"'''Hollow Bastion'''" is a musical composition by Yoko Shimomura that first appears in ''{{c|Kingdom Hearts|game}}''.
"'''Hollow Bastion'''" is a musical composition by Yoko Shimomura that appears in the {{c|Kingdom Hearts|series|''Kingdom Hearts'' series}}. It is the field theme of [[Hollow Bastion]].
==Appearances==
==Appearances==
===''Kingdom Hearts'' and ''[[Kingdom Hearts Final Mix]]''===
"Hollow Bastion" is the field theme of Hollow Bastion in ''{{c|Kingdom Hearts|game}}'', ''[[Kingdom Hearts Chain of Memories]]'', and ''[[Kingdom Hearts Re:coded]]''.
"Hollow Bastion" serves as the field theme for [[Hollow Bastion]].
====Cutscenes====
===''Kingdom Hearts''===
*Hollow Bastion: "Hollow Bastion," "Riku Takes the Keyblade"
*Hollow Bastion: "Hollow Bastion," "Riku Takes the Keyblade"
===''[[Kingdom Hearts Chain of Memories]]'' and ''[[Kingdom Hearts Re:Chain of Memories]]''===
===''Kingdom Hearts Chain of Memories''===
"Hollow Bastion" primarily serves as the field theme for Hollow Bastion. It also appears in cutscenes during [[Sora|Sora's side]] and [[Kingdom Hearts Chain of Memories#Reverse/Rebirth Mode|Reverse/Rebirth]] mode.
====Sora's Story====
*Hollow Bastion: Opening, Key of Guidance
====Sora's Side====
*Hollow Bastion: Opening, and Key of Guidance cutscenes.
====Reverse/Rebirth Mode====
====Reverse/Rebirth Mode====
*Hollow Bastion: Opening cutscene.
*Hollow Bastion: Opening
===''[[Kingdom Hearts Re:coded]]''===
"Hollow Bastion" primarily serves as the field theme for Hollow Bastion.
==Composition==
==Composition==
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File:Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories- Cover.png|Disc 1, Track 7 in the ''[[Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories-|Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories- Soundtrack]]''|link=Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories-
File:Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories- Cover.png|Disc 1, Track 7 in the ''[[Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories-|Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories- Soundtrack]]''|link=Kingdom Hearts 10th Anniversary Fan Selection -Melodies & Memories-
</gallery>
</gallery>
{{-}}
==See also==
*[[Reviving Hollow Bastion]]
*{{c|Radiant Garden|track}}
{{Music}}
{{Music}}
Revision as of 02:35, 4 October 2022
This article is about the musical track. You may be looking for the world.
Kingdom Hearts Hollow Bastion
Arranger
Yoko Shimomura
Composer
Yoko Shimomura
Length
2:26
Kingdom Hearts Chain of Memories Hollow Bastion
Arranger
Yoko Shimomura
Composer
Yoko Shimomura
Kingdom Hearts Re:Chain of Memories Hollow Bastion
Arranger
Yoko Shimomura
Composer
Yoko Shimomura
Length
2:32
Kingdom Hearts Re:coded Hollow Bastion
Arranger
Yoko Shimomura
Composer
Yoko Shimomura
Kingdom Hearts HD 1.5 ReMIX Hollow Bastion
Arranger
Yoko Shimomura
Composer
Yoko Shimomura
Length
2:26
Piano Collections Kingdom Hearts Field and Battle Hollow Bastion
Hollow Bastion: "Hollow Bastion," "Riku Takes the Keyblade"
Kingdom Hearts Chain of Memories
Sora's Story
Hollow Bastion: Opening, Key of Guidance
Reverse/Rebirth Mode
Hollow Bastion: Opening
Composition
"Hollow Bastion" is approximately two minutes and twenty-six seconds long in Kingdom Hearts and the HD remake of Kingdom Hearts Final Mix. In Kingdom Hearts Re:Chain of Memories, the piece is slightly extended to two minutes and thirty-six seconds. Regardless of the game, the piece is played at the prestissimo tempo of 180 beats per minute. "Hollow Bastion" is written in the key of B minor and has a time signature of 5/4 time. The instrumentation consists of a complete strings section- violin, viola, cello, and stringed bass, oboe, clarinet, timpani, piano, organ, harp, and chorus.
The piece is characterized by a recurring syncopated, dance-like rhythm that is set-up in the beginning seconds of the piece. This rhythm consists of the double pairing of eighth notes, with a total of five pairs- or ten eighth notes, total. The grouping of the eighth notes causes the piece to be conducted asymmetrically as the groupings are 3-3-2-2 [three eighth notes, three eighth notes, two eighth notes, two eighth notes], thus allowing this piece to be conducted in four. This is heard and supported by the lower harp part, playing a single eighth note on beats: 1, the & of 2, 4, and 5. This dancing rhythm is not only the main melody of the piece, but is also what keeps the piece energized and continuously moving. The piece opens with the soprano choir members singing a drone note in the background. Around eight seconds the piano enters, continuing the dance-like rhythm first featured on the upper voicing of the harp. This is very short and fleeting, as around the twelve second mark the harp returns, reclaiming the melodic line. Fifteen seconds into the piece, the violins join the harp, increasing the dynamic of the rhythmic phrase. During this section the tenor vocalists join in, continuing the long note drone in the background. This concludes the first section of the piece- otherwise referred to as "A."
In the second section, "B," a new, more ominous texture appears. This occurs around the thirty second mark and is easily felt or perceived by the listener. This section features the strings and bass, in which parallel diatonic seventh chords are used. These chords lack the third scale degree and place the fifth in the melodic line. Starting with the oboe solo- pickup notes to measure fifteen, the dance-like rhythm is temporarily broken up with a quarter note rhythm. This second sections lasts for a total of four measures.
In the third section, "C," the dance-like rhythm from the first section reappears. However, unlike in the A section, the lower voices/instruments move from single eighth notes falling on beats 1, & of 2, 4, and 5, to a tied whole and quarter note. This longer note is a drone that continues throughout the section; it is known as "B3," or the in-scale second line note of the bass clef. This rhythmic difference lasts for four measure before returning to their initial rhythm.
In the fourth section, "D," the previous three sections merge to create a greater impact, in both appearance and sound. This section momentarily shifts from the key of B minor to the key of C major. The last four measures of this section return to the first section's phrasing and progression, allowing for a smooth transition between loops.