We're on to the penultimate entry for MoF!
Kanako Yasaka - The Venerable Ancient Battlefield ~ Suwa Foughten Field
Despite the deep, menacing growl of the power heard in Sanae?s theme, Suwa Foughtern Field is very measured, very careful in its show of power, instead preferring to present its majesty to quell any opposition. Immediately after writing this, a thought occurred to me and I had a listen to Gensokyo Millennium, which, as it turns out, is surprisingly similar in instrumentation, structure and general mood. It is appropriate to say, then, that Eirin and Kanako will share certain features, and, indeed, I can think of a few off the top of my head, but I?ll leave that as an exercise for the reader.
As a note, I noticed some comments over on the ZUN interview thread that claim that certain other tracks on MoF are based partially off Suwa Foughten Field ? this is misleading, as the only similarity (and I apologise if the similarities actually run deeper and I haven?t noticed) are the segments where broken octaves go up and down to the key notes of a chord - thus it is more accurate to say that they share motifs or passages. Yeah, this is nitpicking to an unnecessary degree, but this are musical thread, and thus are serious business. :V
It is quite interesting to see just how little effort Kanako has to expend to appear majestic and awe-inspiring. There are exactly two motifs that carry a proper melody, both only presented after careful, almost gentle preparation by sequences of arpeggioes or broken octaves, but despite this there is never a moment where the feeling of majesty goes away. This tells me that this is what Kanako is like naturally, which should come as little surprise ? as a major god, it is her very nature to be larger-than-life, to be above little, petty things that concern mere mortals. She does not shine with awesome divine power for any kind of discernible reason, it?s just what she does.
It bears explaining then, what methods are used to present that majestic feeling.
The pre-introduction uses a very specific electronic sound that is the closest to vocals that it can get. Playing large arpeggioes, the sequence of which quickly scales large lengths of the keyboard, using that sound that then doubles up on the repeat, all in minor, all at a blazing pace, this little bit presents a tremendous buildup of power, all in the space of a few seconds. Due to the echoing, open nature of the vocal sound, the feel of that power, instead of privately-focused, like we would get on a piano, becomes cosmic, as if the presence of the power resonates with the world itself. This immediately presents Kanako, or her power, at least, as something far greater than the immediate surroundings, with a presence beyond the visible.
This is reinforced by the broken octaves in the introduction. The octaves follow the key notes of a chord, each note being repeated one octave above before continuing to the next, creating the sound of a myriad echoes, giving the impression that everything that the deity does has immense repercussions, no matter how small it appears to the deity themselves. I haven?t pointed this out before, and I?ve only just realized that some of you readers might not know this, but an octave is the interval between one note and its next identical harmonic equivalent, 12 semitones up or down if using a keyboard instrument. It is a strong interval indeed because it is essentially playing the same note twice simultaneously, and being able to distinguish both notes, instead of just one note, but louder. Making one note into an octave emphasizes that note, gives it an echo, making it feel powerful. Suwa Foughten Field?s non-melodic sections love their octaves.
Just in case the listener didn?t get the idea, the broken octaves are followed by unbroken ones, in a measured tempo, slowly putting together a diminished chord. As usual, diminished chords tend to put the listener on the edge, making him wary of where all this potency is going. All in all, the introduction serves to show the listener the divine might of a god, their very nature making the listener feel uncomfortable, unsure of their position before the god. All this while, Kanako hasn?t even shown her personality. She was just there.
The first melodic part follows a measured tempo, never breaking into fast-paced passages, putting together a well-controlled 2x8-bar melody. Time signature is ?, presenting an elegant dancing pace to the listener, showing Kanako as one certainly not lacking grace, in thoughts or bearing. Of course, the instrumentation, this time doubled-up trumpets, show prominent, absolute self-confidence, as well as the ability to show oneself without shame or doubt. This shows, perhaps, Kanako?s natural noblesse oblige, as it were, her natural ability to show herself as befitting nobility to set an example to her lessers.
All of this seemed to be just an off-hand comment by her, a little indulgence to directly deal with the listener, as Kanako backs away, her divine presence once again taking over while she stands off, aloof once again. This time, we are also presented with a gentle intermezzo in major, composed of simple chords being slowly put together, note by note, the vocals? open sound presenting a warm feeling, as if the positive sound of the major chords is coming from everywhere at once. Still above the petty concerns of mortals, Kanako is still capable of sympathy on some degree, her blessing feeling like warm sunshine gently caressing the multitudes below.
The second melodic part is much like the first, once again careful and measured, with long trumpet notes showing no need to rush. In 4/4 time, this is a more human part of Kanako, a few chord progressions moving from major to minor show a gentle wistfulness, never so harsh as to be bitter, but maybe melancholic, to show that even Kanako has wants and desires that are not fulfilled. The ornamentation present, a few turns here or there, show that she might even wish for some little whimsical fun, and might allow herself to have some if not for the requirements of her position. This is the part that really evokes sympathy with her, and I feel it does so very well.
I?ll round off here, as this seems to be my longest article yet, with a summary. Kanako is, by her very nature, charismatic and awe-inspiring. Behaviour appropriate to a position of great power is part of her character. However, despite the aloofness and impartiality that this might force on her, she can be sympathetic to her lessers. Finally, she carries all-too-human desires that her great power cannot fulfill, and might wish for an opportunity to let her hair down, as it were, to be able to ignore her status and position for even a brief time.
