The FFTA3 soundtrack is (currently) entirely produced and mostly composed by Beacon515L, former head of the Final Fantasy Reorchestrated project. It includes pieces from other games in the Ivalice Alliance, such as FFXII, TA/2 and Tactics, as well as several original pieces written especially for the game.

This article will be updated as pieces come and go. Please feel free to add pieces to the list or any thoughts on them (please make them distinct from the article's text, though, otherwise editing will get nasty).

Reorchestrated PiecesEdit


Original pieces composed by Hitoshi Sakimoto and Masaharu Iwata.



The exact use for this piece has not yet been decided. It will probably not be used as the main theme for the game, it is more likely to be referenced later when some important character-developing dialogue takes place.

Anxiety Before The BattleEdit

Planned. (An older version is here. [2])




Planned if a MIDI can be found. If need be, it will be transcribed.

Decisive BattleEdit

Planned. (An older version is here. [3])

Battle On The BridgeEdit

Planned. (An older version is here. [4])

Zodiark Boss Battle (The Pervert)Edit

Planned. (An older version is here. [5])

Altima (Nice Body)Edit

Used as the fourth tier in the Final Boss Battle Medley.


Primarily composed by Hitoshi Sakimoto, with Nobuo Uematsu, Kaori Ohkoshi, and Ayako Saso.


Planned. (A very old version is here. [6])

Snow Flutters About The SchoolyardEdit

Probably going to be referenced in original pieces rather itself included.


Planned, for sure! X3 (An older version is here. [7])


Referenced in Mira's Realization.

Pub ThemeEdit

Planned with significant rewrites of the rhythm section.

Teach Me, Montblanc (Cyril Theme)Edit

With the moogle himself a part of the playable cast, it would be remiss of me to omit this. It will not be included on its own, however, but heavily drawn upon for a leitmotif for Montblanc to be written. (An older version is here. [8])

Mysterious ShopEdit

Planned. (An older version is here. [9])

Save Game DialogEdit


Sleep of Defeat (Game Over)Edit

Debating. I don't see a need for more than one game-over theme unless they're context-specific. TBA. (An older version is here.[10])

Snow BattleEdit

Planned, and to be put to good use I hope. I had originally planned to put it in for the first battle, but it would depend on the tone we want. Personally, I think we need something darker for it. Still, it would definitely fit somewhere well. (An older version is here. [11])

Surpassing The WallEdit

Planned. (An older version is here. [12])

The Road We Both Aim ForEdit

Used as the second tier in the Final Boss Battle Medley. (An older version is here. [13])

Vanishing WorldEdit

To be referenced in a semi-original piece to go at the end, covering from when Mira stops time before going back through the Rift to the start of the end credits. (An older version is here. [14])

Beyond the WastelandEdit

Planned. (An older version is here. [15])

Law CardEdit

Debating. (An older version is here. [16])

A Place We Should Return ToEdit

Definitely planned, probably as the start of the end credits sequence. (An older version is here. [17])


Used as the third tier in the Final Boss Battle Medley.

Marche's/Ritz's/Mewt's ThemesEdit

All to be referenced in original compositions for character leitmotifs, respectively, Montblanc's, Lif's and Mira's. Of these, Mewt's Theme has been reorchestrated by Beacon515L, probably to serve as a leitmotif for Babus.

Mewt's Theme


Composed by Hitoshi Sakimoto; "Kiss Me Goodbye" composed by Nobuo Uematsu.

Esper BattleEdit

Used as the first tier in the Final Boss Battle Medley. (An older version is here. [18])

Clan HeadquartersEdit



There are several original pieces composed for the FFTA3 project.


Beacon515L is the primary (currently, only) composer for FFTA3, and has written several pieces, mostly character leitmotifs at this stage. The former head of the Final Fantasy Reorchestrated project, Beacon has an extensive background with video game music going back at least four years. He is a keyboardist, percussionist, synthesist and sound engineer, and is mostly self-taught.

For TA3, Beacon is trying to write somewhat in the style of Hitoshi Sakimoto, but with his own flair. He tends to write fairly dark and emotional pieces, which he feels should contrast the comparatively bright OSTs of FFXII and TA/2 nicely. He is moderately leitmotifal in style, though generally writes emotionally, seeing music as the most eloquent of all artistic canvasses for the portrayal and manipulation of emotion.

Character LeitmotifsEdit


Otto's Theme is arranged for wind, horns and timpani. It is based on a section of a piano solo I wrote originally for the Final Battle. It starts as a bittersweet melody for oboes, clarinets and flutes, and then crescendos with the horns, only to drop back anticlimatically. It then changes to a part with motion, a fast dirge, if one will. This dirge is played once quietly in the key of F, then moves into C by perfect cadence and becomes much louder. It then plays perfect cadences against C and G until it finishes on a quiet augmented D major chord. The first section is supposed to convey the reminiscence of his village, and the latter the conflicts and troubles he faces today. Notably, half of the piece is written as a foil of Seth's (the first part), while the second resembles it, though moves through more cadences and is musically deeper than the simple chordal ostinato of Seth's Theme.


Planned but no ideas as yet. Halp. XD


Probably to be inspired by Cyan's Theme from FFVI. Also, will contain hints of Ritz's theme, as he is Shara's sister.


Mira's Theme is written primarily as a slow chordal piece for strings. The first part, built on plagal cadences, is designed to illustrate her innocence and timidness. The latter half moves into much thicker chords and becomes darker, reflecting her development into the person she is by the end of the game. Or perhaps more specifically, it refers to the process by which said development occurs, and the events causing it, particularly Mira's relationship to Omega. The piece is pending rearrangement for specific contexts, and also to include some bits of Mewt's Theme, hinting at the familial and thematic connection.


Seth's Theme is a chordal, somewhat ambiguous suspenesful piece for brass and percussion. It may possibly double as a part of the main theme. Essentially it is in two parts, both starting piano, where the arrangement thickens over several bars, with a gradual crescendo to fortissimo. The first is built on a four-chord ostinato in the key of C. The second travels through three keys, G and F, followed by resolution by plagal cadence to C. The two parts are connected by a glockenspiel solo supported by strings.

The piece goes from a dark chord progression to a triumphant fanfare, and is designed to loop these over and over again. This is designed to represent the conflicted opinion Otto must have of him - after all, Seth's true alliegences are unclear, at least in Otto's mind, until he is forced to kill him.


Planned, but no ideas. Also, let's confirm we're keeping him before I go write something for him. X3

Battle ThemesEdit

Airship BattleEdit


For the battle between the Fluorgisian and Moorabellan airship navies/fleets/whatever (is a fleet of airships a navy? XD). Loud, brash and chaotic for the most part, ducking down to a somewhat suspenseful part at the end of the loop. References the Tactics main theme several times.

Final Boss Battle MedleyEdit

Current Version (incomplete)

The Final Boss Battle Medley is a six-tier piece for the final battle against the Occuria. It is a medley of five pieces, with an original intro and connective motifs:

  1. Esper Battle (FFXII)
  2. The Road We Both Aim For (FFTA)
  3. Incarnation (FFTA)
  4. Esper Battle (FFT)
  5. An original piece to be written by Beacon515L.

Currently, the medley is not complete, though still quite listenable. All five tiers are designed to loop.


World Transformation SequenceEdit

Based mostly on the original (unreleased) track from the similar cutscene in FFTA, though heavily rewritten with FFTA3's leitmotifs (Seth's Theme mostly) to suit. My vision would be for this piece to underscore a lot of dialogue, perhaps the Occuria, before the cresendo, where we cut back to Mira and watch her disappear. OH NOES, WHERE DID SHE GO?! :O

Mira's RealizationEdit


This piece is for the bit when she realises that her absolutely broken spellcasting prowess might be the death of her, as the use of her powers is slowly turning her into a Cryst, which was all part of the Occuria's plan. The longer she stays in Ivalice, the more her corruption progresses. This piece is designed to convey her anguish at the quandary she's in. Or at least, as best a synth arrangement of Crystal can with a three-minute totally improvised prog-rocky synth solo tacked on to the end of it will.

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