Sections D - G
Length: 40 measures (0:58 – 2:24)
(Please refer to Part I for links to the accompanying music /cutscene and transcription)
General Description:
Section D bursts forth with a resounding crash (cymbal). A powerful Gran Casa pounds on the first beat of every measure, whilst the upbeats are highlighted by a dancing tambourine. The guitar, now adapted to a more percussive role, energetically strums mid-ranged chords to support the harmony and emphasize the new half-time feel. Pulsing below, the double-bass plays a cyclical figure centered on E to propel the piece forward. The listener barely gets a moment to recover from this deluge before a snare fill kicks in to introduce the string sections, where the violins play an unrelenting, staccato riff, supported by equally driven violas and viola-cellos. The music is positively thrumming with energy at this point. From this turbulent wall of sound, a solo violin rises, paired with the returning shakuhachi to present the melody in unison.
As the piece reaches Section E, the string accompaniment gradually ducks to weave legato countermelodies well below the dueling leads, spotlighting the new heights achieved by the melody. There is an unparalleled sense of freedom here, as if the listener had pierced the tempestuous clouds to smoothly soar through the cerulean skies.
Suddenly, the rhythm section and the shakuhachi disappear, leaving the string section to play amid a whirling curtain of synth wooshes. Section F is the eye of the storm – a brief moment of respite before the complete orchestra returns in full force to launch the melody into a climactic conclusion.
Analysis:
Before delving into the macro factors that made this piece so immersive, let’s zoom in on Sections D-G to examine the details that fueled the piece’s intense conclusion
Breaking Through
In these last sections, Mitsuda-sensei unabashedly ran the full gamut of fundamental tension-building techniques: elevate pitch, increase arrangement density, escalate volume. More interesting is how he supported these elements with phrasing. In this regard, the bass and second violins truly stand out. The double-bass boasts a heavily syncopated bass groove reminiscent juiced-up Baiao. It stresses downbeats with dotted eighth-note roots to highlight the half-time meter, whereas syncopated sixteenth-notes are used to outline the sixteenth-note feel. The tail end of the off-beats feature two note lead-ins that seemingly tumbles into the next downbeat to further lock in the groove. This foundation provides balance to the second violins’ phrases, which feature color tones on the downbeats to provide brief bursts of tension before moving to repeat staccato chord tones, giving the section an unrelenting sense of forward motion.
Moving on, let’s take a look at how Mitsuda-sensei conjured the churning tempest that is Time’s Scar. Namely, in his use of modality, choice of instrumentation, and melodic/harmonic development to maximize narrative immersion.
To Far Away Times
For those unfamiliar with the topic of modes: In a gross simplification, they are variations of the major/minor scales based on a shift in the root note. This shift effectively reconfigures the intervals between the scale degrees, and thereby creating unique patterns of tension/resolution for each mode. Though two modes may contain the same pitch, interaction between the same scale degrees (e.g. going from the 2nd to the root note) will not sound the same. There are seven basic modes, each evocative of certain emotions.
Time’s Scar melody utilizes the Dorian mode in Sections A through C. Relative to the minor scale, the sixth degree in this mode is higher by a semitone, which gives Dorian a strong sense of yearning. Historically speaking, this mode was heavily used in ballads written in the middle ages – for example, take a listen to Scarborough Fair to hear the Dorian mode in full effect. Mitsuda-sensei uses this mode to evoke a feeling of nostalgia, aptly suited to accompany the cutscene’s journal entries.
Though less spotlighted, the Aeolian mode - more commonly known as the minor scale - was also present in this piece. Thanks to its’ minor sixth degree, it is often used in creating drama in music. It finds its’ place in the adventurous melody of Sections D-G.
Meaning In Sound
“I think that no matter how good a piece of music may be, if it isn’t expressed with the right sound, it has no meaning.” - Yasunori Mitsuda
(From the Chrono Cross OST liner notes, per translation posted on the Chrono Compendium)
Mitsuda-sensei’s arrangement, while arguable boisterous at times, manages to retain a sense of intimacy exclusive to folk tales. Beyond the aforementioned use of modality, this feeling may be largely attributed to his use of the shakuhachi. Traditionally used by the Komuso Monks as a tool for meditation, this vertical bamboo eventually became a staple of Japanese folk music. Its’ clear, breathy timbre share similarities with Western woodwinds while boasting resounding overtones that gives it a distinct exoticism, lending Time’s Scar a sort of otherworldly feel. More importantly, I believe Mitsuda-sensei chose the shakuhachi due to its potential to blend with the violin. When played in unison in Sections D-G, the two instruments fuses flawlessly to create an ambiguous lead, which according to the OST liner notes, was used by Mitsuda-sensei to create tension in the piece. What a wonderfully apt choice, considering Chrono Cross’ themes on parallel worlds and identities.
Whipping Up a Storm
(This section will be reworked to include visuals for greater clarity)
Finally, let’s get into the how Mitsuda-sensei developed a riveting story through melodic development. The piece starts off by establishing a sense of elevation (see Part 2) that would continue to build, setting a clear goal for resolution. With that in mind, Section B presents the following contour:
4 measures: Intervallic jump > Stepwise descent //
4 measures: Intervallic jump > Stepwise ascent
The attempt to rise is there, but inevitably, the melody falls back down to the root. Tthe above is briefly abandoned in Section C to feature the following rhythmic motif:
1 measure: (&) 1 2 (&) 3 4
In developing through Sections B & C, the descent is gradually slows down by means of small upward movements before lowering to the root. Suddenly, like a budding hurricane, the melody sweeps both motifs up to combine the above motifs into one in Section D, featuring two sequential intervallic jumps, followed by a stepwise descent/ascent. So far, the jump always started on E4 to land on a B4, as if struggling to gain elevation. The extended air time offered by Section D’s second jump gives the listener a sense of progress. This further develops in Section E, in which the melody reaches the E5. At this new apex, the contour changes again: the number of jumps is reduced back to one, the size of the jump is smaller, and the stepwise ascent is removed. The melody is seemingly as high as it gets. Paired with the disappearance of the rhythm section in Section F, it feels like the piece is ready to plunge downwards, losing the hard-earned elevation. The accompanying cutscene would pan to Kidd, slowly turning to meet the audience’s gaze. Her vision reminds the audience of the goal and the journey, and the music is reinvigorated by the return of the full orchestra. Contrary to the Sections E & F, the melody ends by swinging upwards, bravely meeting the grand adventure that is Chrono Cross.
Thank you for checking out Part 3 of Time’s Scar analysis. I hope it was informative and enjoyable!
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The blog will continue next week to analyze a new piece of music.