字幕表 動画を再生する 英語字幕をプリント Henry: Whoa- Cloud: WHOA Umu: So now you're acting to the girl group Dreamcatcher who are known for having nightmare-themed concepts James: Night- ooo Umu: For their 2019 Raid of Dream mini-album, They are collaborating with the RPG videogame King's Raid by depicting themes of the game like doubt, confusion and twist in their music video the song itself conveys emotions Like darkness loss breakdown and rage that you may feel while playing the King's Raid game. The song is composed by LEEZ and Ollounder Elizabeth: You ready for this? Fiona: ok, three two one *click* Daniel: mmm Daniel: It really fits the aesthetic, (F: Yeah) the music and like walking the castle F: and it Their reverb on it makes it sound like the piano's there. D: Yeah, and they have like that beat that just dropped Isaac: Wow seeping darkness Kevin: Wow already up to iv. It's already a twist! Isaac: and a change in timbre James: Oh shit J: Good unisons. not unisons- they were octaves, but they're in tune. Henry: Oh, I liked that Cloud: I liked it too, but I was more liking the aesthetic of a girl holding a sword Aaron: Yeah, that's synth orchestra Nick: I feel like I should have expected that with the whole medieval thing that we would get like a nice Orchestra But it's interesting because all the strings are Synthesized or at least heavily autotuned H: OH! A little Picardy third Cl: on "fallen now" H: Yeah, that's- interesting on that text? Kev: wow it ends in iv. The phrase continues because there's not really a cadence. very cool Elizabeth: Yeah, they have a very like cool vibe I think like they can be like intense and the like climactic moments but like in these sort of verse moments that like kind of what you're saying like it's reserved and like It's just really cool. Owen: Yeah Aaron: I Think the Harmony, and melodic lines fit well together like this piano Interlude stuff as we like get more about the story from the vocal line Fiona: It sounded like the music did a rewind and like the plot rewinded too (D: Ohhh) Like the dejavu trope was apparent in the music. (D: Mmm) Cloud: Yeah, I felt like they added more instruments to the lead in that time Kev: Ends on iv K: ooooo Nice dominant James: The contrast is so good. Ohhh Melissa: whoa That's like Lord of the Rings. This is like everything Henry: Oh oOOOOOh Cloud: Oh Whoa Kev: Wait They modulated a minor third up And then they went back to the home key. of course because of the relative major/minor relationship Pretty inventive Owen: There's so many secondary dominants in that last sequence, like it's *sings* gettin here going here- going here Owen: *ultra deep* Celloooo It's not a bass, but it's a cello Aron: *Sings ending* Nick: I think that's my favorite music video. You showed me Umu: It was- yeah! how did you feel the music supported what's going on in this story? Nick: Well, you definitely have kind of that like light side with the orchestral and then the dark side it's like what evil demons that are gonna fight all the Good guys I don't actually know- Aron: All they needed to do but throw in some screamo Nick: I Think it would have been... Aron: It would've fit! Nick: Been good in this song Nick: Which is kind of crazy if you hear the introduction to this song, I would never expect it but after hearing this Especially in the bridge they could have used that in the bridge Daniel: The intro or like the first at least like 30 seconds to a minute Had that same like piano Voice duo and so I was kind of expecting something a little bit more like melodically or harmonically or rhythmically complex From the start because we've been listening to this kind of music. Fiona: But I kind of liked that Kpop has a lot of saturation with the themes and it's very generous with like all the fun ideas and stuff I think it was okay to have just kind of an aesthetic layout of what was happening Daniel: Yeah There was this one part where Fiona mentioned that it sounded like choral music and in some ways it did but to me because of the balance of the melodic lines and also the harmony it sounded really like homophonous and and it sounded like there were a lot of parallel fits or like perfect fifths going on and It fits with the theme in that you see like they're in a church or like some kind of Cathedral... They're- Doing they're having all these like crazy swords stuff But it reminded me of the music that we studied in the church like Gregorian chants were like where a lot of perfect fifths were kind of seen as holy and used like almost for everything Kevin: in the first and second chorus, there was this Picardy third and it To me. I was like, oh they're just singing da da da da da da and then the last time they go picardy I'm like, huh? I wonder if there's any method behind this, you know this rather simplistic thing and then in the final chorus it modulates up and then because we're now in a-flat minor the pickety third is now a flat major which Enables the song to go back to the home key So the f major before was foreshadowing that moment the entire time, which is pretty solid compositional Technique I felt like the melodic lines in the verse. Were a little- they kind of just drifted around a bit There wasn't as much direction like the harmonies know their the chords actually changed quite a bit There was no solid sequence. That was too repetitive but the melody the melodic line doesn't have that type of drive that I Like in certain quieter sections like once the chorus hits like yes I'm with this but during the verses it got a little lost for me James: The contrast is perfect and they kept like capitalizing on that over and over again Intimate voices, piano, that's it. And then James: DUNDUNDUNDUNDUN Just like the difference we've seen that like really lit rock section and then just like the really tone down innocent sounding like breathy high Parts, I thought it was really really cool. And I just thought it was like a good song overall Umu: So now you are reacting to a bside release from The Raid of Dreams album called Silent Night Fancier writes that Silent Night falls into the twist theme of King's Raid. The lyrics say a blade pointed at someone eventually returns I don't want to see your blood and it expresses a hope to break free from the cycle of violence The song is once again composed by LEEZ and Ollounder. Kevin: well *speaks the Christmas carol* round yon virgin's mother and child. Let's listen to this! Elizabeth: Whoa Kind of feels like it's a triple meter, you know, like compound meter. One, two, three, one, two, three one two, three, but I assume Yeah, and then it comes in, in 4/4 H: I Thought it was like descending triples de do du de do du but it's not Cl: it's not H: It's kind of like syncopated Cl: yeah Cl: you can say it's more of a duple feel H: Hey that's a H: Yeah, that's a cool choice Kev: This has like as an industrial vibe like the Iron Man 1 soundtrack when Iron Man's walking with the explosion behind Jame: I love that that keyboard like synth sound. Melissa: Yes. I love that El: oh, that's a low voice. Holy crap. Owen: I know O: and this is a girl group so El: OOOOOO wait Daniel: Oh my god, this makes me like Fiona: now it's like- Daniel: I wanna move my butt I just wanna like Twerk it or something man this is a feel! Umu and Fiona: *dying of laughter* J: Whoa Mel: I love the like- J: Yeah, I just got chills Mel: it's like staccato which is unusual J: whoa Aron: yoooo so dope Melissa: Her voice... J: it's low. Mel: Yeah But like it's more than that it's like it's like cool it's got like swag, I don't know H: I like that Contrasted to each other with like the really low voice for the rapping and then right into head voice singing El: Yeah, even like the vocal line in the pre-chorus here it's like syncopated it's not on the beat Mel: That vocal countermelody J: Who's Doing that high shit in the background Mel: Yeah the like J: who's doing it? Mel: descant or whatever. You heard. J: That's so good Fiona: And it's back it's combining the twerk theme and the 88 theme! D: yeah Cl: It's like surprisingly quiet, you know like you drop and like... it's like going but it's like really like Really really in there, you know J: off beats What's happening? El: Ooo None of those piano chords were on a downbeat Owen: no except for the very last moment. I think Owen and Cl: *surprised yells* Henry: Hello this is like It's not like- I'm just gonna listen for a second *Claudia might cry this isn't a drill* Nick: I don't know why Aron: this is such a transition like from where we were this is like we're completely different water right now Nick: feels like arpeggiated chords, there's something Both medieval and like video game music about it Owen: No keep going!!! El: That's so strange. It ended there. I don't think the like actual subdivision is any faster I just think the grouping of the notes makes it feel faster. Owen: I s- do you think so? I wonder how the last bit was related rhythmically to the to the Previous bit was it just like separateness goes from where it was to immediately just like dada. El: wait okay All right. Hold on 1 2 3 4 1 2 3 4 See the piano is like not on the downbeat. So they're like using this whole like post chorus section to confuse us Owen: I think that's that's definitely speeding up El: It's like Owen: I just don't know El: I think It's just a completely different tempo, (O: yeah) I think this is compound meter just in a completely different tempo I don't know what the metric modulation to get there is and I'm not sure if it's like exact. (O: Yeah) Owen: Who knows? (El: It's cool though.) Yeah Daniel: AYyyy that was so good F: Nice ending! F: I like that ending D: Sooo good F: Silent Night starts now! D: Wut? F: of the Silence F: I liked how there were three intense beat feels of the rhythm and Fiona: *aggressive beat mimicking* F: and the *even more beat mimicking* D: Yeah, I thought so too because there's that metric irregularity which is like one two three one two three one two- one, two, three, one, two, three, one two and then there was like the establishing du du du that was on every like it's like a simple kind of Simple as in like a duple meter Organization and then at the end you pointed this out which was the metric acceleration and it just goes faster and faster Right and that reminded me of do you remember recite this music theory? Should we be studied that with a Clipping video? J: *mimicking counting that I could never do-* and you're like OOOOO Cl: That was stanky H: This is nothing to do with the music but it kind of does. there are different moments where I need different kinds of music Yes, sometimes I want to hear Flows fighting dreamers or go rather but it's yes the Naruto intro because I need the hype to get me to like Really get through a tough spot and running right, but there's other times where I just need a nice driving beat But also something sort of calming to remind me that I need to focus on my breathing and focus on my form Those are equally as important and I think this one fits that ladder you need is like oh, you know what? I need that driving beat, but this is making me like it's very in words It's very very in words, and then there's that last bit where after you've rested for like two solid minutes There's some hype at the end so we can go hard Cl: *mimicking hype* J: the synth noises using the like vocal lick Melismas like in the background. Like that's the way I wish more people would use like vocoders sampling like intentionally like changing the human lights because you know Sometimes you'll hear like vocoders over a voice or like MIDI sounds or whatnot, you know Like oh that sounds cheesy sounds fake or whatever But this was like it fit the style perfectly and the even before that like raves section happened I was thinking like this is rave music I just I thought it was really cool and they're all so talented you can tell because they understand like each member's strengths and they showcase it like the lower voices have their moments higher voices have their moments some Trifling ass hoe was doing crazy shirt in the background like wut I came Yeah Like it's like it's like crazy stuff. It was really good. Umu: Right. Do you guys like Silent Night or Deja Vu better? Aron: Deja vu because... A: I Feel it was more cohesive as a song like all the sections N: they stretch way further in my opinion N: But but that shape it's cohesive A: god I'm so conflicted N: it's just wide in terms of and the stuff that A: yeah! Because we started out like that fantasy Type sound with the piano and then but we kind of like went to like a stark contrast of that like heavy metal type sound N: sorry Silent Night is kind of like a If you took a bunch of instruments from techno Like euro type things and then you put them in a pop song and then you had singing and other stuff over it That's Silent Night. The other one is just everything all together A: Well, I was gonna say I think that the translations are a lot better in Deja Vu *Singing Code Geass OP*
B1 中級 米 クラシック音楽家が反応。ドリームキャッチャーの「デジャヴ」と「サイレントナイト」の比較 (Classical Musicians React: Dreamcatcher 'Deja Vu' vs 'Silent Night') 41 0 chien𖧶 に公開 2021 年 01 月 14 日 シェア シェア 保存 報告 動画の中の単語