Composer: Nobuo Uematsu
Celebrating 250 days of musical exploration, we delve into a piece that stands as a titan in video game music – “Dancing Mad” from Final Fantasy VI. This composition isn’t just renowned; it’s legendary, particularly for its audacious use of irregular time signatures, especially prominent in its final movement. Considering its multi-part structure, “Dancing Mad” also arguably holds the title for one of the lengthiest and most celebrated pieces of music in gaming history.
Let’s experience the entirety of its four movements, seamlessly linked together. While tempo and time signature shifts are abundant throughout, it’s Part 4 where the music truly ventures into “odd time” territory, offering a delightful rhythmic complexity.
To jump directly to the mixed meter magic, fast forward to 11:33.
Analyzing the rhythmic intricacies of Part 4, counting at approximately 130 quarter notes per minute, we uncover a fascinating landscape:
(12:04 – 12:11) A foundational 4 bars in 4/4 time.
(12:11 – 12:25) A sequence that plays with our expectations: 4/4, 7/8, 4/4, 7/8, 4/4, 7/8, 4/4, 7/8. This section immediately introduces the rhythmic displacement that characterizes the “dancing mad” feel.
(12:25 – 12:35) A further exploration of rhythmic variation: 4/4, 6/8, 7/8, followed by a grounding 3 bars of 4/4.
(12:35 – 12:50) Returning to the established pattern: 4/4, 7/8, 4/4, 7/8, 4/4, 7/8, 4/4, 7/8, maintaining the rhythmic tension.
(12:50 – 13:00) Another shift in rhythmic texture: 4/4, 6/8, 7/8, before resolving into 3 bars of 4/4.
(13:00 – 13:16) A captivating passage of 7/8, 4/4, 7/8, 4/4, 4/4, 7/8, 4/4, 7/8, 4/4, highlighting the asymmetrical feel.
(13:16 – 13:27) A return to a stable rhythmic base with 6 bars of 4/4.
This entire section from 12:04 to 14:37 loops, creating an immersive and almost hypnotic experience within its rhythmic shifts.
Regarding the 12:11 – 12:25 (and similar) segments, while transcribed here as 4/4 + 7/8, alternative interpretations exist, suggesting 7/8 + 4/4. The perception can be subjective, and focusing on different instrumental layers might influence how one hears the rhythm. Alternatively, these bars could be concisely notated as 15/8, reflecting the total count of eighth notes.
The sections featuring 4/4 + 6/8 + 7/8 are particularly ingenious. The 6/8 bar acts as a rhythmic “deconstruction,” stretching the established groove by an eighth note and cleverly manipulating groupings of twos and threes. It’s a fascinating rhythmic deviation from the initial groove established at 12:04, adding to the track’s dynamic and unpredictable nature.
However, my absolute favorite moment arrives between 13:00 and 13:16. This passage showcases one of the most thrilling quartal arpeggio runs I’ve encountered in any musical genre. My fascination with quartal harmonies is well-documented, and this section is a prime example of their captivating power.
Reflecting on the recent loss of Keith Emerson (and the tragic revelation of his suicide, potentially linked to debilitating nerve and muscle issues hindering his playing – a profoundly sad situation), “Dancing Mad” stands as a powerful testament to Emerson’s likely influence on video game music. This track, in particular, feels deeply indebted to Emerson’s pioneering spirit.
Nobuo Uematsu himself acknowledges Emerson and Emerson, Lake & Palmer (ELP) as significant influences. The segment from 13:00-13:16, with its quartal arpeggios played on a rock organ, strongly echoes ELP’s signature sound. It would be surprising if Emerson’s work wasn’t at least a subconscious inspiration in this moment. Even the broader fusion of classical music elements with rock sensibilities throughout “Dancing Mad,” even beyond the mixed meter sections, resonates with Emerson’s innovative approach. It’s undeniably progressive in its scope and ambition.
In conclusion, “Dancing Mad” is unequivocally an iconic piece of VGM. Part 4, with its masterful use of mixed meter, arguably represents the most recognizable example of irregular time signatures in video game music. Furthermore, it may be the most iconic instance of progressive, quartal-based harmony within the VGM landscape. It’s remarkable that these relatively uncommon musical techniques are so strongly associated with the tension and drama of boss battles and high-stakes moments in games. As I’ve often expressed, this type of musical adventurousness is precisely what I find most compelling and rewarding in music.
