Nibelheim's theme: Anxious Heart. There's a reason it's called Anxious Heart. It's creepy, almost to the point of being downright nightmarish. It puts you on edge, and you can just tell something bad's gonna go down. The Crisis Core remix, The Shrouded Village, is also excellent. Faster-paced and thus less overtly sinister than the original version, it gives a feel of the calm before the storm — and considering what's about to happen...
  • More terror-inspiring music: You Can Hear the Cry of the Planet., which plays while you're exploring the desolate City of the Ancients before meeting up with Aerith. The remake has a remix in Seven Seconds Till The End, played near the end of the game with Cloud and Sephiroth's final confrontation at the edge of creation. Haunting, unsettling, and even with a triumphant portion, just enough to send shivers down one's spine.
  • Off the Edge of Despair perfectly matches the sobering mood of Cloud's damaged psychological state in the Mideel hospital, as well as conveying Tifa's utter heartbreak upon seeing the man she loves in such a helpless and desecrated condition.
  • The Opening, commonly grouped together with the below-mentioned Bombing Mission, is simply gorgeous. It grows and grows, setting up for an excellent, revolutionary adventure before hitting you full force with an epic crescendo, followed by a seamless segue into the Bombing Mission. The Remake gives this incredible opening track a bit more flair, with Ominous Latin Chanting of the lyrics to One-Winged Angel sprinkled in, while somehow managing to top the intensity of the original. Ladies and gents, Midgar, City of Mako.
  • Bombing Mission, heard right after the opening. Nothing starts a game better than putting you directly in the action. And now, we have the Remake's take on the Bombing Mission! Absolute perfection.
  • Even the regular battle music is great. The remake gives this theme the modern orchestra treatment!
  • Crazy Motorcycle plays alongside the end of the Midgar section. The Remake does this one better: this version steals the crown for sheer maddening effort by way of "Midgar Expressway", the remix of "Crazy Motorcycle". Not only does the song carry a whooping eight phases, but as the chase of the expressway builds up further and further, the track begins to mix in several other tracks from the game, including "Bombing Mission", "Let the Battles Begin", "Whispers of Fate", and finally culminating in "Those Who Fight Further" as the M.O.T.O.R comes careening towards Avalanche for Shinra's last-ditch effort to put an end to the chase.
  • The Turks' Theme from the original game. And Secretly maneuvering in Dark Suits, the remix for PSP.
  • And here's A Flower Blooming in the Slums, a sweet guitar-laden version of Aerith's Theme. Also its predecessor, Flowers Blooming in the Church.
  • The Those Who Fight piano arrangement from Advent Children may not stand out compared to some of the other songs listed, but, to someone who plays piano, it's absolutely epic.
  • The Nightmare Begins. And the piano version from the piano collection, as well. So incredibly awesome.
  • Wutai. If ever there was one piece of music that made you want to live in a fictitious place... And here's Yuffie's theme! As well as the remix when you know what occurs.
  • Costa Del Sol and Under the Rotting Pizza (Remake version) are great tracks people usually forget.
  • The Sandy Badlands, especially this particular version, which is a melancholy piano remix.
  • Shinra, Inc. The perfect theme music for an evil Mega-Corp. The Remake makes it even better.
  • Infiltrating Shinra Tower, while repetitive, fits the music of such a Mega-Corp. The Remake turns this track into one of the most magnificent pieces in the entire game, as it becomes an ambient chillwave remake. Combining this music with the breathtaking design of when it's placed (the breathtaking lobby of Shinra Tower) and the foreboding factor of it being the final dungeon, and it's an absolute marvel to behold in your first playthrough of the scene.
  • Tifa's Theme doesn't seem to get much love from FF fandom for some reason, even though it's gorgeous.
    • The Remake's version is melancholic, nostalgic, and the perfect update to an amazing track.
    • The version that plays when the party returns to Sector 7 to see the bar completely destroyed is easily the darkest and most tragic revision of her theme thus far, and perfectly matches the scene as she struggles to suppress her grief and devastation.
    • The version that plays during Tifa's resolution scene is both haunting and beautiful.
  • When battling your way down the Northern Crater to get to Sephiroth, Judgment Day perfectly encapsulates the feeling of "It all comes down to this. The fate of the world is in my hands. Fortunately, I have my best friends and loved ones to fight by my side."
  • Our favorite yellow bird goes country/bluegrass in Fiddle de Chocobo, complete with a cowboy yelling "Yahoo" near the 1-minute mark.
  • The Chocobo goes surfer birdie with Electric de Chocobo, which sounds like something Uematsu came up with after he heard "Wipeout" quite a few times.
  • Rufus's welcoming ceremony. It was good enough to warrant a tweaked version to appear in FFIX.
  • Mako Reactor (Remake) is a brilliantly atmospheric piece that plays in EVERY Mako reactor you go into. It becomes even better when you realize that the final section of Mako Reactor is a slight change from Aerith's Theme, played in a minor key to contrast the down-to-earth Aerith with the environmentally destructive reactors. The Remake also gives us a battle variant of the theme, which perfectly blends the action of combat with the sinister vibe of the original.
  • Those Chosen by the Planet, Sephiroth's actual Leitmotif in the original game. Too bad it's been overshadowed by "One-Winged Angel" to the point that it's easy to forget that the latter incorporates the melody of "Those Chosen by the Planet". Remake bumps the nightmare fuel up to eleven by actually incorporating "Psycho" Strings.
  • From the Remake, while the Whispers' theme is already a very fine piece of music, the tracks used during the battle against the Whisper Harbinger are absolutely fantastic. Arbiter of Fate (advent) introduces the scene, with an appropriate epic music for a place where fate is to be defied and changed. Arbiter of Fate (Rebirth) takes the form of an apotheose of the same epicness with a more dramatic and melancholic direction, fitting a fight against a tragic, yet originally necessary future, unknowingly sacrificing the ensured survival of the planet. In contrast, Arbiter of Fate (Singularity) is filled with hope, playing with the musical theme of the Franchise itself, in a situation where fate is effectingly being broken and this new entry's future shaping itself, for better or worse.
  • From the remake, the theme song, "Hollow", a slow, somber sad song that perfectly drives home the game's melancholy. Special note goes to the almost intentionally strong similarities to "The Price of Freedom" from Crisis Core which plays over the ending where we see that Zack is still alive. Yosh (of the band Survive Said The Prophet) knocks the vocals out of the park. An instrumental variation, Hollow Skies, occasionally plays when Cloud traverses Midgar, setting up the mood for the events to come.
  • The Remake's take on the Wall Market theme from the original is particularly catchy. The battle version even more so.
  • Smash ‘Em, Rip ‘Em, the peppy song that accompanies Aerith and Tifa’s glorious rampage through Don Corneo’s mansion.
  • Funk With Me, Sync or Swim, and Vibe Valentino accompany the new glorious dance mini-game in all its glory.
  • Stand Up (Honey Bee) captures the spirit of the locale’s new image of a Moulin Rouge-esque cabaret club.
  • The Colosseum Theme is another catchy battle theme that perfectly builds up the hype for the occasion.
  • The Train Graveyard Theme is sad, haunting, and yet beautiful at the same time.
    • Also see Haunted, the area's standard battle theme.
    • "Ghoul", the theme that plays during the eponymous boss battle, as well as the second battle with Abzu. Astute listeners will notice its reincorporation of the Hymn of the Fayth theme from Final Fantasy X.
  • Perhaps the biggest case of Ascended Extra in the game, Jessie gets her own theme in the remake, a wistful and elegant melody. Flying High, which plays during the parachute jump off the plate, is an energetic variation of her theme that sounds like it came straight out of the '80s movies.
  • For Shinra corporate propaganda, Stamp's Theme is surprisingly catchy.
  • Fight for Survival, an action packed piece as you race up to stop the destruction of the Sector 7 pillar.
  • Fires of Resistance is a hopeful and heroic theme that plays as the party ascends the destroyed Sector 7 plate in order to reach Shinra HQ, fighting their way through elite Shinra mooks and even SOLDIERs to reach the top. As its name suggests, Shinra didn't end AVALANCHE's spark of resistance; it turned it into a raging fire that's coming to burn them down.
  • The Valkyrie boss fight theme in the Remake is a contribution of guest composer Keiki Kobayashi, the legendary composer of Ace Combat series. A stunning militaristic action piece that both gives a sense of urgency and hopefulness.

Before Crisis

  • The sheer beauty of Theme of Elfe is overwhelming. Takeharu Ishimoto does not get enough credit.

Final Fantasy VII: Advent Children

Dirge of Cerberus

  • The ending theme "Redemption", as sung by Gackt. The game's other vocal theme, "Longing" (also by Gackt), plays during the final level and is equally as awesome.

Crisis Core

    Final Fantasy VIII 
  • The Landing, the Boss Battle theme Force your Way, and the Ominous Latin Chanting with Bilingual Bonus Foreshadowing opening Liberi Fatali from Final Fantasy VIII.
  • The Oath, with its powerful final crescendo.
  • Eyes On Me, the game's vocal theme, is a true Awesome Music. Not really for the game ending (which is a Heartwarming Moment by its own) but for the "Rinoa and Squall in space" scene. Seriously, that scene had a giant Narm potential. After all, by that point, the game almost became an epic space opera, but when Rinoa is listening to the countdown of her oxygen, wondering if she will die, Squall saves her, they head home, and the song starts playing, in a true Heartwarming Moment. The song saved the scene. Thus, it is awesome.
    • Angela Aki's Version is an amazing version, a B-side of her theme for Final Fantasy XII, "Kiss Me Goodbye". She's just got an amazing voice.
    • During Squall and Rinoa's date at Fisherman's Horizon, you have the option of getting a nice smooth jazz rendition of Eyes On Me...played by your fellow party members!
    • Notably, it's one of the few Final Fantasy songs that has easily understandable lyrics and vocals, and having a pop artist, a Hong Kong one at that, sing it was unheard of for a JRPG at the time of the game's original release.
  • The Ending Theme, specifically the twinbill of orchestrated renditions of Eyes on Me and then Final Fantasy/Prologue. It might just be the best sequence of videogame themes ever heard.
  • Breezy. So calming.
  • The Man With The Machine Gun. So awesome that it's one of the songs in Dissidia to be left totally alone.
  • The Extreme. Used as the final boss music, it starts out with the opening verse of the aforementioned Liberi Fatali, then begins a very ominous piano piece, and finally shifts to the fast-paced theme proper, which sounds nothing short of amazing.
    • What makes the final battle especially awesome is the classic Final Fantasy riff that plays at the 1:39 mark in "The Extreme". It really kicks the song into high gear and lets you know that, yes, this is a Final Fantasy final battle - now go and slay that sorceress.
    • The fast-paced section that begins at 3:05 really conveys a sense of desperation and chaos - the heroes are being pushed beyond their limit by forces they can barely comprehend, but they still keep fighting.
    • And the Black Mages version.
  • The penultimate boss theme, Maybe I'm A Lion, or the one right before it, "The Legendary Beast". And, just because, the Black Mages version of Maybe I'm A Lion. Which is probably the heaviest, most metal track they've ever done.
  • Balamb Garden, a perfectly peaceful tune.
  • With Ride On, the Ragnarok Theme, let's just say Selphie's not the only one exhilarated.
  • Premonition, most notably played during battles with Edea.
  • Fisherman's Horizon, the peaceful theme of the peace-loving town that shares the theme's name. The orchestral version from Fithos Lusec Wecos Vinosec is unbelievably beautiful. In fact, that whole album is a CMoA for FFVIII remixes. Equally beautiful is the slightly-altered Distant Worlds remake.
  • Ami, which means "friend" in French, is a peaceful and nostalgic theme, almost to the point of being melancholic. It describes the feelings the characters are experiencing the moment they realize they were all raised together in an orphanage owned by the woman they are trying to kill. This song is so beautiful that is probably going to make you remember the most wonderful things you have done in the past as well!
  • Don't Be Afraid and its orchestrated version. It's the only battle theme in Final Fantasy in 5/4 time. The Dissidia version as well.
  • Movin' is like the Final Fantasy version of "Powerhouse", that one piece of music used in Warner Bros cartoons anytime something resembling an assembly line occurs. Partially because its opening is set to an FMV, it goes on for a while before looping, which is unusual for FF songs built around a catchy chorus.
  • The Salt Flats is heard at the Great Salt Lake and the sorceress sealing facility (but only if you visit it before the plot demands).
  • The Spy, played in the Missile Base. It really feels like you're infiltrating some hideout and have to maintain cover.
  • In Deling City, during Edea's parade: Fithos Lusec Wecos Vinosec and Succession of Witches when we're properly introduced to that glorious sorceress of Fanservice.
  • "Fragments of Memories" is nostalgia.
  • While the Chocobo sidequest was annoying as hell, the music was awesome.
  • Accompanying an already unsettlingly surreal interlude, Heresy bristles with sinister grandeur.
  • Compression of Time. A hauntingly beautiful yet eerie song.
  • "Lunatic Pandora". Yes, you are inside a giant crystal superweapon that just wiped out half of Esthar, oozing alien menace, containing the reawakening Sorceress Adel.
  • "Silence and Motion", a song that captures Laguna's personality perfectly.
  • Shuffle or Boogie, the very stylish Triple Triad theme.
  • The Stage Is Set has an uncommon way of not sounding dreadful or threatening, but still screaming "Shit just got real."
  • Dead End is an epic and intense theme for action moments, such as Quistis pumping X-ATM092 full of lead, or Squall charging through the crowd during the Deling City parade to confront Seifer and Edea.

    Final Fantasy IX 
  • There's also the excellent, but intensely creepy theme from The Iifa Tree (shivers). Maybe this song should be filed under "terrifying".
  • "We are Thieves!" Very catchy.
  • "Hunter's Chance" makes the first Tournament Arc Epic. And then... it's never used again in the game except when fighting Hades. There is also the Black Mages version.
  • The very beginning of the game features Tantalus performing "I Wanna Be Your Canary" to distract Queen Brahne, but the opening cinematic battle of the performance gets played out to "Feel My Blade," which could stand in for one of the battle tunes once it really gets going.

    Final Fantasy X 
  • "The Sending" plays during the beautiful scene of Yuna's sending in Kilika.
  • "Suteki da ne", the vocal theme of the game whose melody appears in several other songs. Also arranged in an Orchestral Version for your listening pleasure.
  • "Assault". Exactly What It Says on the Tin, considering what happens during the scene in which it plays. Epic. Even more so when it plays while you punch out Sin. In front of the entire world!
  • The song played against the final boss (The Decisive Battle) is probably the best track in the game. If only the final boss wasn't a pushover... There's an alternate version, entitled "Original Sin". It may seem fanmade at first, but perish the thought as this is official...but also removed content. It's quite possible that this was intended for the final battle instead of the version used in-game, but for some reason the above was instead used. "Original Sin" combines the melody of "Decisive Battle" with sections of "To Zanarkand" and the "Hymn of the Fayth", and to great effect.
  • Otherworld plays during the game's opening FMV and again when fighting Jecht, Braska's Final Aeon. Even more awesome is the fact that the only reason Uematsu wrote it is because he's a fan of heavy metal and wanted to try writing a metal song himself. The lyric is also awesome, it pretty much sums up most of Tidus' journey in a nutshell. The PS2 version of the game uses a sequenced version for that battle, sadly removed from the HD remasters, with an awesome percussion not in the original and a different bassline.
  • Wandering Flame comes in on the right moments, those of contemplation, doubt and resolution. A really slow and easy going relaxing piece that can elicit many emotions depending on the listener.
  • "Path of Repentance" and "To Zanarkand" cover your haunting-piano-melody needs.
  • The bass-redone Someday The Dream Will End from the first approach to Zanarkand. Haunting in its deep tones.
  • "Challenge", played during the more difficult boss battles (Seymour Flux, Omega Weapon, and Yunalesca, for example).
  • Battle With Seymour A wasted song perhaps, but still awesome. Made even more epic for the HD Remaster.
  • The Battle Theme captures the moments as well.
  • Summoned Beast Battle plays when you fight your Aeons in the final battle. To hear the once tranquil and somber Hymn of the Fayth in such an effectively stirring rendition gives you chills and helps ease the pain of being forced to destroy your own Aeons. Summoned Beast Battle also plays when you fight the Bonus Boss Penance. The tension of the music fits perfectly the fight.
  • Besaid Island. What every tropical paradise should sound like. Or this spine-tingling good remix. Or the remaster version with its peaceful violins.
  • The Ending Theme, possibly the most heartrending track ever heard in a Final Fantasy—not surprising, given the game's nature.
  • Tidus's Theme is pretty gorgeous.
  • Yuna's Theme is so relaxing.
  • Auron's Theme. Because he's such a bad-ass, he gets synthesiser music. It's also a bit of a Tear Jerker when it plays when he dissolves into pyreflies at the end of the game. And a fan remix of this only ups the Tear Jerker factor, since it turns it into a sad, meditative guitar piece with dramatic strings and bass, plus a brassy ending quoting "At Zanarkand" that rivals the version which plays when Tidus and Yuna share their last ghostly embrace: Guardian's Sending.
  • For fan remixes, the conceptual piece The Final Summoning, building off the Hymn Of The Fayth and sheer fucking epic.
  • Seymour's Ambition. Chilling, man.
  • The Burning Sands, the awesome theme of the Bikanel Desert.
  • Yuna's Decision, the sweet song that was mostly played in the Calm Lands.
  • Phantoms, the theme played in the Macalania Snowfields.
  • Calm Before the Storm, the theme of the Kilika Forest and parts of Macalania Woods. Too beautiful for words.
  • Servants of the Mountain (the music heard as you climb Gagazet). One of the coolest pieces of video game music ever.
  • Original Sin. The original Final Boss song, it would have fit very well at a time when one has to fight all their previous aeons and the very person / mindless monster who created Sin and endless suffering for all of Spira for a millennium.

    Final Fantasy X-2 

    Final Fantasy XI 

    Final Fantasy XII 
  • Most of the Final Fantasy XII soundtrack was composed by Hitoshi Sakimoto. It includes The Empire's Theme, the Necrohol of Nabudis gives a great feeling of desolation and loneliness, there's Giruvegan, and the Feywood is good as well, especially when you see Judge Ghis' fleet for the first time.
  • The Esper Battle music is the perfect epic theme for just how important the game makes your battles against the giant cursed creatures. When it was remixed for Dissidia Final Fantasy, the only major change made to it was adding one hell of a drum track — the rest of the song is the same audio used in the original game.
  • Giza Plains, a perfect companion to any start of a journey. It's almost as if the composers knew you were going to start a fight at the exact moment the song goes from adventurous and free-spirited to badass and rowdy.
  • The Battle For Freedom is the most epic, being the final boss song. Starting off as tranquil strings, it later builds up the tension with percussion and more strings. The buildup was so intense that when it comes to the centerpiece, you just had to prolong the battle to listen to the entirety all over again.
  • Esper, an epic remix of the aforementioned Esper Battle.
  • Boss Battle, especially the midparts. Its first variation was used in Final Fantasy Tactics A2. Dissidia Final Fantasy (2015) gave it another remix that takes the Esper Battle treatment from Dissidia 012 Up to Eleven by pumping up the orchestra with an even faster drum track and introducing electric guitar and bass.
  • The vocals make Abandoning Power soothing and divine.
  • Fight to the Death accompanies epic fights against Vossler and Gabranth.
  • The Royal City Of Rabanastre, a go-to track when convincing people that Game Music is a legitimate form of musical expression.
  • The Sky Fortress Bahamut is just perfectly suited to the events that accompany it, but it's amazing to listen to on its own.
  • Eruyt Village is a just background music for a few towns. But it's so hauntingly beautiful and calming that it needs to be included here. It's the perfect theme to go with some of FFXII's most visually stunning locations.
  • Being the first location that Vaan can go to outside Rabanastre, the Dalmasca Estersands' theme conveys a real sweeping sense of freedom. Appropriate, given the comparatively open feel of FFXII's gameplay as compared to previous games in the series.
  • "Kiss Me Good-Bye" is the gorgeous and emotional theme song of the game. Luckily for us, it comes in two languages.
  • For the Updated Re-release, Hitoshi Sakimoto composed new tracks to avoid the slight recycling in the original game:
    • "Lying in Wait", which appears to be the Nam-Yensa Sandsea's own theme.
    • "The Guardians", a replacement boss theme for gatekeepers like Garuda and Daedalus.
    • "Fury of the Entites", for battles with Tiamat and other forces of nature.
    • The Tchita Uplands finally has its own theme!
    • "Gloom" replaces "Ashe's Theme" as the music dedicated to the Pharos Subterra, and the lack of percussion seems deliberately designed to make its ambushes even scarier.
    • For the Ridorana Cataract, we have "Memories Eternal". It's a great fit whether you're heading to the Pharos or heading away from Yiazmat.
    • "The Ultimate Trial" replaces "Flash of Steel" for a more ominous take on the Pharos's final ascent.

    Final Fantasy XIII 
  • Some of the first tracks released for the game: "Defiers of Fate" and "The Promise".
  • The title screen music is just so beautiful.
  • The Battle Theme, "Blinded By Light". With one of the most epic violins worth of note. The even more awesome "Long version" can be heard here. The arranged version from Duodecim is 100% pure eargasm from start to finish.
  • Kimi ga Iru Kara, the J-Pop Award-Bait Song.
  • "My Hands", the song "set to defile the English version" is quite moving and very fitting, especially when it played in the game's international trailer.
  • Here is the game's jazzy Chocobo Theme. It's so... catchy... There's also the other Chocobo Theme, which has its own lyrics.
  • The themes for all the main characters:
  • The Prelude (a departure from the standard Final Fantasy prelude) and Cavalry Theme.
  • Saber's Edge, especially once the brass section kicks in. Oddly for a battle theme, it's in waltz time. The version from Dissidia, as well. It starts off the same as the original... then the drum beat kicks in and it gets intense.
  • Can't Catch a Break, a catchy jazz theme.
  • Eden Under Siege goes well with the chaos raging in the game's penultimate act.
  • PSICOM, a short, militaristic fanfare that never tires you out while fighting the Proudclad.
  • The aptly-named Cavalry Theme.
  • Fighting Fate, this Boss Battle theme in particular. Fits very nicely when fighting Galenth Dysley/Barthandelus. The non-battle version of this theme, Ragnarok, which plays when the party is turned into l'Cie by Anima, is also good, as well as very haunting.
  • Born Anew is incredible as well. Nothing matches the adrenaline rush you get from 0:15-0:33 especially, which plays as Orphan rises out of its pool to battle you. The buildup on Nascent Requiem was quite exhilarating, and somehow the playful theme seems to be mocking the players.
  • The Vestige and Gapra Whitewood.
  • The Sunleth Waterscape. Take the game's leitmotif tune, speed it up to a bubblegum pop rhythm, and throw in upbeat lyrics. This is what you'll get.
  • Atonement is a beautiful track that plays when Hope reconciles with Snow, and later on, when Snow reaffirms his commitment to save Cocoon. Other great tracks include This is Your Home, which plays when Bartholomew tells Hope that l'Cie be damned, Hope is his son...and that their home will always be a sanctuary for him, no matter what.
  • Eidolons and Test of the l'Cie, which play during the battles with the Eidolons, depending on which one you're facing, make this list easily.
  • Dust to Dust, the track that plays when you explore Vanille and Fang's hometown, Oerba, and find that everyone there is either dead or has been turned into a Cie'th. As if to emphasize the sorrow, it plays during battles instead of the regular theme, too.
  • Will to Fight was a perfect piece to play in Palumpolum after Hope realizes just how feared he is as an l'Cie. It truly evokes the emotions of how painful it must be for him to be looked on as a monster by his neighbours.
  • The Battle Results theme which plays after the game's victory fanfare is too awesome to be left out! (Normally, you guys'll just skip the results after each battle, shame that you missed such an alluring music...)
  • This list ain't complete without Desperate Struggle. Only plays during a handful of boss battles, but they're also some of the most intense battles in the game. Thus it doesn't matter when Cid Raines kicks your ass for the 100th time, because it just means you get to listen to this badass music even more.
  • The Archylte Steppe welcome players with another use of the game's leitmotif. Not only is it quite peaceful, but it conveys quite well the feeling that you are exploring a new, open-ended area, on top of being a new WORLD, filled with its own active fauna.
  • Neighboring area, the Yaschas Massif, rather clashes with the more serious feel of the steppe's theme, instead sounding rather cheerful and oddly elevatory. As with the steppe and its theme, this one makes exploring its own large area pleasant, to say nothing of the Scenery Porn.
  • Lake Bresha just oozes 'beginning of an adventure'. It's also damn catchy.
  • The Piano Collections version of the Sulya Springs theme, and the rest of the piano collections for this game as well. The way they transform the original songs into something very different, while still keeping the core melodies, and still sounding just as good, if not better.

    Final Fantasy XIII-2 

    Lightning Returns: Final Fantasy XIII 
  • The ending theme of the game Humanity's Tale. Words really can't describe how incredible this track is.
  • The Dead Dunes theme has an incredible sense of wonder to it.

    Final Fantasy XIV 
Something to keep in mind as you read this section, due to Square's copyright rules for the music in XIV (only being legal if played over actual game footage) it's possible that the songs linked below may have spoilers for their respective boss fights. You've been warned.

  • In general, the OST to the original release of XIV is loved because it was Nobuo Uematsu's first whole-soundtrack contribution to the series since IX. Then Soken delivered several tracks leaving people in awe, cementing him as the composer of FFXIV.
  • The primal fights' songs all are incredible, and deserve a special mention:
    • When it was announced that Uematsu would not be contributing more tracks to XIV going forward after the leadership shake-up at the start of A Realm Reborn's development, people were worried. Who was going to replace him? Some guy named Masayoshi Soken? Who's he? He's never done a Final Fantasy game before! How could his music possibly be as good as the Maestro's? And then the Garuda fight was released. And we heard Fallen Angel. Everybody stopped worrying.
    • And what did Soken follow that up with? "Good King Moggle Mog, Good King Mog! Lord of all the land!" It's "This is Halloween" combined with the Moogle Theme, and given ridiculously absurd and hilarious lyrics (which also describe the boss fight!).
    • "Thunder Rolls", Ramuh's theme. Quite unique for being very calm and eerie compared to the other primal songs.
    • Shiva's theme, which has two parts, is nothing short of amazing. "Footsteps in the Snow" slowly but surely builds up the epic confrontation against the primal, up until Shiva decides to be done with you and casts Diamond Dust. Then, "Oblivion" kicks in, and is radically different from Part 1. Opinions may differ on which you prefer, but most agree that both parts are awesome.
    • "The Hand that Gives the Rose", for Ravana, combines a militaristic overture with a majestic waltz. His second phase, Unbending Steel, is similarly militaristic, with a Basso Profondo proclaiming the joy of endless war.
    • "Limitless Blue" and "Woe That is Madness", for Bismarck, are fitting themes for a gigantic and majestic flying whale, with the vocals giving an otherworldly feeling to the whole fight.
    • "Heroes", the Final Boss theme of Heavensward. A panic-inducing theme with an inspiring chorus. Perfect for a fight against essentially the Knights of the Round. Wonderfully remixed for the Extreme version of the fight.
    • Sephirot the Fiend, a member of the Warring Triad. Yes, THAT Warring Triad. As such, Sephirot got a remix of "Battle To the Death". Warning  Sephirot's second boss theme is an even more epic Industrial Metal Villain Song. "Say My NAME! Sephirot!"
    • Sophia the Goddess. Like Sephirot, she has her own theme, "Equilibrium", for the second phase.
    • For the 12th floor of the Alexander raid, we have a final boss theme dedicated to the titular primal, Rise. Goblin hip-hop never sounded so awesome.
  • Most of the Legacy city themes were "nice". "Navigator's Glory", the theme of Limsa Lominsa, was awesome. Its only crime is being a little too short and thus tending to get a little tiresome if you spend a real long time in the city. But when you first got off the boat? Whoa. Navigator's Glory was so awesome it was the theme song for the pre-release website for a long time.
  • "Torn from the Heavens" which is heard in certain dungeon bosses and 30-minute FATEs, deserves a special mention for being an epic Boss Remix for the Prelude theme.
  • "The Forests Pulse", the Black Shroud's 1.0 battle theme.
  • "Twilight Over Thanalan" rarely goes without mention.
  • "Quicksand", Thanalan's 1.0 battle theme. And as of 3.5, the theme of Sohm Al Hard.
  • And for field tracks "On Windy Meadows" is a pretty cool guy.
  • "Tears for Mor Dhona", Mor Dhona's 1.0 theme, is truly awesome, later being reused for Heavensward's Palace of the Dead.
  • Soken then capped off his debut period, and Legacy XIV, with "Rise of the White Raven". A perfect final boss theme for the fight against Nael Deus Darnus, with REALLY freaky lyrics to boot. It makes its glorious return in 5.2 during the second phase of the Ruby Weapon trial.
  • "Answers" is a wonderful combination of epic/awesome. It comes back as the theme of the Final Boss of the Binding Coil storyline, Bahamut Prime himself. It's played in three sections for the three-phase battle, the best being the third part when he readies Teraflare; this part starts as the entire background area of the battlefield becomes engulfed in flames. Epic. Also worth mentioning is "From the Ashes", a version on organ used when fighting Louisoix Leveilleur as Phoenix in Turn 12.
  • "Hard to Miss", the theme of FATE boss battles. An aurally pleasing mix of violins and electric guitars.
  • "Nemesis", the dungeon boss theme for ARR, is an intense orchestral theme highlighting the insurmountable odds the adventurers face, but also their determination to win, come what may.
  • "Penitus", the final dungeon theme in ARR.
  • "The Maker's Ruin", initially the first boss theme of the Ultima Weapon, evolved and was reused in appropriate moments around heroic struggles against the odds, namely Ascian Prime and the final showdown with the Warriors of Darkness. It starts slow but kicks into the high part of the song quickly, chanting "Unitas Crystalis" as the heroic sounding music spurs the heroes on united to fight to victory.
  • "Ultima", the theme for the climactic boss of the main story arc, the Ultima Weapon. With high tempo percussion, Ominous Latin Chanting, and a rousing chorus, this theme does a fantastic job of making your final encounter with the story's Big Bad suitably memorable and epic.
  • Thunderer is used when you're fighting against the Ascians, and for exceptionally powerful FATEs like Behemoth, Ixion and Notorious Monsters in Eureka such as Pazuzu.
  • The full version of "Pharos Sirius", "Light in the Storm", is wonderful. Particularly notable for being extended from a 1:30 song which only played when you entered the dungeon to a 5:23 song which now loops for the entire duration of said dungeon (adding two new movements to the original and repeating a couple portions). That is how awesome that song is, and the change was really appreciated.
  • Gilgamesh is back in FFXIV. Guess what remixed song plays when you fight him in-game (on an actual bridge, no less?). Ladies and gentlemen: Battle on the Big Bridge (FFXIV). Also, Enkidu is a rooster here. For reasons.
  • The Syrcus Tower themes, both its regular ("Out of the Labyrinth") and battle themes ("Shattered"), are fantastic, especially for a remix of a song from Final Fantasy III. On a side note: yes, Soken just loves One Woman Wails.
  • For one of the most acclaimed dungeons of the game, mainly for its atmosphere and its resolution, you have "Dark Vows", the deliciously dark and haunting theme of Tam-Tara Deepcroft (Hard) which will send chills down your spine. Please note the subtle Buddhist chanting (and, once again, the One-Woman Wail).
  • "The Warrens", the theme from Snowcloak, is without a doubt the most soothing music you can hear in the game.
  • "Dragonsong", the main theme of Heavensward.
  • The Heavensward cinematic trailer.
  • The theme of the Heavens' Ward wouldn't feel out of place in Final Fantasy Tactics, befitting Ishgard's "holy crusade".
  • Sohm Al's Theme, "Slumber Eternal". A combination of Chanting, drums and pure awesome.
  • "Contention", the theme for Hraesvelgr's roost, the Zenith, which also plays during emotional moments in the story. A somber piano melody accompanied by a soft violin in the background that will bring a tear to the eye of even the most hardened gamer.
  • "The Mushroomery" is a remix for Heavensward, one many players probably hadn't heard in ages: Matoya's Cave. Quite soothing.
  • "Imagination", from the Aetherochemical Research Facility of Heavensward and "Unbreakable" for the Fractal Continuum.
  • "Stone and Steel" for hunts and general heroic moments in Heavensward and beyond. The march of the beginning and the trumpets later in give a sense of awe as you prepare for the big encounter with a sense of hope. This theme is notably used when you come to finally face down Nidhogg, The Warriors of Darkness and finally but by no means least Fray coming to lend you a hand against Myste in the finale of the Stormblood Dark Knight Quests.
  • Alexander's Theme, "Locus", is incredibly catchy with its techno vibes, giving a mechanical and futuristic feel to the whole song. That chorus will remain in your head.
  • The Manipulator's theme, "Metal", an oppressive techno death metal song with hate filled lyrics by the Illuminati leader about restoring Alexander at the cost of all life.
  • "Voidal Manifest", the battle theme of Echidna, Final Boss of the Void Ark, an epic and sweeping piece that's pretty certain to get you pumped.
  • Revenge Twofold, the theme for bosses from 3.4. A newer theme that does an amazing job of building up the tension and dramatic epic feel that a boss fight should contain complete with a choir of vocals, most notably the final battle with The Griffin/Ilberd on Baelsar's wall, fitting for the payback you are finally able to unleash on him.
  • From the 3.2 update we have Metal- Brute Justice Mode, which is a remix of "Locus" and "Metal" done in the style of a 70s Super Robot anime!
  • Stormblood, in its launch trailer and the game itself, gives us a little something aside from everything else: the Garlean anthem for Ala Mhigo. With a tenor choir backing it up, it sounds epic and has vibes similar to the Legend of Galactic Heroes national themes (not to mention the actual anthem of the USSR). And then, at the end of the game, there's the true, original version of the Ala Mhigan anthem. It's sung off key, by uncoordinated singers. This is why it's awesome - it's the game's cast, and all the rest of the citizens of Ala Mhigo and all the rest of the Resistance, singing it in spontaneous celebration at the city's liberation. It's one of the most genuine songs in the entire game (even if the scene itself falls victim to a bit of unfortunate Special Effects Failure.
  • The dungeon boss theme for Stormblood is pretty epic sounding, especially when you realize that the lyrics are an Ala Mhigan chant, calling on you to remember the sacrifices of all the brothers and sisters of Ala Mhigo that died fighting for liberation, before telling you to continue the fight.
  • The daytime theme of the Azim Steppe, Drowning on the Horizon, is a gorgeous tune with tribal-inspired chanting and percussion that represents the native xaela tribes of the region. Its nighttime version, He Rises Above, is nothing to scoff at either.
  • Doma Castle is the climax of the Doma arc; you've successfully rallied the xaela tribes, you have the support of a Doman militia, and Hien's controversial but bold plan to flood the castle has gone off without a hitch. What kind of song plays? A sombre but powerful ballad? A heroic orchestral piece? Or how about its actual theme, Gates of the Moon, which could best be described as traditional Japanese funk. A four-to-the-floor kick drum beat accompanies a rocking shamisen and an epic string rendition of the Yanxia theme.
  • Scale and Steel (Spoiler warning), originally used in the fight between Omega and Shinryu, then later reused in the first phase of the final boss in Stormblood.
  • The Final Boss theme of Stormblood (Warning: Video contains spoiler) or more specifically the second half of it. The setting, the chorus of vocals, facing down Zenos inhabiting the primal Shinryu among the heavens. It makes you think, "this...THIS is a battle fitting the Warriors of Light".
  • Stormblood's new primals, Lakshmi and Susano, both get good songs. The former has the Bollywood-esque "Beauty's Wicked Wiles", while the latter gets an instrumental that never stops feeling like it belongs as part of the fight.
  • From Omega Deltascape Savage, a new remastered version of Neo Exdeath.
  • The music for the Byakko fight introduced in patch 4.2.
    • The phase 1 theme, "Answer on High" - which is re-used for the first phase of Suzaku and Seiryu's fights as well - is a slow, chugging rock song with traditional Japanese instruments that sets the stage for the fight with the great auspices.
    • The second theme, "Todoroki", plays during the transition where you are thrown up and fall through the sky. The fast shamisen arpeggios and ethereal synths emulate the feeling of being swept up in a swirling tornado.
    • The phase 3 song and Byakko's theme proper, "Amatsu Kaze", is notably the first boss theme partially sung in Masayoshi Soken's native Japanese tongue (and by Soken himself!). It's a hard rock song that again has traditional Japanese instruments accompanying it. The lyrics are about Byakko's ostracization because of his white fur, but how his friendship with Tenzen encouraged him to harness his rage and the power of the storm. Soken's vocals do an amazing job at capturing Byakko's raw fury, especially during the chorus.
  • The Unending Coil of Bahamut (Ultimate) gives us an extremely difficult boss rush of the original coils. While the raid recycles some tracks for most of the raid, the final phase with Golden Bahamut plays Beyond Redemption. Clearly taking inspiration from the Flames of Truth CGI movie, we are given quite possibly one of the greatest Orchestral Bombings in gaming history.
  • For Omega Sigmascape V.4, we get Dancing Mad, completely remastered. And the Savage version of the fight adds the fourth phase, also remastered. That familiar pipe organ builds as the arena is bathed in golden light and Kefka, now in his god form, descends from the sky with that smile glued to his face that says "Yeah... NOW you're screwed." as the theme kicks into full swing. It's like you're a kid again, playing Final Fantasy VI for the first time.
  • Patch 4.3 brings Earth, Wind, Water as the background music for The Swallow's Compass. It's a short but elegant remix of the theme played in Yanxia. Considering that The Swallow's Compass is the royal mausoleum of the founding father of geomancy, it also serves as a preliminary theme for Geomancers as well.
  • The music that plays during the third phase of the fight against Tsukuyomi, Wayward Daughter (warning: video contains massive spoilers). An extremely tragic theme that makes sense once you consider the context behind the reasoning for the fight against the boss, making good use of having the vocals be primarily in Japanese. This track won the first place in the Fan Favorite Music Poll in mid-late 2018 for a very good reason.
  • Patch 4.4 gives us A Land Long Dead, a somber remix of Penitus from The Praetorium that highlights the aether-drained wasteland of The Burn.
  • Sunrise, Suzaku's theme. It's a beautiful song with Japanese lyrics that expresses Suzaku's emotions from meeting, loving, and losing Tenzen, allowing it to stand out from Byakko's more aggressive sounding theme, helping serve to contrast the two auspices.
  • eScape, from the Alphascape V3.0 fight. A very fast-paced battle theme with robotic-sounding vocals fitting for something out of Omega. The song takes a lot of queues from Imagination and Unbreakable from the Aetherochemical Research Facility and the Fractal Continuum, respectively.
  • Heartless and Form the Heavens, used for the Alphascape V4.0 Normal and Savage versions respectively, are combined Boss Remixes of "Torn from the Heavens" and "The Maker's Ruin". Considering the Alphascape V4.0 Savage had Omega assuming the form of Final Fantasy logo characters and a Weapon-type enemy, it is an epic theme befitting the battle.
  • A Pall Most Murderous from The Ghimlyt Dark is a reprise of three themes at once, blending together to make a an exciting fight in an all-out warzone. It opens up with "Triumph", Stormblood's Leitmotif, shifting into "The Measure of His Reach", the Ala Mhigan anthem, and then "Imperial Will", the theme of Garlemald. This song tells you that this means war.
  • Shadowbringers, which shares the name with the expansion, is a far cry from the other themes. A rough heavy metal guitar accompanies a male singer who sings not only of the endtimes but the end that awaits all life. However, the singer and chorus begin to sing of clutching onto hope despite it all, ultimately showing that the main theme of Shadowbringers is defiance even in the face of oblivion. This is notably the first FFXIV main theme not composed by Nobuo Uematsu, but by Masayoshi Soken. This also plays during the first phase of the final boss fight of Shadowbringers, Hades, and the cutscene leading up to it. Notably, the area it plays in is called the Dying Gasp, with the weather surrounding the area called Termination, perfectly setting the stage for the final showdown.
  • The Dark Which Illuminates the World, the theme of the Crystarium, underlines the magnitude and scale of Shadowbringers' hub city, being the biggest one to date. As the last bastion of hope for The First, it exudes hope and resolution for the world's redemption.
  • Then when the night returns to The Crystarium, Knowledge Never Sleeps becomes available to listen to. Starts out serene, but then swells back to the grandiose tone associated with it complete a breathtaking vocal verse.
  • What Angel Awakes Me, the theme of the boss fight against Titania, is a whimsical piece sung from the King of the Fae's perspective where they regale the player with how much fun they will have tormenting them. You are guaranteed to never have the lyrics "Fa la la la la!" leave your mind!
  • Full Fathom Five, the theme of The Tempest, manages to be mystical and melancholic at the same time. Being the place where the fallen Ascian city of Amaurot rests, it's only fitting. Even more breathtaking is Neath Dark Waters, the theme of the recreated Amaurot. A Lonely Piano Piece backed by the ticking of a clock, emphasizing the nature of a peaceful but bygone time.
  • Then comes the final story dungeon's theme, Mortal Instants. This version is filled with both absolute epicness and despair, at the horrors happening. The ancient world is ending, and there's nothing the Warrior of Light and scions can do about it.
  • Both phases of Shadowbringers' final boss fight with Hades bring awesomeness to the table. First comes a shortened alternate cut of Shadowbringers main theme, "Who Brings Shadow", and the second phase busts out "Invincible", a massive choral orchestration in a similar vein to "The Worm's Tail" but with the heroism dialed past eleven, fittingly enough since this is Zenos's great-grandfather you're fighting.
  • Tomorrow and Tomorrow (warning: footage contains spoilers for the ending of Shadowbringers), the absolutely beautiful vocal theme from the the last part of the first post-final boss cutscene. A sorrowful song befitting the scene of Emet-Selch telling the character to remember that the Ascians once lived before his death, and the following moments involving the Crystal Exarch. The lyrics carry an additional heartwarming sound to them as well.
  • So what happens if you mix the Syrcus Tower theme with Omega's eScape? You get the theme of The Twinning: A Long Fall.
  • The theme of Akadaemia Anyder, Shadows Withal, is a very relaxed jazz theme that stands out from the utter chaos breaking out through the dungeon.
  • "YoRHa: Dark Apocalypse" features an epic reimagining of the ending theme of NieR: Automata, "Weight of the World - Prelude Edition" adding parts of Prelude to the song.
  • Lyhe Mheg, the central area for The Dreamspinners, features The Garden's Gates, a cheery, happy tune taking some leitmotifs from "What Angel Wakes Me", Titania's theme. Considering the Garden of Dreams is a dreamy Sugar Bowl, it fits the tone of the place quite nicely.
  • Insatiable serves as the boss theme for dungeons within Shadowbringers. Unlike the majority of other dungeon themes, which are heroic sounding, this one is full of gritty guitars and heavy beats with sorrowful vocals which serve as a reminder that the heroes in Shadowbringers are fighting a desperate battle for survival, and are not fighting from a position of strength.
  • Patch 5.2 introduces Anamnesis Anyder, and with "Floundering in the Depths" it is basically the jazzier version of "Riptide," the theme to Sastasha.
  • The theme of Ruby Weapon hits hard out the gate with blaring guitars, heavy drums, and ominous chanting. "Beat, the heart of Sabik!"
  • Eden Shiva gets a heartrending remix of her theme in Return to Oblivion, serving for the final boss in Eden's Verse.
  • Once players advanced Ishgard's restoration far enough in the 5.21 patch, a new theme is unlocked for the Firmament, in which several instruments (acoustic guitar, harp, piano, flute, violins, bagpipes) come together to deliver a, at first, peaceful but then bombastic, hopeful and full of positive energy reprise of the city theme song.

    Final Fantasy Type-0 
  • "Zero" by BUMP OF CHICKEN. What's really awesome about "Zero" is the translation in the HD version. No, they did not cover it in English, but they did give it English lyrics that fit the music, to the point that you may or may not wish they had given it an English cover. The in-game version of "Zero" differs from the studio release by including the Final Fantasy Prologue melody in the beginning of the guitar solo, doubling as an Easter egg, and giving the player false hope that Class Zero survived after all.
  • Vermillion Fire. Square-Enix rarely goes wrong when they bust out the Ominous Latin Chanting for Final Bosses, and this time is no exception.
  • The Beginning of the End plays during the opening cutscene. Beneath the Latin chorus, it starts off militant while the Militesi fleet is invading Akademeia, and then swiftly gradiates to triumphant at the 2-min mark when Class Zero's arrives.
  • Three Hours that Changed the World plays during Qator's intro scene, a no-nonsense track to accompany the aptly-named Milites Empire.
  • Servant of the Crystal, the battle theme for White Tiger l'Cie, is a rock track punctuated with choir shouts to highlight exactly what you've gotten yourself into.
  • War: Recapture is a Simple, yet Opulent piano track that serves to get your blood pumping for short Militesi encounters.
  • War: The White Weapon highlights fights with Magitek Armour bosses with a fast beat and a bass drop.
  • War: The Quiet Bloodbath manages to be a calm track and somehow not feel like Soundtrack Dissonance when it plays during fight scenes.
  • Heart Boils has anxious strings playing to tell you that it's Mission Day, get your ass in gear!
  • From Type-0 HD, Utakata, which plays during the new bonus secret ending, features an absolutely ethereal female vocal to underscore Samurai!Ace's revival in flames.

    Final Fantasy XV 
  • "Somnus," the game's haunting main theme, and its second variant "Insomnia Ablaze," which plays after defeating Cerberus in the Updated Re Release.
  • "Omnis Lacrima," the game's boss theme, as well as the theme from the 2008, 2011, and 2013 trailers.
  • "Gratia Mundi" which is another trailer theme. It later got two rearrangements in-game: "Valse di Fantastica," which is the theme for the car ride between Lestallum and Cape Caem, and a slower sounding one that plays when exploring some parts of the Leide region.
  • "In Dreams", the first theme of the Platinum Demo, is perfect for Noctis' dream there.
  • The game features one of the largest number of battle themes for any mainline Final Fantasy game, and all can be argued to be examples of this trope. Examples include.
    • "Stand Your Ground", the daytime battle theme for the starting region of Leide. There's also Careening Into Danger, an arrangement used in the game's tutorial and the Platinum Demo.
    • "Veiled In Black", the battle theme used against Niflheim enemies. There's also a variant that plays during battles at imperial bases, and a second that plays in the Insomnia Ruins.
    • "Hunt or be Hunted," which is used for mobhunt encounters. This track, which sounds more like something from a military themed game such as Metal Gear, goes quite well with the "hunting" theme of these encounters, where the player is tasked with taking out select groups of mobs in exchange for cash, in effect, acting as mercernaries and bounty hunters.
    • "The Fight is On!", the battle theme for the Duscae region (as well as for the Episode Duscae demo).
    • "Up For The Challenge", the song that plays during encounters in and around the Cleigne region, has the Prelude mixed in, and is just generally good at pumping the player up for a fight.
    • The two battle themes for fights against daemons. The "Daemons", is a tense track that highlights the tension in these battles which usually happen in dungeons or at night. "Horrors of the Night," is reserved for fights against larger daemons and bosses, and highlights just how fearsome these enemies can be (and how epic the fights can become) with a healthy helping of Ominous Latin Chanting.
    • "Invidia," the music that plays during the boss fights between Loqi and Aranea.
    • "Ravus Aeterna," Ravus' Theme when you fight him as a daemon in Chapter 13
    • "Hellfire I, II, III," Ifrit's battle themes that play when you fight him. Especially the part where you can hear a bit of Gentiana's theme at the end..
    • The final boss theme of the game, "Magna Insomnia."
  • "Nox Divina", associated with summoning the Astrals and unleashing hell upon any in their way. Chills are very likely to ensue.
  • "Song of the Stars/Dawn", the music that plays during the "Dawn" trailers.
  • The downright beautiful cover of Ben E. King's "Stand By Me" by Florence + the Machine.
  • "Nox Aeterna", the music that heralded the rebranding of Versus XIII to XV.
  • The movie includes a beautiful cover of the Final Fantasy main theme.
  • "Apocalypsis Noctis", featuring one of the most prominent motifs following the "Uncovered" trailer, even playing during E3 2016's demo against Titan and in the closing credits sequence of Kingsglaive: Final Fantasy XV. It got a rearrange in the battle of Leviathan called "Apocalypsis Aquarius". Ditto another one for Noct's inclusion in Tekken 7.
  • "Reel Rumble" plays when Noctis is fishing.
  • If you go to a campsite but don't immediately strike camp, you'll be treated to Tetsuya Shibata's "Safe Haven." The delicate guitar and glowing piano combine to provide a single mood: for the immediate future, this is home.
  • Noctis's theme. A surprisingly elegant and peaceful theme considering his character, but beautiful nonetheless. Also "Moonlit Melodies", a beautiful blend of Noctis and Luna's themes which plays over the Royal Edition's new ending credits.
  • "Endlessness," the haunting theme of the Omen trailer.
  • "Braver" by Afrojack which was featured in the last trailer before the game's release.
  • "The Hydraean's wrath," which plays when Noctis fights Leviathan while she destroys Altissia.
  • The DLC Episode: Gladiolus features a darker arrangement of "Battle on the Big Bridge".
  • Nobuo Uematsu returns to the series for the Comrades DLC; "A Clash of Swords" and "The Wrath of Swords", his themes for the fight against Bahamut is a spectacular return to form that excellently captures the feel of the god of war himself testing your character.
  • Episode: Ignis's main leitmotif is a gorgeous piece from the great Yasunori Mitsuda that manages to be both triumphant and a Tear Jerker at the same time.
  • Ravus's theme in Episode Ignis is another beautiful song.
  • From Episode Ignis, "A Tear-Stained Sword" plays right after Ignis and Ravus arrive at the altar too late to save Luna. Ravus almost immediately blames Noctis for her death and attempts to kill him, forcing Ignis to protect the prince. Understandably it is Sad Battle Music.
  • Episode: Ignis also gives us "Apocalypsis Magnatus", which combines Noctis's Apocalypsis leitmotif with that of Ignis's main theme. And it is awesome.
  • Every rendition of Ardyn Izunia's theme is a delight to hear:
    • We start with the playful yet tense sounding "Ardyn", and move to the far darker and more menacing "Ardyn II" when his true nature is revealed.
    • "Beckoned by Darkness" from "Episode Prompto" is a far more subdued version, mainly using piano and violins.
    • "Ardyn III", the iteration of Ardyn's theme from Episode: Ignis is a fantastic Ominous Pipe Organ piece that perfectly encapsulates his true nature.
  • "Episode Medley", an epic combination of all the Chocobros' themes and "Choosing Hope", played in Comrades when you control Noct and Co. themselves.
  • The Royal Edition gives us several kickass themes to go with the new bosses:
  • "Advent of the Apocalypse" plays when Luna calls upon the Astrals to shatter Ardyn's barrier around the Citadel.
  • "Prayer of the Oracle": a heartbreakingly beautiful One-Woman Wail that perfectly conveys Ardyn's tragic descent from kind and noble healer to the bitter, hateful villain we see in the game.
  • "Conditioned to Hate", the theme of Episode Ardyn: a hard-hitting industrial rock theme with hip-hop lyrics from Lotus Juice (of Persona 3 fame) encapsulating the overall theme of the Episode: Ardyn's burning, all-consuming hatred and lust for vengeance.
  • The music that plays during the battle between brothers Ardyn and Somnus combines both Ardyn's theme and "Somnus".
  • Florence + the Machine released two other songs written for the game:
    • Too Much is Never Enough, an epic anthem for Noctis. It can be heard in-game by selecting "Credits" from the main menu.
    • The gorgeous and mournful I Will Be. The fact that it was never used is a travesty.

    Ivalice series 

    Final Fantasy Crystal Chronicles 

    Spin-offs, Prequels and Sequels 

    Remixes and the like 
  • The album Final Fantasy: Pray. All of it. It's essentially tracks from Final Fantasy games remixed and set to vocals. Just one example of the awesome is Pray, based on Prologue. Yes, they made the freaking PROLOGUE more awesome than it already is.
  • The Black Mages, Uematsu's rock band. They've produced some utterly amazing remixes of pretty much every track mentioned above, and then some.
  • Distant Worlds: Music From Final Fantasy, taking various tracks from all across the FF series and orchestrating them to awesome proportions. The whole soundtrack qualifies, but the ones of note are One-Winged Angel, Swing De Chocobo, Medley, and last but most definitely not least, Memoro De La Stono.
    • Many of the arrangements found on Distant Worlds first appeared on 20020220 Music from Final Fantasy, the live recording of a concert held in Tokyo in 2002. These arrangements would go on to be performed during the Dear Friends - Music from Final Fantasy concert tour in 2004 and 2005 and then used again during the Distant Worlds: Music from Final Fantasy concert series from 2007 to 2010. Which then brings them to the CD for Distant Worlds: Music from Final Fantasy.
    • Distant Worlds II and its subsequent world tour have brought an even greater selection of music to the orchestra hall, including the above-linked "Dancing Mad".
    • Distant Worlds III brings more variety with a chilling rendition of The Sending and the funniest Chocobo Medley yet.
  • Heavy Metal Arrange Album GUARVAIL, taking tracks from a ton of the games and turning them into metal of awesomeness. The whole album is pretty sweet, but the ones of the most note are the arrangements of The Extreme, The FF Main Theme, Battle Scene A, and last but most definitely not least, Dancing Mad.
  • Nearly all of Love Will Grow, the Spiritual Successor to the aforementioned Final Fantasy: Pray album, belongs here.
  • The remixes from Sega Fantasy 6, a parody video taking the 7th Gen console wars and fitting them in flawlessly into Final Fantasy VI's last battle, deserve mentioning here.
  • CROW'S CLAW, known for its Touhou arranges, has also done some awesome remixes of Final Fantasy songs.
  • While most of his other work has been humorous, Brentalfloss' take on the main theme is nothing short of masterful.
  • Final Fantasy Song Book: Mahoroba is the the sort-of-but-not-quite spiritual successor to Pray and Love Will Grow, being stylistically a bit different. And fantastic. (Examples including Evanecense (Home Sweet Home) and Maybe, Goodbye having the most unlikely theme, VII's "Farm Boy".
  • This is what happens if Chocobo meets operatic rock: Awesomeness ensues.
  • Fithos Lusec Wecos Vinosec. This album as a whole is one of the better arrangement albums by Shirō Hamaguchi, including "Liberi Fatali" and the complete ending theme with the reprise of "Eyes On Me" (as well as the original)...but it also gives us the above-mentioned "Don't Be Afraid", "Fisherman's Horizon", "The Oath", and a Tear Jerker string-quartet rendition of "Fragments of Memories". Definitely Awesome Music.
  • If you weren't already convinced by the selections already mentioned: Balance and Ruin.
  • From the "Untempered Final Fantasy XIV Primal Battle Themes" album, we have the Oblivion (Never Let it Go) song. As the name indicates, it is a remix of "Oblivion", FFXIV Shiva's battle theme. However, this version turns the rock song into a sorrowful, melancholic ballad, trading the electric guitar for an acoustic one, and giving a whole new vibe to this theme. One could say it is the perfect fit for Ysayle's sacrifice.

Alternative Title(s): Final Fantasy XV, Final Fantasy VII Remake

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