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In Final Fantasy XIII-2, it returns as background music for the Hands Of Time Temporal Rift anomalies. Also plays in the Nutriculture Complex in Palumpolum. Sealed Area Hanged Edge) Background theme for the Hanging Edge. It also plays as a background theme for Lightning and her party at the Rotary Shaft Zone of the Palamecia, and in various parts of the game, such as the bosses in Titan's Trials and during the Siege of Eden. First plays when facing Manasvin Warmech. The longer version, 'Defiers of Fate (Palamecia Assault Version)' on the soundtrack plus, plays as a background theme at the Engine Room, Starboard Weather Deck, and Bridge Access Zones of the Palamecia. Plays during the opening as Lightning assaults the Purge train. ( 第13日, Daijūsannichi ?) Plays during the opening as the Purge train heads for the Hanging Edge. In Lightning Returns: Final Fantasy XIII, the track is present in the tracks 'Claire Farron,' 'Humanity's Tale,' and 'Credits ~ Light Eternal

It can be considered the main theme, as its tune is also featured in several other themes. ( FINAL FANTASY XIII ～誓い～, ~Chikai~ ?) The title screen theme.

FINAL FANTASY XIII - The Promise - 1:33.

( FINAL FANTASY XIII プレリュード, FINAL FANTASY XIII Pureryūdo ?) Plays during the introduction movie.Īlso plays in Final Fantasy XIII-2 in the ending scene of the downloadable content release 'Another Beginning: Lightning's Story: Requiem of the Goddess.' Nobuo Uematsu was originally announced as the composer of the game's main theme, but later decided to give his main theme duties to Masashi Hamauzu after being hired to work on Final Fantasy XIV. In the last part of 'Battle Results,' which plays upon the completion of each battle, one can hear Mina counting numbers in the Ainu language. The lyrics were dropped and the two employed a fictitious language to regain the feel of the previous songs. ' Sulyya Springs' and ' Will to Fight' have English vocals, and while Mina and Hamauzu were preparing the demo track for ' The Gapra Whitewood,' Mina also sang in English, but after receiving the final draft of the lyrics, she was so preoccupied with getting the pronunciation and intonation right that she lost track of the flow of the melody. Initially there weren't plans for several songs, but Hamauzu felt Mina's performance fit the game's atmosphere, which led to further recording. Many of the vocals are performed by Mina Sakai, whom Hamauzu asked to perform some vocals for demo tracks and improvise some lyrics for them. The lyrics for ' Serah's Theme' and ' The Sunleth Waterscape' were revised for the English localization, even though the original recordings were already in English, due to the opinion of the English-language staff that the lyrics needed to sound more natural to native speakers. He felt it was important for there to be variety to the sound design to maintain players' interests over a span of time, and that is why the themed motifs are reintroduced here and there as a kind of obbligato. Hamauzu explains that Final Fantasy XIII was intended to be a long game, which in itself provided some challenges. The two worlds of Final Fantasy XIII, Cocoon and Gran Pulse, display contrasting musical styles. The session was recorded in a concert hall and Hamauzu listened to it from the balcony, saying afterward it was sad there was no audience, since it was so beautiful. Parts of the soundtrack have been recorded with the Warsaw Philharmonic Orchestra, orchestrated by Yoshihisa Hirano. The soundtrack was composed in a period of about one year.

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Hamauzu's first compositions for Final Fantasy XIII were scores for the footage shown in events or game shows in 20 (notably ' Blinded By Light'), and he didn't begin composing the full soundtrack until autumn 2008.

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The main tools used in producing the soundtrack were Digital Performer, orchestral samples by East West, and some standard software synth by Native Instruments, although a lot of live instruments were used, along with vocals in the many background themes of different locations. The game's director, Motomu Toriyama, requested an orchestral and futuristic hybrid sound, but gave Hamauzu freedom to exercise his own style. The proposition was a surprise to Hamauzu, who was nevertheless eager to accept. Yoshinori Kitase asked Masashi Hamauzu to compose the soundtrack.

4.1 Hamauzu's comments on selected tracks.