Moving towards the end of the soundtrack, the portrayal of the antagonist in "Eald'narche" creates uncertainty with the inherently simple construct of repeated marcato string notes and layered suspended brass notes.
FINAL FANTASY XI OST SERIES
The Chocobo theme also makes its first of four appearances in the Final Fantasy XI soundtrack series with "Dash de Chocobo" one of my favourite renditions of the theme, the theme is able to breathe with its interpretations on solo Eb clarinet and acoustic guitar against a dainty percussive line. Highlights include "Grav'iton", which brings back memories of "Mhaura" with its soothing guitar-supported flute melodies, and "Fighters of the Crystals", a pressing motivating action cue written in a similar way to some of the battle themes. The rest of the soundtrack mostly features miscellaneous event themes. Despite the formulaic approach to the composition of these battle themes, each is sufficiently individually characterised to be enjoyable on this soundtrack while sustaining the distinct sounds of Vana'diel. Here, Mizuta blends an irregular ostinato pattern like "Tough Battle #2", engaging trumpet melodies like "Battle in the Dungeon #3", and richly flavoured interludes like "Battle Theme #3". The final battle theme for the extension, "Belief", is an epic chimera of the others. "Tough Battle #2" imposes obsessive dissonant orchestral motifs against irregularly measured ostinato and percussion cross-rhythms the result is disorientating and unpleasant, but also especially compelling. Using similar instrumentation, "Battle in the Dungeon #3" distinguishes itself with brisk pace and lyrical drive assuring an exciting listen. "Battle Theme #3" is reminiscent of other normal battle themes featuring resolute brass melodies, bold string accompaniment, and an especially dark interlude. The battle scenes for this extension are accompanied by a healthy variety of new themes. Arguably the gem of the soundtrack, "The Sanctuary of Zi'Tah" beautifully portrays a crystal-enlightened forest during its extensive fluid development it notably deviates from Mizuta's ostinato-based approach in favour of a more dynamic acoustic guitar accompaniment. "Tu'Lia" perfectly depicts this setting with feathery soundscapes and minimalistic accompaniment while "Ve'Lugannon Palace" asserts a serene spiritual identity at the Gate of the Gods located there neither piece is particularly dazzling on a stand-alone basis but they are nevertheless two of the finest scene setters of the franchise. The chorale "Hall of the Gods" is one of the few pieces to deviate from the acoustic soundscape of the soundtrack, depicting the resting place before the ascent into the floating island. "Ro'Maeve" asserts a fascinating musical identity by contrasting smooth woodwind melodies with a detached accompaniment composed of pizzicato strings and muted acoustic guitar chords. Music sets a duality of moods in the grotto town "Norg" with inquisitive jazz-influenced clarinet primary melodies leading to a dusky secondary section. However, "Altepa Desert" is much more exhaustive, mostly featuring enigmatic cor anglais melodies against a barren marimba ostinato to accompany wandering through the enormous surrounding expanse. In parallel, the reedy woodwind melodies and rustic guitar of "Rabao" capture one's contentment at the desert oasis. However, those who found "Castle Zvahl" to be mind-numbingly long in the main soundtrack may find the 8:16 playtime obnoxious.
The rhythm perfectly sets the pace of the exploration while the lengthy development represents its vastness.
Focus is placed on a catchy ethnic-influenced bass riff that punctuates a slow developing ethnic flute melody. "Yuhtunga Jungle" finely portrays the tonberry-infested jungle that blankets Kazham's landscape. The theme comes together very well, featuring many beautiful moments and sustaining a motivating drive. A brisk acoustic guitar ostinato gives rise to finely synthesized woodwind melodies that give a hint of the unfamiliar. Opening with a lively number, "Kazham" portrays a jungle paradise city introduced to the expansion. Working closely with synthesizer operators Ryo Yamazaki, Hidenori Iwasaki, and Hirosato Noda, he set out to produce a high-quality acoustic soundtrack displaying many continuities with its predecessor. Naoshi Mizuta returned to single-handedly create around 20 new pieces of music to accompany the new areas, events, action sequences, mini-games, etc. The first extension Final Fantasy XI Rise of the Zilart revealed new areas and developed a plot concerning the intention of two Zilart princes attempting to become Gods. The Final Fantasy XI franchise has been updated with new extensions approximately every 18 months by Hiromichi Tanaka's third Square Enix production team.