群青-YOASOBI
ピアノ プロ 5.0 (4)
$3.00
サイト公認
演奏動画
難易度: プロ
9 ページ数
主要情報
- 楽器 1
- ピアノ
- ページ数
- 9
- 難易度
- プロ
- 楽譜の種類
- ２段楽譜
- 編成
- ソロ
- 歌詞有無
- 無し
- コード有無
- 無し
- 楽器
- ピアノ
- ページ数
- 9
- 難易度
- プロ
- 楽譜の種類
- ２段楽譜
- 編成
- ソロ
- 歌詞有無
- 無し
- コード有無
- 無し
内容
以下为中文简介和机器翻译： The following is Chinese introduction and machine translation: ———————————————————————————————————————
简介：《我永远喜欢YOASOBI》这首曲子是我心目中YOASOBI排名前三的神作（另外两个是“夜に駆ける(Yoru ni Kakeru)“”和“怪物 (Monster) ”）。改编这种风格的音乐对我而言是全新的挑战，YOASOBI丰富而清晰的声部层次让我几乎很难割舍任何细节，于是抱着尽量还原原曲的心态，我写了很多三声部的部分，这无疑提高了演奏者的压力，不过我认为为了达到最棒的还原程度这是值得的。不过，我在和up主“有梦想的努力少年”交流的过程中认识到我改编风格的一个缺点，那就是很多曲子我都喜欢纵向和声堆得很满，这在高潮部分还算可以，不过有些地方，尤其是开头和中间的桥段，其实可以去掉很多中间的音。要让音乐听上去更有起伏，不仅仅靠速度和横向和声连接的长短，纵向的配合也是很重要的，不然在一开始就把和声塞的很满会导致最后听上去比较臃肿。在我的理解里，曲子大概是在追求还原和情感表达的基础上尽可能简单比较好，但是我的改编水平不足以让我改的简单，这是我在未来要努力前行的方向。
感谢：jxou、xwjcool123、雪之下荡漾、Singulfer-小言、Chocovanilazuki、拾廿七、以及夏乐です等人对我的帮助！
演奏难点：
1.全曲的多处三声部对演奏者的处理提出极高要求，尤其是三声部在左右手间来回穿插的地方。
2.断奏和踏板的配合协调，既要弹出跳跃的感觉，又不能让旋律线断开。
3.左手的大跳断奏
4.结尾副歌部分对耐力有一定要求
——————————————————————————————————————————
Introduction: this song is the top three masterpiece of yoasobi in my mind (the other two are "yoru Ni kakeru" and "monster"). Adapting this style of music is a new challenge for me. Yoasobi's rich and clear voice level makes it almost difficult for me to give up any details. Therefore, with the mentality of restoring the original music as much as possible, I wrote a lot of three voice parts, which undoubtedly increases the pressure of the performer, but I think it is worth it in order to achieve the best degree of restoration. However, in the process of communicating with the up master "hard working youth with dreams", I realized a disadvantage of my adaptation style, that is, I like a lot of songs with full vertical harmony, which is OK in the climax part, but in some places, especially in the beginning and middle of the bridge, many middle tones can be removed. To make the music sound more undulating, it depends not only on the speed and the length of horizontal harmony connection, but also on the vertical cooperation. Otherwise, filling the harmony very full at the beginning will lead to bloated sound in the end. In my understanding, the song is probably as simple as possible on the basis of pursuing restoration and emotional expression, but my adaptation level is not enough for me to change it. This is the direction I should strive to move forward in the future.
Thanks for:jxou、xwjcool123、雪之下荡漾、Singulfer-小言、Chocovanilazuki、拾廿七、夏乐です
Performance difficulties:
1. The multiple three parts of the whole song put forward high requirements for the player's processing, especially where the three parts are interspersed back and forth between the left and right hands.
2. The coordination of staccato and pedal should not only pop up the feeling of jumping, but also not disconnect the melody line.
3. Left hand staccato
4. The ending chorus has certain requirements for endurance
$3.00
とても満足
5.0
評価 (4)
内容
以下为中文简介和机器翻译： The following is Chinese introduction and machine translation: ———————————————————————————————————————
简介：《我永远喜欢YOASOBI》这首曲子是我心目中YOASOBI排名前三的神作（另外两个是“夜に駆ける(Yoru ni Kakeru)“”和“怪物 (Monster) ”）。改编这种风格的音乐对我而言是全新的挑战，YOASOBI丰富而清晰的声部层次让我几乎很难割舍任何细节，于是抱着尽量还原原曲的心态，我写了很多三声部的部分，这无疑提高了演奏者的压力，不过我认为为了达到最棒的还原程度这是值得的。不过，我在和up主“有梦想的努力少年”交流的过程中认识到我改编风格的一个缺点，那就是很多曲子我都喜欢纵向和声堆得很满，这在高潮部分还算可以，不过有些地方，尤其是开头和中间的桥段，其实可以去掉很多中间的音。要让音乐听上去更有起伏，不仅仅靠速度和横向和声连接的长短，纵向的配合也是很重要的，不然在一开始就把和声塞的很满会导致最后听上去比较臃肿。在我的理解里，曲子大概是在追求还原和情感表达的基础上尽可能简单比较好，但是我的改编水平不足以让我改的简单，这是我在未来要努力前行的方向。
感谢：jxou、xwjcool123、雪之下荡漾、Singulfer-小言、Chocovanilazuki、拾廿七、以及夏乐です等人对我的帮助！
演奏难点：
1.全曲的多处三声部对演奏者的处理提出极高要求，尤其是三声部在左右手间来回穿插的地方。
2.断奏和踏板的配合协调，既要弹出跳跃的感觉，又不能让旋律线断开。
3.左手的大跳断奏
4.结尾副歌部分对耐力有一定要求
——————————————————————————————————————————
Introduction: this song is the top three masterpiece of yoasobi in my mind (the other two are "yoru Ni kakeru" and "monster"). Adapting this style of music is a new challenge for me. Yoasobi's rich and clear voice level makes it almost difficult for me to give up any details. Therefore, with the mentality of restoring the original music as much as possible, I wrote a lot of three voice parts, which undoubtedly increases the pressure of the performer, but I think it is worth it in order to achieve the best degree of restoration. However, in the process of communicating with the up master "hard working youth with dreams", I realized a disadvantage of my adaptation style, that is, I like a lot of songs with full vertical harmony, which is OK in the climax part, but in some places, especially in the beginning and middle of the bridge, many middle tones can be removed. To make the music sound more undulating, it depends not only on the speed and the length of horizontal harmony connection, but also on the vertical cooperation. Otherwise, filling the harmony very full at the beginning will lead to bloated sound in the end. In my understanding, the song is probably as simple as possible on the basis of pursuing restoration and emotional expression, but my adaptation level is not enough for me to change it. This is the direction I should strive to move forward in the future.
Thanks for:jxou、xwjcool123、雪之下荡漾、Singulfer-小言、Chocovanilazuki、拾廿七、夏乐です
Performance difficulties:
1. The multiple three parts of the whole song put forward high requirements for the player's processing, especially where the three parts are interspersed back and forth between the left and right hands.
2. The coordination of staccato and pedal should not only pop up the feeling of jumping, but also not disconnect the melody line.
3. Left hand staccato
4. The ending chorus has certain requirements for endurance