[SPOILERS FOR EVERYTHING] A pre-7.5 list with links of every musical track imported or adapted into FF14 from the FF franchise

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This is mostly keyed from the work u/LightSamus has done in the past to line up the music of 14 with its source material, but since it's been a few years, I figured I'd throw down an update of my own, with some analysis to boot.

A note on sources: in general, I have tried to link back to Square's OST releases for the original games AND the corresponding releases on FF14's released soundtracks. All of this is available on YouTube, whether it's posted by the Square Enix Music Channel or auto-generated by YouTube from published albums. Granted, I am in the USA, and if you're outside of the US the tracks might not play for you, so my apologies if sourcing on YouTube is not a good solution for all users.

For more recent releases, specifically for music from the official 6.x soundtrack Growing Light, and 7.0 soundtrack Dawntrail, I've used unofficial sources on YouTube for ease of access. I've also done this for music from the 7.x patch series, which I expect will get an official release after Patch 7.5 is out.

Final Fantasy:​

• The iconic Prelude and Victory fanfare have been used in a variety of tracks in 14, so there's not one in particular to point to. That being said, the Opening Theme is prominently used in the credits for A Realm Reborn, rolled as The Seventh Sun.
• The original Battle theme was principally adapted for the fight vs. Chaos in the Omega raid series (Alphascape V1.0). Important to note that FF1 did not have a distinct musical track for the boss fights, or even the final boss fight, which is something we'd see changed as early as FF2.
• Matoya's Cave is rearranged in Heavensward as The Mushroomery, used in that location and later on in scenes involving Matoya (whether the original or her student Y'shtola, who appropriated the name later). In Patch 5.4, it's also notably rearranged into a version evoking Paul Dukas' "The Sorcerer's Apprentice," used as the zone music for Matoya's Relict and rolled as Freshly Glazed Porxie.

Final Fantasy II:​

• While FF2 was the first game in the series to have distinct music for boss and final boss fights, only the standard Battle theme shows up in 14, rolled as Battle Theme 1.x.
• On the other hand, as the game that introduces chocobos to the series, their theme is also present and is used in a variety of tracks in 14.

Final Fantasy III:​

• During ARR, the Crystal Tower raid series contained a TON of musical rearrangements from FF3.
  • The Crystal Cave was rendered as both zone music (Hubris) and battle music (Ever Upwards) for Labyrinth of the Ancients. (Notably, Hubris is rolled while Ever Upwards is not.)
  • The Crystal Tower was similarly rendered as zone music (Out of the Labyrinth) and battle music (Shattered) for Syrcus Tower.
  • Finally, The Dark Crystals is rendered as zone music (Blind to the Dark) and battle music (Hamartomania) for the World of Darkness. (As with Labyrinth of the Ancients, Blind to the Dark is rolled, but Hamartomania is not.)
  • While the first battle theme does not appear in 14, the second battle theme (usually used for bosses in FF3) is rearranged as Tumbling Down, and used for Phlegethon (LotA), Xande (Syrcus) and Cerberus (WoD).
  • FF3's final boss music, appropriately titled This Is The Last Battle, is used in two distinct parts for the fight against the Cloud of Darkness. On the 14 soundtrack, Hunger is the prelude that plays when zoning into Darkness Mommy's arena, and then switches to The Reach of Darkness as the looping combat theme for the fight. Curiously, though, the orchestrion roll that plays the combat theme is titled "Hunger."
  • For cutscenes that focus on the characters of Doga and Unei, a rearrangement of their original theme (Let Me Know the Truth) is incorporated and rolled as Now I Know the Truth.
  • Other notable cutscenes in the raid series include a rearrangement of the overworld theme, Eternal Wind. As the track becomes increasingly associated with G'raha Tia after this point (especially during Shadowbringers) the tune starts to serve as his character theme, and a piano arrangement is used in some cutscenes with the Crystarium in the later expansion.
• The brief melody of The Lute of Noah shows up unexpectedly (and unrolled) during a cutscene in the Facet of Crafting quests. The soundtrack has the selection named "The Lute."
• Finally, a straight replication of Battle 2 is used in the fight against Goldor (Stage 32) in the Masked Carnivale.

Final Fantasy IV​

Prior to Endwalker, musical references to FF4 were limited to just the one: an arrangement of "Dancing Calcabrina" deployed for the first half of the final boss encounter in The Antitower during Heavensward. With the announcement of Endwalker, however, the floodgates opened up:

• During the Digital Fan Festival in 2021 (when Endwalker was announced and the first version of the cinematic revealed the Moon as an important location for the story) the Lunar Whale mount was offered on the Mogstation, and uses an arrangement of the original as the mount's custom music.
• An arrangement of the Tower of Zot's music is used for the dungeon's music.
• On the Moon proper, the Bestway Burrows area uses an arrangement of Welcome to Our Town. Combat in the area uses the original Battle 1 theme.

During the 6.x MSQ, the references amped up further:

• Beginning in 6.1, an arrangement of Somewhere in the World is used in much the same manner as the track in the original game: giving us a moody cut to whatever the villains are up to.
• In 6.2, a creepy arrangement of Troian Beauty is used for the Fell Court of Troia. And a jazzy arrangement of the original's boss battle theme is used for the final boss fight with Scarmiglione. This arrangement is later used against Cagnazzo, Octomammoth, and Durante, the final bosses of the remaining dungeons in the 6.x series.
• Also debuting in 6.2 is a rearrangement of FF4's downer cutscene theme, Sorrow and Loss. It's used as the background music for the limited-access area of Zero's Domain, but also in later cutscenes.
• Following on that, a rearrangement of Battle with the Four Fiends is used for Barbarricia's trial in Storm's Crown. A second arrangement (Forged in Crimson) is used for Rubicante's trial in 6.3, which was a guest contribution from producer Kenichi Maeyamada (aka HYADAIN) that incorporates elements from his original remix, but also adds lyrics written by FF4's original director, Takashi Tokita.
• 6.4 presents an arrangement of Another Moon as the background music for the Red Moon during the brief gameplay sequence there. Later on, the Golbez trial deploys Voidcast Savior, which is a medley incorporating Battle with the Four Fiends, the theme of the Red Wings, and the main theme of FF4.
• 6.5's dungeon, the Lunar Subterrane, uses an arrangement of Baron's imperious music as its BGM. The subsequent trial against Zeromus is a drum-and-bass-heavy remix of FF4's final boss music, while the second phase brings in a rearrangement of the Red Wings theme.

Of course, it doesn't stop there: with Cosmic Exploration during Dawntrail's patch series, a few additional tracks have shown up:

• Hey Cid! is rearranged and used for the brief cutscenes used for Spec Ops set-up.
• Meanwhile, FF4's Airship is used during the Spec Ops themselves.

Final Fantasy V​

FF5's music has the distinction of being spread out across the history of 14 somewhat evenly.

• While moogles were introduced first in FF3, their first theme music appeared in FF5, and finds usage in a variety of tracks. Most notable, though, is the use of the melody in the musical themes in the Thornmarch trial (the unrolled Seven Jesters and the titular Good King Moggle Mog XII) released in Patch 2.1. It's later used as the basis for the Moogle Society questing hub theme in Heavensward.
• As is tradition, the appearance of running gag Gilgamesh means the use of his personal theme, Clash on the Big Bridge. A rearrangement entitled Battle on the Big Bridge Reborn is used in the various trials where Gilgamesh appears... at least, when it becomes obvious that it's Gilgamesh.
• During Stormblood, the Omega raid series utilizes the Interdimensional Rift (renamed Deltascape) in its staging area. During the first wing of this raid, which lifts all of its boss concepts from the game, the FF5 boss battle theme is rearranged as Omega Squared and utilized for the first three bosses in the series.
  • Exdeath's initial boss battle music is rearranged as Decisions and used for the final boss battle in the Deltascape. Meanwhile, the FF5 final boss battle music vs. Neo Exdeath is rearranged as Final, Not Final, and deployed in the Savage version of the fight.
• After taking a break in Shadowbringers, FF5's music returns in Endwalker, in a somewhat unexpected way: the music of the Baldesion Annex in Old Sharlayan is a more upbeat arrangement of The Day Will Come, a track notably used in the original game for some meaningful (if bittersweet) interactions between Krile and Galuf.
• In Dawntrail, a spread of tracks from the game are brought in for the Occult Crescent field operation:
  • The staging area outside of the zone proper uses a slower, melancholic arrangement of FF5's Town Theme.
  • FATEs within the Occult Crescent use a new arrangement of FF5's standard Battle music.
  • Critical Encounters, meanwhile, use a tense, battle-musicified version of A New World. The original version was a more ponderous track used as the overworld theme for the third and final world of the game.
  • The nested raid within the South Horn zone, Forked Tower: Blood, uses an arrangement of Exdeath's Castle. The final boss of the raid, the Magitaur, is then accompanied by Omega2, making a comeback from the Deltascape raids.

Final Fantasy VI​

As with FF5, the music of FF6 is somewhat spread out, though the selection is thinner, comparatively speaking.

• In ARR, the Magitek Armor mounts use a rearrangement of Terra's Theme, echoing the intro sequence of FF6 that features Terra trudging through the snow in a similar set of Magitek armor.
• In Heavensward, all three trials against the Warring Triad bosses begin with a rearrangement of FF6's special boss battle music (Battle to the Death), before they each get an original song in their second phases.
• As with the use of FF5's music in the Deltascape wing of the Omega raid series, the second wing (Sigmascape) incorporates an arrangement of the Decisive Battle from FF6 for the first three bosses. The final battle utilizes a new arrangement of all four movements of Kefka's final battle suite, Dancing Mad (although the fourth movement is only included in the Savage version of the fight).
  • For a brief cutscene in Sigmascape associated with the Phantom Train (the first boss of the wing), an arrangement of the Phantom Train's music is played.
• Elsewhere in Stormblood, Cyan's Theme is used as the basis for several tracks associated with the kingdom of Doma, and is used extensively in cutscenes involving Hien. The obvious reason is because Cyan was a knight of Doma, a location that was similarly conquered by a magitek-powered empire in FF6.
  • The more esoteric reason that might be lost on the English-speaking audience is that the character's name in the JP release of FF6 was カイエン ("Kaien"), intended to be localized as "Cayenne," but for namespace reasons was shortened to Cyan. Folks familiar with the story in Stormblood will recognize that Kaien was the king of Doma, killed by Zenos in the recent uprising, while Hien is his son. There are a number of parallels and callbacks surrounding this that get away from the musical discussion, but the point is that having Cyan's Theme reprised for Doma in 14 resonates for a lot of reasons.
• Finally, Gogo's Theme is used in Masked Carnivale Stage 31, where none other than Gogo is the opponent.

Final Fantasy VII​

Comparatively little music from FF7 is used:

In the Gold Saucer (which, notably, is a concept lifted pretty wholesale from FF7), an arrangement of the amusement park's iconic theme is used, rolled as Four-Sided Circle. Along those lines, the specific version of the classic chocobo theme used for races in 7 is rearranged in 14 as Sport of Kings, similarly used for chocobo racing.

• For the SDS Fenrir motorcycle mount that Cloud drives in the film Final Fantasy VII: Advent Children, the mount music is The Chase from FF7's OST.
  • Notably, the Fenrir is NOT the motorcycle Cloud drives IN FF7; that would be the Hardy Daytona. Which, if the trailer is to be believed, uses FF7 Remake's new arrangement of The Chase.

Final Fantasy VIII​

At present, music from FF8 falls into two distinct categories:

• Prior to Shadowbringers, the OST version of the Triple Triad theme Shuffle or Boogie was used for Triple Triad games in 14.
  • DURING Shadowbringers, an updated arrangement of the same track was used for Triple Triad Open Tournament events.
• Also during Shadowbringers, the Eden raid series split its soundtrack between original tracks referencing the 2.0 primals and tracks from FF8:
  • Blue Fields from the FF8 OST is used for exterior scenes in the Empty area outside of Eden proper.
  • An arrangement of Ami is used in some other notable cutscenes.
  • An arrangement of FF8's conventional boss music Force Your Way is used for the fights against Eden Prime (E1), Voidwalker (E2), and the Idol of Darkness (E7).
  • An arrangement of the regular battle music Don't Be Afraid is used for the fights against the Cloud of Darkness (E9) and Shadowkeeper (E10).
  • An arrangement of The Legendary Beast, the theme specific to the fight against Griever in FF8's final boss rush, is used for the fight against the Fatebreaker (E11).
  • An arrangement of The Extreme, which plays during the final phase of the final boss fight in FF8, is used exclusively in the Savage phase of the final fight in Eden's Promise, vs. the Oracle of Darkness.

Final Fantasy IX​

While a great deal of music from FF9 has shown up lately in Dawntrail, it's not the first time music from the game has shown up.

• During Shadowbringers, some cutscenes from the Dancer job quests used Vamo' alla Flamenco. This is in keeping with a tradition established in FF11, where the same track was used in the introduction of the Dancer job and Lilisette.
• Early on in Endwalker, the new Crystalline Conflict PVP mode utilizes new arrangements of Festival of the Hunt for regular play and Run! for overtime play.
• Coming in right before Endwalker, the Ark mount introduced as a FanFest promotion and Mogstation purchase uses the OST version of FF9's normal battle theme.

Of course, the bulk is from Dawntrail, and as of this writing there is likely more to show up in 7.5 (which has not yet released).

• In 7.0, several FATEs in Living Memory use the OST version of Faerie Battle, including the Notorious Monster FATE vs. Mica the Magical Mu.
• Also accessed via Living Memory, the Strayborough Deadwalk dungeon uses an arrangement of Court Jesters, the theme for dorky minions Zorn and Thorn.
• In 7.2, the Underkeep dungeon uses a more somber arrangement of Find the Princess. The subsequent trial against Zelenia appropriately uses an arrangement of Roses of May, the theme for FF9's one-eyed badass Beatrix.
• In 7.3, the trial vs. Necron uses an arrangement of FF9's Final Battle music.
• In 7.4, the Mistwake dungeon uses a fresh arrangement of the regular battle theme, while the trial vs. Doomtrain uses an arrangement of FF9's general boss music.
  • Fun bit of trivia: Doomtrain is a concept that did not appear in FF9, but originated from FF8. And notably, Doomtrain was a secret Guardian Force that you never fought as a boss to acquire, and thus never had boss music in the first place.
• After all the action in 7.4 that takes place around the city of Treno, a calm arrangement of the OST Dark City Treno is used for the area.

Final Fantasy 10​

Strangely, only ONE musical track from FF10 has shown up in FF14:

• The music of FF10's Al Bhed Travel Agencies is incorporated with the Kozama'uka zone daytime theme to create the theme for the Pelupelu allied society quests, appropriately named The Travel Agency (Dawntrail).

Final Fantasy 11​

Note as of pre-7.5: Unless otherwise noted, all of the music in this category is taken from 11's soundtracks without any new arrangements. Also, everything from the 7.x patch series isn't on 14's official soundtracks yet, since that hasn't been even ANNOUNCED at this point much less released.

First off, Stormblood was our first instance of 11's music in 14.

• The lobby area for the Four Lords trial series, Reisen Temple, uses Iroha, which in 11 is the BGM for Reisenjima (literally, "Reisen Temple") and generally part of Iroha's overall theme.
• The music used in the Baldesion Arsenal (at the end of the Eureka field operation) is Gates of Paradise - The Garden of Ru'Hmet. This was effectively a capstone emphasizing how Eureka drew heavy inspiration from FF11's gameplay and referenced a ton of notable monsters in the notorious monster FATEs throughout the Eureka zones, including Baldesion Arsenal.
  • Additionally, Onslaught is used for boss fights in the Baldesion Arsenal, while Turmoil is used for the final boss fight vs. Proto Ozma.

But then, *deep breath* okay, it's about to get real:

• The first wing of the Echoes of Vana'diel Alliance raid series (a collaboration with the current FF11 team) is Jeuno: The First Walk.
  • Outside of the raid, the lobby area for the series is a recreation of Lower Jeuno and uses Jeuno's traditional city theme.
  • The first area of the raid employs Shadow Lord, then switches to Depths of the Soul for the first boss fight vs. Prishe.
  • The second area of the raid uses Battle in the Dungeon, while the second boss fight against Fafnir uses Battle in the Dungeon #3.
  • To set the mood for the transition to Tu'Lia, the third area uses the eponymous theme from FF11, but switches to the regular battle music against the trash mobs. Once inside and staring down the Ark Angels, the boss music is their regular theme, Fighters of the Crystal.
  • The final area uses the standard music of Castle Zvahl, while the fourth boss fight vs. the Shadow Lord uses his battle music, Awakening.
  • Defeating the Shadow Lord begins the classic Vana'diel March.
  • While not heard during the raid nor awarded from it, but instead from the achievement for clearing the raid, the calm Mog House music can be purchased from Jonathas in Gridania.
• The second wing of the series, San d'Oria: The Second Walk, uses a similar model:
  • The opening area within San d'Oria proper and the brief walk outside the walls uses the theme for Ronfaure.
  • The boss battle against Faithbound Kirin uses the Tough Battle theme.
  • While jumping across the airship armada, the music is Onslaught, while the boss fight against Ultima and Omega deploys Turmoil. (Notably reusing these themes from when they were used in the Baldesion Arsenal.)
  • The third area of the raid, Qufim, uses Hidden Truths/Kam'lanaut #1 for its music. The subsequent boss fight against Kam'lanaut uses Tough Battle #2.
  • The final boss of the Second Walk, Eald'narche, gets his eponymous theme for the first phase, before the second phase comes in with Belief. This mirrors his boss encounter in Rise of the Zilart.
• Throughout the quest cutscenes surrounding the First and Second Walks, even MORE music from FF11 is used:
  • Overworld themes for Gustaberg and Sarutabaruta
  • The Forgotten City - Tavnazian Safehold
  • Voyager
  • Hopelessness
  • Sometime, Somewhere
  • Jeweled Boughs
  • The Big One
  • Despair (Memoro de la Ŝtono)
  • ... and a winter holiday-themed version of Jeuno's music for the Starlight Celebration.
• Holding space here for when the final wing of the series, Windurst: The Third Walk, is released in Patch 7.5. Yoroshiku onegaishimaaaaaasu!

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