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| Liner Notes and Enquete Comments translation | |
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| Topic Started: Jun 21 2013, 04:50 PM (1,206 Views) | |
| Post #1 Jun 21 2013, 04:50 PM | aquagon |
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Well, I'll be reposting here everything I had about the CD liner notes, and the Enquete Comments: Mirror ------------------------------------------------------------------------------------------------------------------------------------------------------- Well, here I'm sending the first batch of translation for the Hymmnos Comments (the lines that are written below the lyrics in the CD Inserts), so here you all go. Comments from the Hymmnos Concert Side Blue [Singing the Stars ~ Hoshiyomi] Akiko Shikata's Comments 初めてアルトネリコのお話をいただいた時に、ディレクターの土屋さんが語られる壮大かつ幻想的な『世界』、そしてアルトネリコの制作に対する情熱と愛情に、圧倒された記憶があります。 When I first heard about Ar tonelico, the director, Tsuchiya-san told me about an splendid and wonderful [World], and then, I began to work with love and passion, and from it, I have many overwhelming memories. あの日、語られた『世界』が、今こうしてゲームの中で息づき、存在しているという事がとても感慨深いです。沢山の方々が力をあわせ作いり上げた、一つの未知なる世界。 The world that I heard talking about that day, now breathes inside the game, and exists as a very emotive thing. We had to give too much enthusiasm and effort, for the creation of a world yet unknown. そして、その地で繰り広げられる物語の一端を担う事ができて、この上なく幸せです。 And then, that land unfolded carrying a pretty good story, and only being able to see it, made me very happy ゲーム通じて音の世界に深く触れ合える事の喜びをもって、私なりに曲と歌を紡ぎあげました。 The world of sounds carried in the game is very beautiful, and carries a feeling of joy, that I tried to put into the songs and melodies I crafted for it. すこしでも、皆さまの心の琴線にふれる事ができましたら嬉しいです。 Even if it's only a little, I will be very happy if I'm able to shake the heartstrings of all of you. 志方あきこ Shikata Akiko (Hymmnos notes) [hymmnos]Wee paks ra presia sarla en firle sarla mea[/hymmnos] Wee paks ra presia sarla en firle sarla mea In this excitement, please, receive this song and feel my song [hymmnos]Was yea ra presia ferda fandel ieeya enter yor[/hymmnos] Was yea ra presia ferda fandel ieeya enter yor I will be very happy if the many wishes that live in me enter into you Legend of Ar tonelico ~ Birth of Mir ~ Comments 伝承詩ヒュムノス A Handed Down Hymmnos Song アルトネリコの世界には、詩が息づいています。この世界のおいて、詩は力であり魔法なのです。 In the world of Ar tonelico, songs are sung. In this world, the song have powers similar to magic. その詩には神秘的な力が込められており、レーヴァテイルといわれる種族が謳うことで、その力は具現化します。 These songs have very mysterious powers, and a race called the Reyvateils are the ones capable of harnessing the powers of the songs. その詩の中でも、特に世界の行く末を左右する、とても大切な詩を『ヒュムノス』と呼びます。 Inside these songs, there are some particular ones that can even change the fate of the world. These special and extremely important songs are called [Hymmnos] (Hymns). 『ヒュムノス』は、古代期と言われる第一紀には数え切れないほどありましたが、 2度の世界崩壊を越えた現在 (第三紀)では数えるほどしかありません。その殆ど は第一紀の時代に作られ、そして使われていました。 About the [Hymmnos], there were countless of these songs during the ancient times called the First Era, but only some few remain in the current times (the Third Era), after the two catastrophes that devastated the world. They were mostly crafted and used during the First Era. ヒュムノスは、その力の余りの強大さ故に、目覚ましい力を発すると共に、様々な意味での『犠牲』も生んできました。 The Hymmnos that still remain have very strong power, and because of that, they are emitted with a remarkable level of energy, though some were crafted with the meaning of [sacrifice]. その犠牲の上で成り立つ大きな力、大きな安定である事を伝える歌詞で描かれています。このアルバムで紹介する幾つかのヒュムノスも同じです。 That sacrifice consists on a great power bestowed upon the singer, and the lyrics of these songs were written to emit a great level of stability. And some of the Hymmnos introduced in this album are similar in this aspect. 是非その歌詞の意味も一緒に感じて、そしてヒュムノスを体感して頂ければと思います。 Ceratinly, if you are able to feel these lyrics, then you'll be able to receive the feelings that the Hymmnos carry. つたないながらも、各ヒュムノスごとに解説を入れさせていただきました。少しでも想像の足になれば幸いです。 And fortunately, we were able to include explanatory notes for every Hymmnos. We hope that you are happy to imagine the feelings of these songs, even if it's only a little. Singing Hills ~ Harmonics EOLIA ~ Comments 祈り、謳の力、共存 Prayer, the power of the songs, coexistence アルトネリコのメインテーマ、謳う丘。この詩に込めた想いは、この世界、ソルシェールでの『詩の力』とはどのようなものなのか、です。ソル シェールでは、詩の力は具体的な効果をまとって現実に現れます。 The main theme of Ar tonelico, Singing Hills. The feelings that this song carries are that, in this world, Sol Ciel, [The Power of Songs] is what? In Sol Ciel, the songs have power with concrete effects, that can manifest in the real world. 謳うことで人々を癒し、大地を潤し、炎を飛ばし、雨を降らせることが出来るのです。 The singing is capable of healing the people, moisten the land, make the fire burn, and making the rain fall. そんな『詩』という存在を、この世界の人達はどのように捉えているのか。それがこの詩で表現されています。全部の説明をするスペースは残念ながらありませんので、最もそれを表現している句だけ紹介します。 That is the existence of the [Songs], and how the people of this world perceive it? That is the presentation of this song. However, I'm afraid to say that there isn't enough space in here to explain all of this, but I can explain the most interesting parts of this song. 『一重幾重の虚ろふ生糸、魂の根結び繋ぐ』という部分、意味で訳せば『一言ずつにその力を込め 重なり合い 流れ渡り絡み合う精霊の息吹』という事を伝えています。すなわち、これこそがソル シェールの『詩』の姿でありこの世界の人々の、詩に対する想いなのです。『詩の持つ力を全ての人に』。 これがアルトネリコというゲームに込めた想いでありここに収録されてる楽曲達も、全てその想いを持っています。 The part where it says [Single and multiple threads of blank silk that connect the roots of the souls], could be translated as [In one of each word, a power is carried, overlapping and joining, entwining the breath of the spirits], and that what it tries to convey. That is, the appearance of the [Songs] of Sol Ciel are shown by the people of this world, who are related to the feelings of the songs. [The songs that carry the power are in all the people]. That is the feeling that this game called Ar tonelico tries to convey, and also the songs that are recorded in this disc, all carry these feelings. このCDで、そしてゲームで、詩の持つ力を感じていただければ幸いです。 In this CD, and thus, in the game, I hope that you'll be happy feeling the emotions that the songs carry. EXEC_CHRONICLE_KEY/. Comments 其れは貴方の守護の為、其れは貴方が尊き故 That is for your protection, because you are very important. クロニクルキーというヒュムノスは、数ある中でも最も新しく、そして唯一第三紀に作られたものです。 The Chronicle Key Hymmnos is the most recent one, and also, is the only one that it's still used during the Third Era. そしてミシャが歌うために作られた曲でもあります。 And also is the song for what Misha was created. その詩に込められた想いは、不幸なことに『力』を持って生まれてしまった少女と、それを護る少年の物語です。 The feelings that this song carries are: the story of the sorrow that one girl has by carrying the [power] that was born with her, and a boy that protects her. 力とは何故、それを必要としない者に舞降りるのだろう。 Why the power has to descend on people that doesn't need it? そして何故、優しき者に呪いを放つのだろうか。 and also, why the power unleashes a curse in the kind people? ゲームをプレイしてこの詩が謳われるシーンに到達し、更にエンディングまで向かえばこの詞の意味、そして曲の存在意義がわかるかと思います。 If you play the game until the scene where this song is sung, and then, to the end, and look back to the meaning of the lyrics of this song, then, we think that you will understand the meaning of the existence of this song. 効能キーは『封印』、その効果は『子守唄』です。 Its effect key is [Seal], and its effect is [Lullaby]. York of Love Comments 貴方のことが世界で一番大切なだから That is because you are the most important person to me in this world ゲーム中でクレアという歌姫が紡ぎ出す、心の歌。テーマは、『本当に愛するということはどういう事なのか』という、ゲームの持つコンセプトと同じものです。 In the game, a singer called Claire creates songs from her heart. The theme of this song is: [In which is possible to really love someone?], and the concept that this game carries is the same. クレアはレーヴァテイルでありながら『魔法』として詩を紡ぐことをやめた女性です。 Claire is a Reyvateil, but also, she is a woman that chose to stop crafting [Magic] in her songs. その想いは、詩の持つ『本当の力』、すなわち人のこころをふるわせる、心の奥底に届く詩を人々に捧げたい、そして歌を聴いてくれた人に、その時だけでも幸せというプレゼントをしたい、というものです。 These feelings are the [True Power] that the songs have, that is, to move the hearts of the people, and wanting to reach the innermost part of these hearts, and that the listeners receive happiness as a present. 腹を満たすことも暖をとることも、フワフワの寝床も作り出せない。 それなのに、何故人々はお金を払い、無形のモノを買いに一所へ集まるのでしょうか？ To satisfy everyone appetites, and give warmth to them, she established in a inn. But, despite this, why the people have to pay for gathering in a place to receive an abstract thing? クレアはその理由を知っています。詩の持つ本当の力を。 Claire knows the reason for that. The songs carry a real power. EXEC_PURGER/.#Misha Extracting Comments 巫女は今日も舞う、その華麗なる舞う The Priestess is also dancing today, with that magnificent dance パージャはゲーム開始後数分で出てくるヒュムノスですが、その本当の使い方、意味を解き明かすのは、かなり後になってからです。 The Purger is the first Hymmnos you will hear after several minutes of beginning the game, and it's true way of use and meaning are explained after using it. PAJA (パージャ)には、本CDに収録されている『#Misya Extracting』、と『side紅』に収録されている 『#Orica Extracting』がありまる。 There are two Purgers, the [#Misha Extracting] one that is included in this CD, and the [#Aurica Extracting] one that is included in the [Side Red]. しかし2つとも元は同じ『PAJA』というヒュムネスクリスタルから生まれた詩です。 However, the two have the same origin, these are songs crafted from the Hymn Crystal [Purger]. ヒュムネクリスタルはヒュムノスを記録しておくフラシュメモリのようなものですが、詩がドレミでそのまま録音されているわけはありません。 The Hymn Crystal is like a Flash Memory where the Hymmnos is recorded, however, the sounds themselves of the song aren't recorded in it. 入っているのは、その詩を紡いだ人の想いだけ。レーヴァテイルはそれをダウンロードすることでそのヒュムノスを作った人と同じ想いを共有し、そして詩を紡ぎ出すことができるようになるのです。 Inside the Crystal, there are only the emotions of the person that crafted that song. When a Reyvateil downloads that Hymmnos, she ends receiving the same emotions as the person that crafted that song, and crafts a new song out from these emotions. PAJAという同じ想いを持った詩をダウンロードしても、オリカとミシャで感じるものはこの曲の差ほどあるという事です。 Both Purgers songs carry the same emotions upon their respective downloads, but there is a difference in how Misha and Aurica feel about that song. しかしもちろん、そこに顕在する効果には何の差もありません。 But, and of course, that doesn't change in anything the actual effects or effectiveness of the song. ヒュムノスという詩が、それだけそのレヴァテイルの感性に敏感に反応してその形を変化させる、という事がわかる一例ですね。 To simplify it, the songs called Hymmnos change only in how the Reyvateil feels and reacts to these feelings. 是非、オリカとミシャの感性の違いを比較してみてください。 Certainly, you can make a comparison between the differences in Aurica's and Misha's sensibility, if you want. EXEC_HARMONIOUS/. Comments 小鳥はただ謳う、この人々を想って The little bird just sings her feelings to the people ハーモニウスは希望の詩です。 Harmonious is the song of hope. しかしゲームの中で発場ハーモニウスは2つの想いが『フュージョン』されています。本来、初めてこの詩を紡いだ者が込めて想いは人々の愛、この世界に生まれたことへ感謝でした。 However, in the place where it's sung in the game, Harmonious [Fuses] 2 feelings. Essentially, the feelings that this song carries from the person who crafted it are the love for the people, and gratitude for being born in this world. その詩の効能キーは『癒し』、その効果は『心の安定』です。 The Effect Key for this song it's [Heal], and its effect it's [Tranquilizing of the Hearts]. ゲーム中では、それにプラスし、歌い手であるミシャの気持ちプラスされています。 In the game, and together with that, the feelings of Misha were added to this song. レーヴァテイルにヒュムノスがダウンロードされるとき、そのレーヴァテイルが 強い想いをもって受け入れた場合、ヒュムノスはその形を変えることが多々あります。 When a Reyvateil downloads a Hymmnos, she receives a lot of strong emotions, but if her own emotions are stronger than the ones contained in the Hymn Crystal, she can change the emotions of the Hymn Crystal. それをフュージョンというのですが、これがかかると途端に詩の効能が変化します。 That is the Fusion, and as such, it can change the effects of the song itself. このゲーム内でミシャが起こしたフュージョンが、どんな効果をもたらしているか...それはゲームをプレイして体感してくださいね。 In this game, Misha caused a Fusion, and what effects it did cause? ...Well, that's up to you to discover when you play the game and feel the song yourself. Singing the Stars ~ Hoshiyomi ~ Comments 貴方の名前はメロディ You name is Melody アルトネリコのテーマとも言える『詩』。 The main theme of Ar tonelico is the [Songs]. 詩は人のこころを潤します。そして心を豊かにします。side紅の 『月奏~ツキカナデ』と side蒼の『星詠~ホシヨミ』は、両方ともそんな『詩』の持つ力を讃え、そして感謝する詩として制作しています。 The songs moisten the hearts of the people. And then, they overflow in these hearts. The [Chanting the Moon ~ Tsukikanade] from side Red, and the [Singing the Stars ~ Hoshiyomi] from side Blue, both praise the power that the [Songs] carry, in their own ways, and also, they express gratitude for the creation of the songs. 『星詠~ホシヨミ』側のテーマは、詩の普遍性、そして人の関わりです。古来から詩は人々に愛され、そして時には詩に助けられ、詩で心を満たし詩と共に人々はここまで成長してきました。 The other theme of [Singing the Stars ~ Hoshiyomi] is the universality of the songs, and their relation with the people. Since immemorial times, the people have loved the songs, and with the time they were helped by the songs, since the songs have filled the hearts of the people, and together with the people, the songs were developed even further. 目に見えない詩、形を生まない詩。しかし、その癒しと想いの力は何よりも大きく、そして私たち人類の歴史によってかけがえのないものです。 The songs can't be seen, neither they do have a shape. However, the healing power of their feelings is certainly great, and thus, the story of the humanity has made them irreplaceable. 普段聞き流してしまうメロディ。そんなありふれた音も、きっと貴方の生活に潤いを与えているはずです。 We usually ignore the melodies. Because these are common sounds, but surely they bring meaning to your life. 今日はいつもより少し、詩に思いを寄せてみませんか？ Today, even if it's only a little more than usual, you wouldn't let that the feelings that are in the songs come closer to you? Song of Breeze Comments この世界の呼吸を感じて見てごらん Try to see and feel the respiration of this world この世界のナチュラルヴォーカリスト、クレアの2曲目。こちらは自然賛歌です。 This is the second song of the natural vocalist of this world, Claire. This is a spontaneous song of praising. アルトネリコの世界、ソル シェルは、大地も空の失った、環境的には絶望的な世界です。 The world of Ar tonelico, Sol Ciel, lost its land and sky, and with this environment, it looks like a very hopeless world. この世界を憂う前に、この世界がいいところを見てごらん、という事を伝えています。クレアは詩を紡ぐときに、ダイブという人工的な手段は使いません。あくまで自然に出てくるもの、それは新しい場所え行って感動したり、様々な人間ド ラマを見たり、自分が体験したり...そういったことから少しずつ少しずつ、詩を紡ぎ出します。 Before you grieve for this world, please, watch how a good place this world is, and convey it as it should be. When Claire crafted her songs, she didn't use the artificial method known as Diving. Until the end, she crafted naturally all of her songs, always being deeply moved when going to a new place, and seeing the varied dramas of the people, and from her personal experiences... with these things, she went on crafting her songs, little by little. ダイブをすれば1日で1~2個紡げる可能性がありますが、現実世界で自然に紡ぐとなると、1曲紡ぐのに半年から数年かかるのです。それでもクレアは、そのナチュラルな想いを紡ぎたいと、その想い1つで様々な現実体験をし、そして癒しの詩を紡ぐのです。 If a Reyvateil dives, she has a probability of crafting 1~2 songs in 1 day, however, when she crafts naturally on the real world, the crafting of only one song can take from a half year to several years. Still, Claire wanted to craft her feelings naturally, and these feelings where piled upon her real experiences, and then, she crafted a healing song. 全ての人々のために。人々の幸せのために。この詩の効能キーは『癒し』、その効果は『再生』です。 For the sake of all the people. For the sake of the happiness of those people. The Effect Key of this song is [Healing], and its effect [Revival]. Coming up next, the Tsukikanade album! |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #2 Jun 21 2013, 04:50 PM | aquagon |
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Just finished adding the comments for the Tsukikanade album! Enjoy! Comments from the Hymmnos Concert Side Red [Chanting the Moon ~ Tsukikanade] Haruka Shimotsuki's Comments 詩が大きな意味を持つ世界、その中で、物語を彩る詩を奏でる事が出来た事をとても嬉しく思います。 A world where the songs carry a big meaning, and in there, I am very happy to have been able to make a story with the songs we played. オリカがライナーとの旅の中で成長してくように。 Similar to how Aurica grew during her travels with Lyner. 私自身もこの企画で音楽的に新しい事に挑戦し、悩んだり模索したりしながらを形にする事で一歩成長できたような気がしています。 This whole musical-like project was a real challenge for me too, and I was worried on how it could turn out, and I was relieved that every step we did in its making seemed to be going good. 尊敬するアーティストさんたちと共演できた事、大好きなRPGの音楽の一部を作曲家としても担う事ができた事、色んな夢も叶って本当に幸せです。 I respect greatly the artists that worked together with me, who loved the music of the RPGs and helped with the work of creating part of the songs, and now I'm truly happy that this marvelous dream has been realized. ヒュムノスは皆、物語を重要なシーンで流れ、演出と密接に絡み合っている詩です。 The Hymmnos flow in all of the important scenes of the story, since the songs had a very close relationship to the producers. 作曲する際も、全シナリオを読みそのシーンの演出を意識しながら作らせて頂きました。 And every time we were composing, for all the scenarios and for these scenes that the producers wanted us to make quality work, we received their concerns. ゲーム中で流れるのを早く見てみたいですね！ Please, go and watch in the game how the songs flow! コーラスのヒュムノス語も日本語詞の意味と絡むように与えたり、どれも自分なりの拘りが詰まっている曲達なので、皆さんに愛して頂けたら嬉しいです。 We entangled the meaning of the japanese lyrics and the Hymmnos language choruses, and both carry their meaning on their own special ways, in these songs, and I will be very happy if you all receive the love that we put in the songs. 最後に、素敵な企画に参加させて下さったスタッフの皆様に、心からの感謝を。 Finally, I want to give to all staff that worked together with my in this wonderful project, a big thanks from the bottom of my heart. 霜月はるか Shimotsuki Haruka Noriko Mitose's Comments レーヴァテイルという存在は、自分で言うのはおこがましいのですが、自分が唄っている理由ととても近い場所にある存在でした。 The existence of the Reyvateils may sound ridiculous when I say it, but I have a reason for singing and to say that they could exist in very near place. 人間が進化して社会生活のために発達させてた《言語》というシステムより、音楽はより原初 世界の根源の力 《魔法》に近い処にある。 For progressing in their social life, the humans developed a system known as <Words>, which was the origin of the music, and the root of the power of the world, the <Magic>, is very closely related to them. 言語に慣れた耳では聴こえ難い人いるのなら、私は私の耳に届いているこの世界の根源の喝きを唄にかて伝えよう。 Getting used to listening to the words that the people use can be very difficult, but I managed to do so, and I want to convey with my singing voice what I could hear from this world. それが私が唄を唄って今まで感じてきたこと。 For that reason I felt that I should be singing until now. そんな私が、レーヴァテイルの中でんもより原型に近い種、オリジンであるシュレリアのヒュムノスを唄わせていただいたもの、何かのお尊きというか、とても嬉しい配役で、どの曲にも高くシンクロして唄うことができました。 In that way, from the kinds of Reyvateils, I felt the closest to the Origin Shurelia, and for that, I was given the task of singing her Hymmnos, something that was very important to me, and I was very happy to be able to sing some of the songs in a very good synchrony with the rest of the staff. 単語ひとつずつの意味はわからなくても、音楽としてこの世界の発せられたヒュムノスが、聴いてくれたあなたの上にもlequera《善きもの》をもたしますように。 Even if you can't understand each of the words of the language, I want you all to listen to the music that comes out from the Hymmnos of this world, and let it add some of a LEQUERA <Good-doer> to you. みとせのりこ Mitose Noriko LORE Comments: ゲームによっての音 Sounds that resemble the game ヒュムノスは、アルトネリコという世界を持っている歌です。 The Hymmnos are the songs that hold the world of Ar tonelico. それぞれのヒュムノスにはその歴史、意味、力、そして想いが込められています。 And each one of these Hymmnos have their own meaning, history, effects and feelings. ヒュムノスは、ゲーム アルトネリコの中で、その想いを巡って様々なドラマを展開します。それを知たとき、ヒュムノスは更に興味深いものとなるでしょう。 The Hymmnos, inside of the game, surround the feelings of the drama that unfolds in the game. Knowing this, you probably realized that they are a very interesting thing. そして、そのヒュムノスへの思い入れは更に深まります。アルトネリコを作り始めたときから一貫して変わらないコンセプト、それは『世界と共にある歌を』という事でした。 And then, the Hymmnos can also deepen the feeling that they convey. Since we started working on Ar tonelico, there was a concept that we never changed, and that is [A World that Exists together with the Songs]. 単なるタイアップや、知名度のあるアーティストという理由での起用、更にはとにかく歌を詰め込んでおけばいい、などという考え方は絶対しないと決めて制作に入りました。 As simple tie-up, we had a reason to not appoint very popular artists for this job, because we thought they would only cram a lot of songs, and wouldn't think about how they should be done, so we took that decision when we began working. 本当にこの世界の『物語』となれる詩、そしてこの世界を語れる詩をシナリオと共に紡ぎ上げてきたつもりです。 Truly, the [Story] of this world and the songs that flow in it, were all crafted with the songs and scenario when we began working in it. そして、その結果がこのヒュムノスなのです。 And then, it results in this Hymmnos. ヒュムノスを生んだのは、アルトネリコという世界と、そこに息づくり人々と歴史です。 That's the story of the birth of the Hymmnos, the world of Ar tonelico, and the people that breathe in it. これらの物語や世界と共にヒュムノスを聴き、更にその想いを深めていただけるならこられほどディレクター冥利に尽きることはありません。 Please, listen to the songs as you explore the world and go through the story, and embrace the deepening feelings, because for me being the director of this project it's more than what I deserved. EXEC_LINKER/. Comments 私は生きることも死ぬことも望まない I don't wish to live, neither I wish to die リンカというヒュムノスの起源は古く、塔 アルトネリコが作られた同時に作られた3つの詩の1つです。 The origins of Linker are very ancient, since it's one of the 3 Hymmnos that were crafted at the same time as the Tower of Ar tonelico was completed. その役割は、塔と歌い手であるレーヴァテイルとの結線、という、ヒュムノスの中で最も具体的なものです。 Its role is connecting the Tower with the singing Reyvateil, though is themost specific between the Hymmnos. ただし、この歌は塔の管理者である『オリジン』に適用するものではありません。 However, this song was not only designed to be used to appoint the Administrator by the [Origin] of the Tower. オリジン以外のーレヴァテイルが塔と意識を共有するときに使うものなのです。 If any other Reyvateil than the Origin tries to use it, then her consciousness will be merged with the Tower. 塔とリンクする事は、今も昔も大変なリスクを持っていたようです。 The matter of linking of the Tower has carried a great risk, from the ancient days to the present. それは、塔とリンクすることで、重大な問題は精神の死を意味します。 And that is, that if the Reyvateil links to the Tower, it could mean a extremely grave problem, that could end in the death of her mind. 塔と同調する事は神になること、しかしそれは人を捨てることでもありました。 Being in synchrony to the Tower turns her into a god, but she in exchange, has to be stripped from everything else. そんな生け贄とも言うべきレーヴァテイルの事を讃え慰めるため、この詞を存在します。 And the lyrics are like that, for the sake of consoling and praising the Reyvateil that's being used as a sacrifice for this song. 効能キーは『接続』、その効果は『一体化』です。 Its Effect Key it's [Connection], and its effects are [Unification]. EXEC_PURGER/.#Aurica extracting Comments 災いをもたらす眠りの姫 The princess that will send to sleep the calamities ゲーム内では戦闘支援を目的として謳うPAJA。本来は戦闘支援ではなく、戦闘をしなくていいようにする為の詩です。 In the game, the objective of the singing of the Purger is for support in the combat. In essence, is not only for combat support, since it originally wasn't a song crafted for battle. その本当の役割は、世界と異形の者を切り離すこと。詳しい説明はゲームの方に任せることにして、ここではPAJAという詩の詞が、どのような想いを持っているかをお話しましょう。 It's actual role is disconnecting abnormal things from the world. Even if we leaved a detailed explanation in the game, we can explain in here the lyrics, and the feelings that are carried in the Purger songs. PAJAは本来、詩魔法を紡ぎ出すときに大変なものを出してしまったときなどに、その詩魔法目体を殺す役割を持つ詩です。簡単に言えば、詩魔法のブレイクコマンドです。 The Purger was actually crafted for situations were very dangerous Song Magic were crafted, and it was used to dispel the effects of these dangerous songs. Simply put, is Break Command for the Song Magics. この詩の詞には、自らの心の中から産み出して魔物を、自ら封印する巫女の話が語られています。 About the lyrics of this song, it talks about a priestess sealing the demons that appeared from inside her heart. 詩魔法の暴発はレーヴァテイルの自己責任。即ち、そういった戒めも含めた詞になっているのです。 The spontaneous discharge of the Song Magics are the duty of the Reyvateils. And the lyrics also tell it as a warning. 実は、その詩魔法と同一成分、それに準ずるもの全てにこのPAJAは有効です。ゲーム内ではその効能を逆手に取った使い方をすることになります。 By the way, even if it has the same basic components as the song magics, they are ineffective against the Purger. You will see in the game how its effects can turn the battles in favor of the singer's party. EXEC_RE=NATION/. Comments 純白より白く輝く羽根を纏ひて Enshrouded in white feathers, clearer than the purest shade of white この詩は『塔を再起動するための詩』として、先のLINCAと同じ時期の作られたものです。 This song has the role of [Song Used to Reboot the Tower], and it was crafted about the same time as Linker. 『再起動する』ということは、逆に『停止する』詩もあるという事になりますが、それがSUSPENDです。 With [Reboot] it means that is the contrary of the [Suspension] song. That song is Suspend. SUSPENDとRE=NATIONは完全に対を成す詩ということになり、更にはその対象は塔の起動と停止という、最も重要なものです。 Suspend and Re=Nation are complete opposite songs, and furthermore, since their functions are the rebooting and suspension of the Tower's functions, they are the most important songs. 特にその中で停止させるSuspendは、他の詩と遠い、ヒュムネクリスタルに記録することすらされなかったと言われています。 Particularly, between them, Suspend, which is very different from the other songs, in the sense that we are saying that it wasn't even recorded into a Hymn Crystal. これらの詩の本来の目的は、管理者の世代交代です。 The essential purpose of these songs are the change of guard for the Administrators. 塔は第一紀に始動してから止まることなく機能し続けるよう設計されていますが, 唯一、管理者交代 (直結されたレーヴァテイル オリジンの入れ替え) の時のみは、やむを得ず停止させなければいけません。 The Tower was started up in the First Era, and it was planned that it wouldn't stop ever from functioning, except only for the changing of guard of the Administrators (the Origin Reyvateil that's connected directly to the Tower). RE-NATIONという再起動の詩は、太古に作られたヒュムノスにしては珍しく、希望溢れる歌詞を持っています。 Re=Nation is the song of reboot, and is a very curious Hymmnos crafted in the ancient times, because of the lyrics of overflowing hope that it has. それは、塔が新しい『いのち』をめって再生した、という事を祝福する為の詩だからです。 That is, blessing the Tower with a new [Life], and singing for its reincarnation. 効能キーは『再生』、その効果は『再起動』です。 It's Effect Key is [Revival], and it's Effects are [Reboot]. EXEC_SUSPEND/. Comments 消えることを許さない呪われた本 The cursed book that the vanished things will never forgive, RE=NATIONと対を成するこの詩は、詞の内容もRE=NATIONとは全く正反対のものとなっています。 This song acts as the opposite to Re=Nation, and as such, the content of its lyrics is the total opposite to the Re=Nation ones. 詞の内容は、このようなイメージを持っています。 The content of the lyrics carries this image: 『自らに呪いを掛け、開かずの本となり悪魔を封じた魔女、それを助けようとする男。しかし助けてしまえばその災厄は自分に降りかかる。 魔女は男に言う。それでも私を助けようと思うのなら助けたらいい。その身を代償として』 [I shall cast a curse over myself, so the opened source of the evil can be sealed by a witch, together with a man helping her. "However, the calamity will also befall over the man that helps her", the witch said. "Still, I want to help you because I think that's the right thing I have to do. I will be your compensation".] 塔の停止を司る詩に、何故このような歌詞が付いているのか...それは今でも明らされていない謎です。 Since this is the song for the suspension of the Tower, you must be wondering why we put these lyrics.... That it's a mystery that's not been explained yet. その答えは、管理者が世代交代をしなければいけない理由、という部分に秘められているのですが、その状況を綴ったものは、今この世界にはどこにも存在しません。 And the answer is, that if the Administrator doesn't has a reason to do a change of guard, which is still a secret, so because of that situation, then she has to compose the lyrics in this kind of situation like this, since she won't continue existing in the world after she sings it. また、SUSPENDの詞は、RE=NATIONの詞に繋がるように作っています。即ち、2連作の詞という事になります。 Still, the lyrics of Suspend and Re=Nation are tied together since their crafting. That is, their lyrics were crafted by the same people. その明確な意味を綴った散文詩も、そのうち公開できればしたいと思っていますが、聴きながら色々と想像してみても面白いかもしれません。 Now having cleared the meaning of the composition of this song, and since we have released it to the public, then it might be interesting to imagine the scenes as you listen to it. EXEC_RIG=VEDA/. Comments この身全てで貴方を包み込むように As if was completely enshrouding you レーヴァテイルは、普段精神世界で詩を紡ぎますが、極度に心が揺さぶれると現実世界でも詩を紡ぎます。 The Reyvateils usually craft their songs in their Soulspaces, but when their hearts are shaken by a very strong emotion, they can also craft in the real world. いや、ダイブという技術がなければ、レーヴァテイルは今でも非常に長いスパンです...例えば、2~3 年に1曲というペースで詩を紡いでいたこでしょう。 Well, unless they Dive, the Reyvateils, even now, will need a very long time span to do so... the rate is approximately 2~3 years for each song crafted. それも、普通の戦闘用詩魔法のレベルでその程度ですから、ヒュムノスを地上で紡ぐなどといったら、天才が一生で一度できるか出来ないかとい程です。 In addition to that, there is a degree on the level of the song magic usually used in battles, that varies on the altitude where the Hymmnos is crafted, and so forth... though there is the question if there is genius that can craft songs easily that appears only once in a lifetime, or if there is someone that's incapable of crafting songs. そしてこの詩は、その『天才が一生で一度できるか出来ないか』の行為をして紡がれた詩です。 Also, this song was crafted by the acts of both kinds of Reyvateils [a genius that appears once in a lifetime, and a Reyvateil that wasn't capable of crafting songs]. 詳しい経緯は明かしませんが、これだけのヒュムノスを紡ぐとなれば相当な天才であっても生半可な心の揺さぶられ方ではありません。 Though we can't reveal the exact details, this Hymmnos was crafted only after a certain person that deserves to be called a genius was stripped from all her fears and hatred, and her superficial heart was shaken. その瞬間を、ゲームを通じて共感じていただければ幸いです。 In that moment, you will surely feel happiness in empathy with the events that happen in the game, and understand its purpose. この曲は、効能キーは、その効果共に不明です。 However, the Effect Key and the effects of this song are unknown. EXEC_PHANTASMAGORIA/. Comments 錆びた剣を囲んで緑の蔓が這う The rusted swords will be surrounded with the green vines crawling over them ヒュムノスという詩は、詩を紡ぐこと自体はそれ程難しいことではりません。 The Songs called Hymmnos don't have any limits themselves about the songs that can be crafted from them. 何からの手続きも、大仰な封印アイテムの発見も必要有りません。 From its procedure, is not necessary to exaggerate saying that it's like discovering a sealed item. ただし、そこに存在する『想い』というものが、その詩の完成度や効果を大きく 左右します。 However, the [Feelings] that exist within them, can make a complete song with various and great effects. 例えば、ヒュムネクリスタルというものは、この世界でいうメモリーカードのよ うなものですが、その中に入っているものは『メロディ』ではなく『想い』です。 For example, the Hymn Crystals, that are like the Memory Cards of this world, don't have any [Melody] in their interior, but they do have [Feelings] inside. それをダウンロードするレーヴァテイルが受け取り、自らの中でヒュムノスにする...。 When a Reyvateil downloads these feelings, she crafts the Hymmnos from herself... すなわち、ダウンロードすることが、自動的に詩を紡ぐ事になるくらいレーヴァテイルにとって新しいヒュムノスを紡ぐことは自然に出来ることなのです。 That is, the act of downloading is like an automatic process of crafting a song for a Reyvateil, if she is able of crafting spontaneously the new Hymmnos. 話を戻しまして、その『想い』。これがとても重要です。ヒュムノスは塔を動か す詩です。そんな大された行為をするのに、生半可な想いで出来るわけがないのです。 Let's return to our talk about the [Feelings]. They are very important. The Hymmnos are the songs that start up the Tower's functions. And for these songs to do these important functions, they can't be made of superficial feelings. このPHANTASMAGORIAというヒュムノスは、ゲーム中で新しく紡ぎ出すヒュムノスです。 This Hymmnos called Phantasmagoria is the newest and last Hymmnos crafted during the game. プレイしてその課程を見たならば、この意味がお分かり頂けると思います。 You will see its course of events during your playthrough, and we think that you will understand perfectly its meaning. この詩の効能キーは『再生』、その効果は『平安』です。 The Effect Key of this song is [Revival], and its effects are [Peace]. Chanting the Moon ~ Tsukikanade Comments 貴方の名前はメロディ Your name it's Melody アルトネリコのテーマとも言える『詩』。 The main theme of Ar tonelico are the [Songs]. 詩は人のこころを潤します。そして心を豊かにします。side紅の 『月奏~ツキカナデ』と side蒼の『星詠~ホシヨミ』は、両方ともそんな『詩』の持つ力を讃え、そして感謝する詩として制作しています。 The songs moisten the hearts of the people. And then, they overflow in these hearts. The [Chanting the Moon ~ Tsukikanade] from side Red, and the [Singing the Stars ~ Hoshiyomi] from side Blue, both praise the power that the [Songs] carry, in their own ways, and also, they express gratitude for the creation of the songs. 『月奏~ツキカナデ』側のテーマは、詩の持つ力です。詩や音というもの、他のメディアには持ち得ない凄い力を持っています。 The other theme for [Chanting the Moon ~ Tsukikanade] is the power that songs carry. The songs, the sounds, and all the other kinds of media carry the possibility of having a wonderful power. その詩の持つ力とは、人のこころの奥底に何かを伝える力、そして、人の記憶をしっかりと包み込み、その人のこころの宝石箱を作る力...。 The power that the songs carry are to convey power to something in the bottom of the hearts of the people, and also, to wrap firmly the memories of the people, that are also called the creation power of the jeweled box of the hearts of the people... 例えば、昔よく聴いていた音楽を久しぶりに聴いてみたとき、その瞬間、景色、音、匂い、そしてその時の想いまでが一瞬にして蘇った経験、ありませんか？音にはそんな凄い力を秘められています。 For example, when you hear the music from the old times after a long time without listening to it, in that moment, the scenery, the sounds, the scents, and also, the feelings you felt until that instant, don't revive these experiences from when you first listened to it? That is the great hidden power that sounds have. 人の根っこに一番近いメディアだから。あなたの心を形作るものだから。 For that, the roots of the people are that closest pair of media, the music and sounds. For that, they can give shape to your heart. Next, the comments from the Hymmnos Musicals! |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #3 Jun 21 2013, 04:50 PM | aquagon |
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Comments from the Hymmnos Musical [Claire ~ Promise of the Breeze] Yuuko Ishibashi's Comments 謳うことだけに生きてたクレア。 Claire only sings because she was born to do it. 大切な人の出会い、そして、初めて聴いた『歌』 Then she met an important person, and heard a [Song] for the first time. 愛を奏でる心の歌に魂を揺さぶられる、生まれて初めて歌うことの意味を知った。 A song played with love from the heart that had shaken her soul, and in that moment, since she was born, she understood for the first time the meaning of the songs. 『歌』は武器ではない。 The [Songs] aren't weapons. 心の声で全ての人を癒したい。 The voice of the heart wants to heal all the people. 大切な人が教えてくれた愛を胸に、私は一人でも歌い続ける...。 That important person showed and gave the love from his heart, and even if I'm alone, I will continue singing... そんなクレアの心が皆様に伝わりますように...。 That is what Claire wants to convey to everyone 石橋優子 Ishibashi Yuuko Surrounded Heart ~ Connected Time Comments: Commenter: 作詞:うみのみやこ Lyricist: Miyako Umino 『希望絶えた刻(とき)に、優しくたわめく詩』 [The time when the Hope extinguished, the kindness changed the Songs] 人は誰でも、優しい気持ちを持っています。けれどそれは、心の一部であり、他の感情に押されて表面に出てこないことも多くて。 All the people carry gentle feelings. However, in one part of the heart, there are many other emotions that push them aside and cover them. 人が優しくなれるのは、人に触れたとき。そして本当の強さとは、絶望的な苦しみを受け止められたとき。 The people are very gentle. when they are moved emotionally by something. And that is the true strength, capable of putting a stop to the despairing and the sufferings. そこから這い上がり、それでもなお、人を怖れば信じれられたなら...クレアの包み込むようなお願いが、魂の拠り所(詩)を紡ぎ出します。痛みも喜びも、すべては自分の中にあると、クレアの声が導きます。 Furthermore, and yet, if the people are scared, they believe.... similar to how Claire was wrapped in her wishes, and crafted the foundations of her souls (the songs). The pain and the happiness, all of them are inside of herself, and Claire's voice only guides them to the outside. まだまだ人間的に未熟な私の中の、そう多くはない'優しさ'の部分を取る出して、音に乗せました。 Even if as a human I am immature, I want to take that "gentleness" I have within me, and place it over the sounds. クレアが歌うことによって、他のもっと大きな温もりを手繰りよせることができる。 Claire sings because of these things, even more than other things that could be able to convey that warmth. 絶望の刻(とき)に立ち尽くした人々の元に、クレアの紡いだ詩が、静かにたわめいて流れていくのだと思います。 In the times of despair, the foundations of the people shall stand strong, like the songs that Claire crafted, and their feelings quietly flow through the world. Comments for EXEC_HYMME_CLOSSPHERE/., Moonlight Nocturne ~Cradle~ and Cello's Light ~Calm~ 『詩(うた)を捨て歌(うた)に生きる』 Commenter: 脚本家: YUKKA (伝承歌劇団 ~エウロパの軌跡~) Scenario Writer: YUKKA (Legends of the Opera Troupe ~ The Locus of Europa) [Living the songs, discarding the Songs] クレアの歌(詩)を聴いて、彼女はレーヴァテイルの中でも感情がとても豊かな人物なのでは？ When you heard Claire's song, you thought that she, being a Reyvateil would be a character whose emotions are very abundant? という印象がりました。だからこそ『心』の大切さに気付き『詩』を捨て『歌』に生きているのではないかと感じさせられます。『詩』を軸とした『アルトネリコ』の世界。 I guess you were impressed. For the reason of importance that the [Heart] has in the recognizing of the [Songs], even if you live discarding of the [songs] though you could feel them. The [Songs] are the axis of the world of [Ar tonelico]. まさに、生きる人々と音楽 歌(詩)が絡み合い『生(せい)のドラマ』を作り上げていると思います。 Exactly, the living people an the Music/Songs are closely related, and we thought that it would be a good idea to make a [Drama of Life] with that concept on mind. クレアという人は、どんな想いを持ち、どんな心で、どんな人生を歩んで...あの世界、そしてあの時、あそこに存在していたのか。 What feelings Claire has? In what heart? What kind of life she lives...? In that world, and in that time, how she was before? それを、詩(歌)と音楽で作り上げたこの人生(ドラマ)を聴きながら皆様の心にお届け出来れば...。そう、優しいそよかぜと共に。 That is the Drama of Life we created together with the music and the songs, and we hope that you all can listen to it and let it reach the bottom of your hearts... Together with a gentle breeze. EXEC_HYMME_PLUTONIUS/. Comments Commenter: 作詞:高橋麗子 Lyricist: Reiko Takahashi 『言葉を司る』 Governing over the Words 『詩魔法に大切な要素の一つ『詞』。美しい旋律と美しい歌声を結ぶ鍵。言葉を司る者が旋律に『詞』という命を吹き込めば、奏でられた歌声は、時に苦悩と葛藤を強く激しく情勢的で攻撃的に、時に心を静かに優しく温かく和らげます。 One of the most important elements of the Song Magic are the [Lyrics]. They are the key that binds together a beautiful melody with a beautiful voice. The person that governs the words always breathes life into the songs with its lyrics, and depending on the playing and singing, sometimes they can sound painful, conflicted, and very strong and aggressive, when they are sung in a situation whose use are for offense, and sometimes they can sound soft and filled with gentle warmth, if the heart of the singer it's calmed. 残酷な詞を紡ぎ出し、奏でなければならないことがあります。 Even if she crafts a song with cruel lyrics, she usually doesn't want to play it. 激しい炎のように感情が燃え上がり、嵐のように心を乱し、傷つけ、涙を流すことも。 This gives the sensation of a violent fire burning, that her heart is revolting like a storm, wounded and shedding tears. 誰かを傷つけることより、幸せな詞を奏でることの大切さに出会い、自分の心を奏でたいと思ったクレア。 Someone that hurt her more than anyone else, and she want to find and play a song with joyful lyrics with all her heart, for the person she loves; these are the things that Claire was feeling then. その歌声が、旋律と詞とともに力を持った時、温かく優しい風が吹き、すべてが柔らかく包まれます。 Her singing voice, together with the melody and the lyrics carried a power, making a gentle breeze blow, surrounding everyone gently. 詞を歌う声に出会った瞬間、あなたの心を震わせ、そしていつまでも響きますように。』 In the instant where the lyrics, the melody and the voice meet together, they will shake your heart, and I hope they echo in your heart forever. Comments for EXEC_NULLASCENSION/. and Requiem ~ Oh, Precious Life, Rest in Peace~: Commenter: 世界観監修:土屋暁 (GUST) General Supervisor and Creator of the World: Akira Tsuchiya (GUST) 『バイナスフィアコーラス』 [Binasphere Chorus] 今回は、世界設定と監修、そしてヒュムノス語詞を担当させていただきました土屋です。 This time, as the creator and supervisor of this world, and as the person in charge of the Hymmnos language lyrics, I'm pleased to be here. 久々の公式ヒュムノスCDということで、ギミック満載、設定満載のヒュムノス詞を沢山創らせて頂きました。 The official CDs, since some time ago, were loaded with gimmicks from the Hymmnos language, many of which I made myself. そして今回特に注目すべきは『EXEC_NULLASCENSION/.』の歌詞！半端でなく効果の強い詩ですから、メロ詞もヒュムノス詞も半端ではありません。 And this song, [EXEC_NULLASCENSION/.] has some particular qualities in its lyrics! Its fragmentation gives to it very powerful effects, however, that doesn't mean that the lyrics and the Hymmnos language themselves are fragmented. 特にヒュムノス詞はこのままヒュムノサーバー(X1)に入れても対訳は出ませんよ。 In particular, Hymmnos lyrics like this aren't going to appear on the Hymmno Server (*1), or include their translations and transliterations. この詞は『Binasphere Chorus(バイナスフィアコーラス)』という手法で暗号化されています。 These lyrics use a encryption technique called the [Binasphere Chorus]. 解除キーも,ヒュムノス詞の中に入っています。是非！解読してみてくださいね。そうすれば、対訳も出きてきますから。 Its release key has also to be input in Hymmnos language. Certainly! Please decipher it, OK? We didn't include the translation because we were sure that you would be able to handle the accomplishment of deciphering and translating them. ヒュムノス詞の話ばかりになりましたが、このCDの物語は、ゲーム本編と同じくらいアルトネリコの世界にとって大切な物語の1つです。 The Hymmnos lyrics that are sung in here, in the story of this CD, are the same as the ones found in the world of the Ar tonelico game, and this one is a very important story. そんな想いが皆さんに伝われることを願っています。 And these are the feelings that we wish to hand down to all of you. (*1: ヒュムノス語事典。http://game.salburg.com/hymmnoserver/) (*1: Hymmnos Language Encyclopedia. http://game.salburg.com/hymmnoserver/) Promise of the Breeze Comments: Commenter: 作/編曲:稲垣貴繁 (SAME Creative) Composer/Arranger: Takashige Inagaki (SAME Creative) 『重なる波動 未来を紡ぐ歴史』 [Piled Waves - The Story that Crafts the Future] ヒュムノス... それは幾重にも重ね上げられた『音』という波動から生み出される力。 Hymmnos... These are the repeated and piled [Sounds], which are waves that produce power. 小さな空気の振動と融合することにより、大きな波となって、ある時は破壊する為の、またある時は傷を癒す為の『力』となる。その力を自在に操ることができるレーヴァテイル。 By the agglutination and oscillations of the small atmosphere, they turn into great waves, turning then into a [Power] that can be used for destruction, but that can be also be for healing wounds. And the ones that are able of freely manipulating these powers are the Reyvateils. しかし彼女達が『力』を持つが故に悩み、苦しみ、傷付いていることを考える人間は少ない。苦悩や悲しみを乗り越えた少女は、『謳うこと』を辞め、やがて小さな光を見つけ『歌うこと』を始めた。その波動は幾重にも重なり、いつしか人々の心を大きく動かす力となるだろう。 However, their ability of harnessing that [Power] causes them anguish, suffering, and that a lot of Humans even think in harming them. They are the girls that surmounted the anguish and the sadness, that stopped [Singing], and soon, they began to find that small light in [singing]. These waves are repeated and piled, and before anyone notices, these waves will probably have turned into a power capable of shaking greatly and moving deeply the hearts of the people. 一つの過去を踏み台にして新たな未来を紡ぎ出す力に。この『音』と共に全ての未来に幸あらんことを。 One past is only somethin that we have to endure to obtain the power to craft a new future. And together with these [Sounds], the future of all of us will surely be a bright and joyful one. Enjoy, please! |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #4 Jun 21 2013, 04:51 PM | aquagon |
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Hymmnos Musical [Spica ~A Heart-Crafted Present] Comments: Comments from the singers: レーヴァテイルの霜月はるかです(笑)今作も前作に引き続きOPを担本させて頂きました。物語に繋がるヒュムノス。歌に込められた"想い"を感じていただければ幸いです。 Reyvateil Haruka Shimotsuki here! (laughs). This time, like some times before, I have continued to sing the OP themes, and this time I also had that honor. A Hymmnos that is closely tied to the story. I will be very happy only if you can feel the "feelings" that I have put in the song. 霜月はるか Haruka Shimotsuki ジェミー、クラスDですが頑張ってます！ Jemi, the Class D is still giving her best! 今まで謳ってきた人格とは全く別のキャラクタァということで、違う抽斗で謳ってみました。 Until now, I have sung the songs for characters whose personalities are very different, and I didn't have any problem doing so. 憧れの攻撃魔法(笑)が謳えて楽しかったです。 I was yearning for singing some attack magic (laughs), and now that I had the chance, it was really fun. みとせのりこ Noriko Mitose 悲しみ、喜び、切なさ、 愛しさ。 Sadness, happiness, earnestness, love 沢山の時間が刻まれて心となり、そんな心が明日へ紡がれる時それは大きな力になります。 They are engraved many times in the heart, and that heart, with the time, turns it into a great power to craft the tomorrow. 溜め込めんだ想いがどんな力になるとしても目に映るあの星がどうか輝きますように。 These saved up feelings can turn into any kind of power, like the shine of the stars being reflected on our eyes. そんな願いを込めて。 These are the wishes I put in my song. 中原涼 Suzuka Nakahara 本編では聴くことのできないクレアの貴重な詩魔法に加え、今回も新たな引き出し全開でエディングテーマを歌わせていただきました☆様々な想いを抱いた登場人物達の色彩豊かな歌声を楽しみあれ。 In this CD, I didn't only sing Claire's precious Song Magics, but I also got the door open to a new chance of singing the ending theme~! I hope you all have fun with the varied emotion tones that the characters have in their singing voices. 石橋優子 Yuuko Ishibashi Someone's Dream Comments: Commenter: 作詞:うみのみやこ Lyricist: Miyako Umino 『望むものすべて、手に入るのなら』 [You Will Receive Everything if You Wish] あま~いあまい猫飴を売るスピカ。 Spica, the one that sells the swe~et, sweet Kitty Candies. 受け取る人はどんな夢が見られるのでしょうか？ What kind of dreams do you think that a person as receptive as her could have? グローバルな願いなら、いつもいつもお天気で、ぴかぴかに光る太陽が空に出てたらいいな。飢えや凍てつくような寒い日が失くなればいいな。 As if it were a global wish, she is always, always of good mood, with her smile sparkling like the bright sun. There are some days of hunger and cold where that shining sun is lost, though. 虐げられてる人たちがいなくなって、穏やかな笑顔で地上が埋まればいいな。 She wants to leave behind the oppressive persons, filling the sky with her gentle smile. プライベートな願いなら、誰もが私を分かってくれて、欲しいものはいくつでも買えて、人より秀でてる部分があって、誰からも羨ましがられる存在になりたいな。 However, her private wishes are something that everyone, including myself, can understand, since she wishes to buy many things, and surpass all the people, and turn into a person that everyone covets and feels jealous of. 夢を見る瞬間は、心がとても幸せな瞬間。 In the instant she dreams that, her heart is filled with great happiness. 一日のうちにひととき、そんな時間を望むなら...スピカの猫飴を手に取るように、あなたの耳に、とろりふわふわとアルトネリコの世界を注いでください。 Once, during one day, she wished for that... so please, like if you were taking one of Spica's Kitty Candies, let your ears, and yourself, be immersed in the world of Ar tonelico. Comments for EXEC_HYMME_WINDILING/., To a Pleasant Place ~Moderate~, The Singing Voice of Every Tree and EXEC_HYMME_SOLFIRLE/. Commenter: 脚本家: YUKKA (伝承歌劇団 ~エウロパの軌跡~) Scenario Writer: YUKKA (Legends of the Opera Troupe ~ The Locus of Europa) 『ヒュムノスは、まさに心を紡ぎ出すもの』 The Hymmnos are Things Crafted Naturally by the Heart 紡ぐ者の心のあり方によって、様々なメロディが 詩魔法が生まれてくるのだと『神』はおっしゃいました。 Because of the way of being that the hearts of the crafters have, various melodies can give birth to Song Magic, and the crafters themselves may be called [Gods]. しかしレーヴァテイルという種族に限った話です。今回の主人公はスピカ。ほたる横丁で猫飴を売っている『人間』です。... However, we have spoken enough of the Reyvateils by now. This time the protagonist is Spica. A simple [Human] that only sells Kitty Candies in Firefly Alley... 『ヒュムノス』ミュージカルですが。さて。 The question in the [Hymmnos] Musical is this: 人とレーヴァテイルの共通しているものとは何でしょう。 What the Humans and Reyvateils may have in common? 私は『心』持つものだと思っています。スピカが色々な出来事に出会い、一つ一つ段階をクリアしていく事で形成されてゆく彼女の心と信念。 I think that is the [Heart] that both have. Spica has various incidents, and as she clears each of these incidents, she gives shape to her mind and her convictions. 時が交差し、種族を乗り越え、謎を解き明かし広がってゆくヒュムノスミュージカルならではの新アルトネリコワールド&音楽を階様に楽しんで頂ければと思います。 Crossing over the times, surpassing over the races, and giving explanation to various enigmas, this Hymmnos Musical is a new piece in the story of the Ar Tonelico world, and we hope that both the music and the story are received by our listeners with enthusiasm. EXEC_HYMME_MEGAREALICS/. Comments: Commenter: 作/編曲:稲垣貴繁 Composer/Arranger: Takashige Inagaki 『心が紡ぐ贈もの』 The Heart Crafts a Present そこには一つの『命』があった。その『命』は何かを求め強い『想』を持ったー『想い』は音となり『歌』を紡ぎ出した。 There was one life. And that life was searching for something while carrying around strong [Feelings], which then were crafted into a sound, a [song]. 『歌』はまた別の幾多の想いと響き合い『力』を獲た。それは生きる力となり、また新たな『命』を創り出してゆく。 The [songs] acquire different feelings and echoing [power]. They are the power that give life, and that also can craft new [Lives]. 幾度とない『想い』と『力』の折重なりは、いずれ那由他の『命』を繋ぎとめ世界を構築してゆく。 Not many times, the appropriate [Feelings] and [Power] are put together, but they have filled and built the world with numerous lives. まさにこの世界は『心を紡ぎ出した贈りもの』なのかも知れない。 Naturally, it's possible that this world could also be a [Present Crafted by the Heart]. Xa Ziqt Wac s Comments: Commenter: 世界観監修:土屋暁 (GUST) General Supervisor of the World's View: Akira Tsuchiya (GUST) 『律史前月読----------------------------------------------』 [Risshizentsukuyomi---------------------------------------] 毎度毎度、趣向を凝らしたヒュムノスが入るヒュムノスミュージカルですが、今回の趣向はちょっと壮大で、歴史的なものです。 Thank you to all for your continuous support! To make things a little more varied, I came up with some ideas for adding Hymmnos in this Hymmnos Musical, and I think that the idea of this time is somewhat great, since is something historical. カリヨンオルガニートと詩魔法の一部に入っている何だか良く解らない言語、これが今回の新手法です。 The song that used the Carillon Organit and one of the song magics we put into this Musical are in a language that I don't think that anyone could understand for now, and that language is the new dialect I have created. これは『律史前月読(りっしぜんつくよみ)』という、まだヒュムノスがヒュムノス語とも言われていない、更には文法する確立していない頃にあった、古来月奏達の言葉です。 This is called the [Risshizentsukuyomi (Singing of the Moon in the Story previous to the Notes)], and we could call it a Hymmnos that it's not really part of the Hymmnos language, furthermore, it existed before the current grammar was established, and is the ancient language of the Tsukikanade. この律史前月読は、地球文化で言えば『ルーン文字』と非常に近いものとなっています。 The Risshizentsukuyomi, if it was called like the [Runes] of the cultures of the Earth, then it would be a very fair comparation. すなわち、アルファベット1文字に1つの想いが込められていて、それが繋がって1つの大きな想いになる...という感じなのです。 That is, each one of the letters of the alphabet carry a specific feeling, and that means that they are connected to a greater feeling... called sensation. 更にはそれだけではなく、一応文法規則のとうなものもあり、ヒュムノス語のように完全な和訳が出来るわけではありませんが、おおよそのイメージは掴めるような訳が出来るようにもなっています。 However, that's not all, since its grammar rules come from very ancient times and are very vague, unlike the Hymmnos language, is impossible to make a complete translation for them, and we were able only to give you all a rough image of what these words mean. ヒュムノス語の前身『律史前月読』。ヒュムノスは本来、発音と感情が一致するような発声体系化し作られた言語です。 The predecessor of the Hymmnos language, the [Risshizentsukuyomi]. In essence, Hymmnos is the fusing of the pronunciations with the feelings, turned into a language with an organized speaking system. この律史前月読は、まさにその『発音と感情が一致する発声』そのものであり、大いなるヒュムノス語体系の祖に当たるものなのです。 The Risshizentsukuyomi certainly also is that [Fusion of pronunciation and feelings with the speaking] at its core, so you can safely assume that is the ancestor of the great Hymmnos language grammar. おいおい、この律史前月読も、ヒュムノサーバー(*1)に文法仕様を掲載しますので、興味のある方は是非見てやってくださいね。 Hey! The Risshizen Tsukuyomi grammar guides will also be published in the Hymmno Server (*1) in the future, so I expect to see a great interest in them, ok? さて、ここまでやってしまって言うのも何ですが...次はもっと大変になったぞー...。(*1:ヒュムノス語事典。http://game.salburg.com/hymmnoserver) So, this lesson ends here, and about we will be talking next... Well, I will see you again the next time something even better comes up~... (*1: Hymmnos Language Encyclopedia.) Queen of the Underworld Comments: Commenter: 作詞:高橋麗子 Lyricist: Takahashi Reiko 『路地裏の女王』 The Queen of the Underworld 『裏の世界』を知る前のスピカは、あることがきっかけて詩と出会います。攻撃もされましたが、危ないところを助けられてもいます。 How Spica was before knowing about the [Underworld], and how she was in the wake of meeting with the Songs. When she was attacked, and later on, saved from a dangerous place. しかしスピカは『助けられた』などと思っていない可能性が非常に高いような...。 However, the possibility of Spica thinking that she was [saved] is very low... そして、詩と出会ったことがきっかけて『裏世界の女王』への扉が開いた、と言っても過言ではないのですが、やはりそんなことは、これっぽっちも思っていないような...。 And so, when she met the Songs, she opened the door to her actual mindset, the desire to be the [Queen of the Underworld], and it wouldn't be an exaggeration to say that she didn't even think of that before... 自分の目指す道を突き進み、欲しいものを求め続け、それを手に入れるために、表の笑顔と裏の笑顔、飴と鞭を使う、まさに女王様。 She advances towards the realization of the goals she set herself, and continues seeking the things she desires, and for putting her hands on these things, she shows her surface and her real smiles, uses her candies and whip, thus she really is a Queen. 路地裏で彼女の笑顔に出会ったら、あの合言葉を言ってみてください。もちろん、女王様にお渡しする『輝くもの』をお忘れなく。 If you ever happen to encounter meet her with a smile in the Underworld, please remember her password and say it to her. And of course, don't forget to provide to our dear Queen with some [Shining Things]. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #5 Jun 21 2013, 04:51 PM | aquagon |
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Ar Tonelico OVA Comments: EXEC_HYMME_LUMINOUS_DEF/. Comments: Director's Comments: 世界に二つと無い、重なり合う波動 A world where two aren't together, overlapping waves ゲーム本編には出てこない『フェイマ』の謳う曲です。OVAのアルトネリコとゲームのアルトネリコは、完全なパラレル話 (外伝でもない) ですので、まだラードルフが大神宮位 (総司より1つ下位)で、パートナーがいた時代の設定になっています。ゲームのラードルフにパートナーがいないのは、実動部隊から『総司』という指軍宮へ昇格したためです。総司より上(司祭など)の位は、基本的にパートナーを持ちません。この詩は、フェイマがラードルフを護るために紡ぎ出した最高級に近い詩です。 This song was sung by [Fayma], a character that didn't appear in the original story of the game. The Ar Tonelico OVA and the Ar Tonelico game are complete parallel stories (they aren't side stories or complements to each other), though in here, Radolf was portrayed as a Oracle (1 rank below of the Cardinal rank he has in the game), and it was established that he had a partner during that time. The Radolf of the game didn't have a partner, because he was promoted to the [Cardinal] rank before the start of the game. And during the game, he also rose up other rank (to the Bishop rank), so basically, he didn't need to have a partner. This song was crafted by Fayma for the sake of protecting Radolf, and it's very close to a high class song in terms of power. Composer's Comments: 今回はOVAの音響監督をやらせて頂きましたが、まさかこの期に及んで詩魔法まで作ることになるとは、夢にも思いませんでした。久々のアニメ劇伴ということもあり、ゲーム本編及びサントラはなんとな~く避けて通っていたオーケストレーションに気合いを入れて挑戦してみました。そして後悔しました。何度オーケストラ物はやっていますが、やはり難しい！しかし音曲は最高にカッコよく仕上がったと自負しております。難解プログレ色バリバリの曲です！変拍子最高！ビバ変態！とか一人喜んでいたのですが、歌い手の石橋優子さんをはじ め、作詞家の高橋麗子さんやヒュムノス部分を作詞していただいた、土屋氏など、いろんな方々に迷惑をかけていた事に気付いたのは、独りせつせとミックス作業をしている時でした。みなさんごめんなさい。難しくてごめんなさい。でもこれ らも難解な曲を書き続ける僕を見捨てないでください。反省はしていません。(稲垣) When I received the task of sound supervisor for this OVA, I didn't evenimagined nor dreamed that I would have the task of making a Song Magic. Being a long time anime-drama follower, and also, having done part of the soundtrack of the game, I wanted to avoid as much as possible having to pass through orchestrations, but I ended accepting them as a challenge. And then, I regretted doing it. How many times I have done a work together with a orchestra, in spite of being so difficult! However, the finished pieces were done with all my skill on musical performance, and I'm glad that I can brag about it. Is a difficult progressive tone-crunching tune! The supreme rhythm change! Viva metamorphosis! Among the things that were a pleasure for me were when I first met the singer, Ishibashi Yuuko-san, the lyricist, Takahashi Reiko-san, and the lyricist for the Hymmnos parts, Mr. Tsuchiya, and everyone else, I recognize that I annoyed them all in various ways with small things, so I was mostly alone when doing the mix work. Sorry, everyone. Sorry for giving you all trouble. However, I shall continue writing these difficult tunes, so please, don't leave me alone. These are my reflections. (Inagaki) EXEC_HYMME_LIFE_W:R:S/. Comments: Director's Comments: 今日も私はせっせと頑張る大好きな人のために Today also I shall diligently give my best for the sake of the person I love ゲーム本編をプレイされた方にはおなじみのライフウォーム、ライフリフレッシュ、そしてライフシャワーの曲です。このCDに収録されている3曲は全部、ゲーム本編で出てきた詩達とは違い『100%純粋な自分の想い』で構成されている詩達です。 そして『塔をコントロールする詩』ではなく『塔から力をもらい、自らの想いを具現化する詩』です(厳密には、前者をヒュムノス。エクストラクト、後者をヒュムノス。ワードと言います)。ゲーム中ではヒュムノスワードは聴けませんが、実際はこのような曲だったりするわけです。 If you played the game, then you must familiar with the songs Life Warmth, Life Refresh and, finally, Life Shower. However, all of the 3 songs that are recorded in this CD are different from the ones in the game since they are called Songs that [are 100% pure feelings]. So, they aren't [Songs Used to Control the Tower], but rather, [Songs used to draw power from the Tower and materialize your own feelings on the real world] (strictly speaking, the former ones are called Hymmnos Extract, while the latter ones are called Hymmnos Word). In-game you didn't hear any Hymmnos Word songs, so these are practically the only songs with this characteristic. Composer's Comments: 最近似たような傾向が多かったので、普段使わないコード進行やら囁きやらで冒険させていただきました。とっても怪しいコードが続出で、変に不思議な曲になったんではないでしょうか？ 制作中はノリノリで、『やった！いつもの曲と違うかも！』などと思い制作していましたが、完成してみたらやっぱりいつもの曲でした...とほ(涙)。お釈迦様の手のひらの上な気分です。効能キーは『癒し』、効果 は『a波増幅』だといいなぁ...などと思ってます。話は変わりますが、プレイされた方から『戦闘中にも詩が流れれば良かった』という御意見頂きました。実はガストサウンドチーム内でも開発中に議論された全部ではありましたが、結論として止めにしました。詩魔法に本当の詩を載せることはとても大変なことです。作業量や制作資金という意味ではなく、コンセプトや理想像という意味で。理由 をお話ししていると長くなりますので、ここでは割愛させていただきますが、一言で言うのならそれがガストサウンドチームのこだわりであり、皆さんにゲームを楽しんでもらう為の結論だったのです。音楽がゲームを食ってしまってはいけない、しかしゲームが音楽を支配してもいけない。今回のヒュムノスは全部、そんな微妙なバランスの元でその均衡を崩さずに完成させた1つの結果でもあるので す。この辺りはまた、機会があれば語りたいと思っています。(土屋) In the many recent change of trends, I have had the privilege of adventuring with not using the habitual chords, but rather an advancing and whispering kind of them. They look like very suspicious chords because of they appearing one after the other, and I was wondering if it did turn this song in something curiously mysterious...? When I was in high spirits while working, I had [Yes! I made a melody that is different from every other!]-like mindset , while when I was feeling down, I thought that my songs weren't as good as any other out there...boohoo (cries). I was feeling like a monkey on the palm of Buddha's hand. The Effect Key of this song is [Healing]. while its effects are [Amplification of Alpha-waves]... or something like that. To change the topic of the conversation, I'm very sure that you all should have felt while playing, regardless of your playing methods [Relieved thanks to the song that it's flowing in the battle], and that is something I'm really pleased to see. By the way, even if I am a member of the Gust Sound Team, there were many discussions about all the parts of the development of this project, and I'm glad it concluded successfully. It's a very hard thing to say that the Song Magics are real songs. The quantity of work and the funds I had for this project are insignificant, the really important things are the concept and the ideal that this project has. Telling why would be somewhat long. Even if I have to omit a lot of things, and I would had to sum everything in few words, these word would be that this project is the main obsession for the Gust Sound Team, and we sincerely hope that everyone enjoyed the game, since we made it with that final purpose. The music doesn't limit or constraints the game,however, the game doesn't control the music either. This Hymmnos has it in all of its parts, the origin of that delicate balance, that if it's completely crushed, it can only have one outcome. This is all for this time, and I hope to have another chance to talk with all of you. (Tsuchiya). EXEC_HYMME_MOISKYRIE/. Comments: Director's Comments: あの人を助けるだけの力を、私にください Please, give me only the power to save that person モイスキュリエという詩魔法の本体は、4/4拍子の部分です。この曲はエンディングでも使用可能にするために、本来ならは別々にしても問題ない2曲をミックスして1曲にしています。かなり高等な詩魔法で、更にはゲーム内でも行われていた『現実世界で詩を紡ぎ出す』行為をやってのけています(ダイブせずに現実世界で詩を紡ぐことは、とても大変なことなのです)。効能は、パートナーの保護と攻撃力のアップを同時に行うもので、フェイマがラードルフに紡ぎ出すLUMINOUSDEF(ルミナスディフェンス)と近いものがあります。パートナーを護るための『青魔法』の力は、レーヴァテイルにとって、どれだけパートナーを想っているかの指標とも言えます。守護の最上級とも言えるMOISKYRIE(モイスキュリエ)を紡ぎ出したオリカは、心の底からライナーを護りたいと想っているという事です。 In essence, Moiskyrie is 4/4 rhythm song. This song was used as the ending, and in order to do so, we had to mix two songs into one. Is fairly high class song magic, furthermore, it was [a song magic that was crafted in the real world] successfully (because it's a song that was crafted in the real world, without the aid of the Dive method, which is a very hard thing to accomplish). Its effects are raising both the defense and attack power of the partner at the same time, which makes it very similar to the song that Fayma crafted for Radolf, Luminous Def. Since it was crafted with the purpose of protecting the partner, it's a (Blue Magic), which for the Reyvateils is a indicator of how much she cares about and wants to protect her partner. Moiskyrie is the highest grade protective song that Aurica crafted, and she did it because she felt that she wanted to protect Lyner from the bottom of her heart. Composer's Comments: 久しぶりムービーファイルをリンクして作曲しました。映像が主導権を握っている曲です。これが苦しいんですよ...。でも楽しいのです。何が楽しいって、映像とピッタリ合った曲を描いた瞬間！そして今回は、以前よりやってみたかった男性クワイアを入れてみました。本当はゲームBGMでも使ってみたかったのです。狙い通りのファタジーを雰囲気になっているか不安ですが。さて、今回もゲームのヒュムノスと同じく、本当に沢山の方の想いに支えられてこれだけの楽曲を作ることが出来ました。LIFE_W:R:Sで囁いて頂いた松元さん、そしてMOISKYRIEで力強いコーラスを謳って頂いた皆さんも、突然のお願いにもかかわるず快く引き受けてくれ、本当にありがとうございました！霜月さん、稲垣さんにもいつも以上のチャレンジをしてもらった気もします。本当にありがとう。これからも惜いみないチャレンジで大冒険を繰り返した挙げ句、リスナーの皆さんに鳥肌立てるような曲を作り続けで行ますよ！どうかこれからも、末永くよろしくお願します！(土屋) It has been a lot of time since I composed for a movie. It's a melody that reflects leadership. It was a real pain to do it... and it was really fun. It was fun because, it ended reflecting exactly the melody I had on my mind! And so, this time is different from the previous ones, since I also inserted a male choir. Actually, I used a BGM similar to the ones of the game. I was anxious because I didn't know if the mood would be the fantasy one that I aimed for. So, this song is similar to the Hymmnos of the game, because actually I was able to compose another tune capable of controlling the emotions in various ways. And so, I want to give my heartfelt thanks to Matsumoto-san, who did the whispers for LIFE_W:R:S, and was the lead of the vigorous chorus in MOISKYRIE, and since it was a somewhat abrupt request when I asked that to her, though she accepted with so much enthusiasm, still, I want to give to her my sincerest thanks! And to Shimotsuki-san, and Inagaki-san, thanks for accepting such a challenge as this. Really, a lot of thanks. I don't regret having done it, and I seriously hope that we can embark on other great adventure accepting such challenge again, and to all our listeners. I hope you all enjoy and get the shivers from listening to the songs we have, and we will continue composing! So, it will be a great pleasure to be your acquaintance forever! (Tsuchiya) |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #6 Jun 21 2013, 04:51 PM | aquagon |
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Ar tonelico OST Comments: アルトネリコのサウントラCDを買ってくれたありがとう。緻密な設定と世界観で異彩を旅つアルトネリコの世界。このゲームの音楽を製作するにあたり、ジャンルを超えた音楽性の確立や、様々なアーティストとのコラボレーションなど、今までの製作とは一味違う苦労がありました。本作はサウンドチーフでもある土屋さんがゲームの総指揮を執ったことにより、彼らしい音楽性が随所に見られます。多重コーラスワークスや民族調の強い音楽性などは今までのガスト作品でも見られましたが、今作ほど全面的に押し出したものはなかったかもしれません。サウンドトラック全体としてみれば節操がないほど様々な音楽性を取り込んでごちゃ温ぜにした、なんでもありなサウントラですが、ゲームの方もありな世界。これはこれで一つの正解というか、土屋ワールドがうまく表現されているのではないでしょうか？ガスト作品は従来内蔵音源を使用してきたのですが、ストリーム再生に対応したことで製作の幅がずいぶんと広がりました。個人的には愛用していたウィンッドシンセを使って音曲を製作できたことが、一番印象に残っています。機会があればまた使いたいですね。そのためにも練習に励まねば..。魅力的なキャラクターやオリジナリティ溢れる世界に響き渡るアルトネリコサウンド。冒険の合間にお気に入りの一曲を見つけていただけたら幸いです。 サウンド 中河 健 A lot of thanks for having bought the Soundtrack CD of Ar tonelico. The delicate creation and the mysteries are the nature view of the world of Ar tonelico, the same you will be traveling in the game. When we made the music of this game, we decided that we would cross over the established genres of musicianship, and with the collaboration of various artists, and until now, we ran in various hardships during the production of the music. The Sound Chief in this work was Tsuchiya-san, which took the role of supreme commander of this project, and immediately, he began to seek artists. With multiple parts of chorus work, and strong musical pieces of different genres, this is the best work that Gust has produced so far, and I know that probably we couldn't have accomplished this if it wasn't thanks to everyone. If you examine the integrity of soundtrack, you can see that we took a variety of musical styles, and that the pieces give off a warm aura, which in a sense, is the same one that the game's world gives. This could be the only interpretation of the world that Tsuchiya created with so much skill? For this work, we stopped using the traditional sound sequencers we used since we started working in Gust, and decided to begin using the support of the Stream playback to enhance the overall quality of our work. My personal favorite songs are the ones that we were able to compose through the use of the wind synths, and these are the ones that left the best impressions on me. I hope we have another chance of doing such a work. If I could encourage the use of that practice to accomplish that goal... With its charming characters and world that overflows with originality, we hope that the sounds of Ar tonelico echo to you. We'll be very happy if you find a favorite tune during the course of your adventures. Sound Team: Nakagawa Ken ブランニュータイトルを出すときの気分は、何度味わってもいいものです。挑戦者の気分というんでしょうか。なりふりかまわず全力で向かっていける勇気というか、まっさらなキャンバスに最初の筆をいれる時の楽しさというか。そんな作り手側の新鮮なワクワク感を、少しでも多く作品に注ぎ込んで皆さんのもとにお届けできれば幸いです。思い起こせば、僕自身がゲームというものに出会った当時、発売される新作ゲームのほとんどはブランニュータイトルでした。遊んでみるまでおもしろいかどうかはおろか、どんな内容のゲームなのかすらも細かいところまでは分からないなんてことも良くあったものです。とぼしいお小遣いをはたいて購入するときの期待と不安がないまぜになった不思議なワクワク感は、今の僕の気分に通じるものがあるかもしれません。そんなワクワク感に見事に応えたゲームタイトルはさらなる期待に応えるべくシリーズ化され、中には今現在もシリーズ作を出しつづけている人気タイトルも少なくありません。今では一大ブランドとなった人気シリーズも、最初の作品をたどればどれも知名度はなく、それゆえに野心に溢れた冒険作だったのです。そらが大きな期待を集めるタイトルへと成長していく原動力はいつも、ファンの方々の熱い支持だたことは間違いありません。この『アルトネリコ』も皆さんの暖かい応援に育まれ、小さな苗木から文学通りの大樹へと育てくれたら、作り手としてこれ以上の喜びはありません。 サウンド 阿知波 大輔 The mood I had when I was producing this brand new title, is a thing I have tasted many times. I wonder if this is how someone feels when taking a new challenge? Regardless of everything, it always goes with courage and using all of its strength, and if it's always so fun when writing and drawing from the start in a new canvas. In that way, us, the creating side, we always feel a fresh excitement with this, and we'll be really happy if the feelings we had when doing all that numerous works reach all of you. If I recall something, in the time when I encountered the games, I always was excited when a brand new game title was released. All the feelings I had when playing then, regardless of if I thought that the games I was playing were interesting in some way, boring, or if I couldn't understand what I had to do, I always thought that the games had some good content in them, even in the ones that had very few good points. Even if I had to use my limited money, when I purchased a game, I always was expectant and anxious, but when I started playing it, these sensations changed to a mysterious sensation of nervousness, and that might be the feelings I want to convey to you all. In order to respond to these feelings of nervousness, and to those splendid acts, I did my best in helping with the creation of various titles and series, and among them, I think that the series we have continued to work on aren't unpopular by any means. This current series looks like it also has turned into a very popular brand too, and I hope that the players that have some familiarity with our previous works will also aspire for more worlds overflowing with adventures. These are the great expectations we have tried to gather for this new title, and have grown to be our motivating force, and we will show to our fans that supporting us was not a mistake. I hope you all will also support [Ar tonelico], and though it's only a sapling in literature, we hope that we will be able to grow it into a great tree, and as its creators, we'll be as happy as any of you for it. Sound Team: Achiwa Daisuke 音楽は音を楽しんで音楽と書くわけですが、今回のサウンド制作ではそれを肌身に感じる機会が沢山ありました。『音』や『詩』テーマとした今作。その音楽は詩もBGMも今まで以上に沢山のこだわりがあります。世界観の統一、場所ごとの雰囲気作りや場の表現など、ありと あるゆる角度から音というを見直し、そして何度もリテイクしながらの構築となりました。今回私は2曲程度の作曲となっていますが、今回のために恊力してくれた歌い手さん、作詞家さん、作曲家さん、そして社内サウンドスッタフ達が、一つの世界を真剣に紡いでくれ、一つの調和のとれた世界観を音で構築してくれました。それは、関わってくれた全員が自分の仕事を楽しんでやってくれた、このゲームの世界を好きでいてくれたからに他なりません (私自身が書いたシナリオなのに、歌い手さんの方がセリフを沢山覚えてくれていたのは事実です)。そんな皆さんが作ってくれたこのゲームの音楽は、どの作品よりも、『音』に対して愛が詰まった作品であると自負しております。そして今作は、私の音楽人生で一つの節目となるモノとしても作らせていただきました。きっと、皆さんにもご満足いただける作品となっていることと思います。しかしこれで終わりではりません。次は更けなる新たな冒険で出発し、また今回以上の作品を紡ぎ出していきます。今後とも末永くお付き合いいただければ幸いです。今回参加してくれた、本当に大勢の大勢の皆様、そしてサントラを聴いてくれている皆さん、本当にありがとう。音の力はすごいものがあります。それを少しでも感じ取っていただけたのなら、これほど嬉しいことはありません。 [hymmnos]Was yea ra chs hymmnos mea[/hymmnos] Was yea ra chs hymmnos mea ディレクター、サウンドディレクション 土屋 暁 The music I have composed was specially made to entertain everyone, and like many other times before, I took the chance to make everyone feel in their bodies the sound work of this game. The [sounds] and the [songs] are the main theme in this game. I was determined to make the music, be BGM or vocal songs, even better than the many others I composed before. For consolidating of the view of this world, making the atmosphere for each place unique, and express these atmospheres, I wanted to reconsider that view from the angle of the sounds, and so, I did many retakes for the establishment of the world. Even if this time I only could compose two songs, to accomplish this I collaborated with the singers, lyricists, composers and, finally, the sound staff of the company, who earnestly helped in the crafting of this one world, and working in harmony, we created a world's view based on the sounds. And so, all the workers of the company influenced my work, and I had a lot of fun doing it, and I hope that you end liking the world of this game more than any other one (I wrote the scenario, however, the singers contributed greatly to it with their own experiences). So in those ways, everyone made the music of this game, and, in various ways, the [sounds] are full of love, and because of that, I'm proud of having done this work. And then, when I was tasked with this project, it became a important turning point in my career as a musician. Certainly, I think that this will be satisfactory for everyone that plays this. However, this is not the end. The next time, we will be departing in a new adventure, and we will craft a work that will surpass even this. From now on, and forever, we will be happy to be of your acquaintance. For their very important participation, I give my heartfelt thanks to everyone in this big crowd for listening to the soundtrack. The power of the sound is really amazing. And if you can feel it only a little, then it means that our efforts weren't good enough. I will be happy to turn into a song Director, Sound Direction: Tsuchiya Akira |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #7 Jun 21 2013, 04:52 PM | aquagon |
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Soundtrack Diaries: 謳う丘(DISC01-01) この曲のメロディとコードは、実はゲームの立ち上げよりも前にありました。アルトネリコという作品は、私にとってはこのプロジェクトと共に始まったものではなく、2000年には既に有ったものなのです。いや、アルトネリコという名前を冠していないウチから世界だけは存在していました。その創造年は1997 年。そんな思い入れの深いオリジナル世界。更にこのプロジェクトの話が浮上するまで、ゲーム化できるなどという話は夢物語のように思っていましたので、せめて個人アルバムとして、音楽でこの世界を綴ってみよう…と思い、作った１曲目が謳う 丘だったのです。謳う丘は、自分の作曲する音楽としては珍しく、すんなりと自分で受け入れられた曲でした。自分で創った曲は、何度聴いても納得いかず、最後まで自己評価が低いのが常なのです。そんな中で謳う丘は、まだメロとコードしかないうちから気に入っていて、アレンジする前からちょくちょく聴いていたのを覚えています。 その後、志方さんと出逢い、この曲を歌ってもらえるのは彼女しかいない！という想いで志方さんにお願いしました。謳う丘は、志方さんにもとても気に入っていただけて、また志方さんファンの皆様にも受け入れていただけて、私としてもとても嬉しく思っています。 いつ頃からか、いつの間にか、多重コーラスに魅了され、エスノとポップスの狭間のような音楽を作り続ける音屋になってしまいました。更には年間数えるほどしか作曲しないような生活になってしまいました。しかし、音への情熱は昔以上です。これからも、様々なアプローチで、音というものを表現していけたらいいなぁと漠然と思っている次第です。（土屋） Comments for Singing Hill ~ Harmonics EOLIA ~ The melody and chords of this song were actually just a prelude to the start of the game. The project called Ar tonelico is something I didn't intend to work in from the start, since it was began to be planned in the 2000. No, I didn't give the name of Ar tonelico only to the world that exists in it. The creation date of this project dates back to 1997. Then, I had thought of a very original and deep world. Furthermore, until I surfaced the topic of this project to the company, it becoming a game was more like a dream of my own, but at least this individual album, lets you see how this world is made from music... or at least that's what I think, with the first track of the soundtrack, Singing Hills. Singing Hilsl is one of the songs I personally composed, and even if it's somewhat unusual, I hope you can accept it. As one of my songs, I hope you hear and grasp it many times, and at the end, I hope you will cherish it forever. For Singing Hills, I remember that, when the melody and code didn't match to what I had on mind, I had to listen to what I had composed a lot of times before doing the arrangement. And after that, I met Shikata-san, and she accepted to sing this song! She accepted to sing it after I asked her to do so. Thanks to Shikata-san, SInging Hills turned out just as I wanted, and if every fan Shikata-san accepts and likes this song, I will be very happy. Since from a long time, and during a long time, I was very fascinated with the multiple choruses, and ended turning the music I composed into something that was similar to the interval between Ethno and Pops. Furthermore, with the passing of years, it looks like I haven't composed as much as before lately. However, my passion for the music is still the same. From now on, and through different approaches, I will not allow that my pessimistic thoughts interfere with the expression I intend to put on my music. (Tsuchiya) ファンタスマゴリア(DISC02-39) この曲、いきなりネタバレ満点ですよね。ゲーム発売1ヶ月以上前だって言うのに。そんなわけで、この曲に秘められた一つのエピソードをお話ししましょう。この曲、作っているときは全然気づかなかったのですが、私が入社して一番最初に手がけた作品「エリーのアトリエ」のエンディング曲第一稿と酷似しています。このエリーの第一稿として作った曲は、当時のディレクターによって呆気なくボツにされ、その後作った「明日になれば」という曲が採用されています。そのボツになった曲と非常に似ているのです。その曲は実は、ちょっとアレンジを加えて、GBA版「マリーエリー＆アニスのアトリエ」のエンディングとして蘇りました。しかし歌は載りませんでした。今回、無意識にまた同じような曲を創ってしまったということは、私のエンディングに対する観念は、この曲のイメージの様なものでガッチリ固まっているという事になるのでしょう。実際、このファンタスマゴリアをビジョン通りに創りあげたときの達成感は、相当なものでした。特に、みとせさん、志方さん、霜月さんという個性派歌い手さんそれぞれの力を引き出して、そして感動のエンディング曲を創りあげるという事に、自分自身で及第点を与えられたと思っていたからでしょう。また、この曲を完成させるに当たり、述べ30名ほどの方に「世界中の人々」というコーラス隊をお願いしました。その中には皆さんもご存知の声優さんもいらっしゃいましたし、アーティストさん、そしてガストの社員、更にはバンプレストさんのプロデューサーさんまで参加していたのです。みんな本当に楽しく、何かのゲームをしているかのように楽しんで謳ってくれました。この曲からは、きっとそんな力を感じ取ってもらえると思います。この曲に馳せた想いは共存、人類一列皆兄弟！です。みんなで手を取り合って、幸せな世界を創っていきたいという願いがいっぱい込められています。この曲を聴いた皆さんにも、沢山の幸せが訪れますように。（土屋） Comments for EXEC_PHANTASMAGORIA/.: Talking about this song would be a very big spoiler for the storyline of the game, and because of that, I won't say much about it until at least a month has passed after its release. However, I can talk about some of the secrets of this song. I don't remember exactly when I began working on it, but I think it was when I first entered to work in GUST, since it has some resemblances to the first version I composed of the ending theme for [Atelier Elie]. However, the first version got rejected by the director, and ended using up the second version, the song called [Ashita ni nareba (If tomorrow comes)]. That rejected tune is very similar to this one. Actually, that song was rearranged a little and added to the GBA version [Atelier Marie, Elie & Anis], being resuscitated as its ending. However, it wasn't officially recorded. This time, looks like I unconsciously made a similar song to it when I tasked myself with composing the ending theme, but the unique appearance of the image contained in this song was hardened solid as I worked on it. Actually, when I finally finished crafting the vision for Phantasmagoria, I was so happy that I wanted to convey it to everyone, and it was very fitting for it. Particularly, Mitose-san, Shikata-san, and Shimotsuki-san, each gave their own particular singing traits and abilities for the creation of this, and together, we ended creating one of the most moving songs, and I'm very proud of giving to it my passing mark. Then, when the song was about to be finally completed, the 30 persons mentioned in the credits as the [People of the World] offered their wishes to partake in the chorus of the song. Between them there were also some voice actors, artists, and members of the GUST Staff, and even the producers from Banpresto took a part here. The main feelings for this song are the coexistence, because all the humankind, everyone in here, we are brothers and sisters! Let's tie our hands together, and let's wish for the creation of a world enshrouded in happiness. I'm totally sure that when you all finally get to hear this song, a lot of happiness will come to all of you. (Tsuchiya) 朝露溶けて(DISC01-05) 開発初期のころに製作した曲なのですが、従来の音源の主従関係を逆転させることを模索していた時期でした。というのも私はハードウェア音源をメインに使用して、それを補う形でソフトシンセを使用していたのですが、クオリティー面や作業の効率化を考慮して、ソフトウェア音源をメインに使用したいと考えていました。この曲を完成させたときに新しい製作スタイルに確かな手ごたえを感じて、自分の中で使用する機材の主従関係が大きく変わっていきました。（中河） Comments for The Morning Melting Dew (Disc 1 - Track 5) This melody was made when we were in the initial stages of development of the game, and it was in here when we shifted from the traditional sound sources. Because I was using mainly the hardware sound source then, I used mainly the soft synth systems, considering the operability and quality of said systems, but I thought I wanted to us more the software sound source. When I completed this melody, I felt like I had gotten the answer doing music in new styles, and began to change my way of thinking in respect to the use of the new equipment. (Nakagawa) Shooting Star(DISC01-37) 合成音声が印象的な天文台の曲です。今回は歌がテーマになっているので、この音声は様々な曲で使用されています。劣化した音質とやや無機質なトーンが近未来系や退廃的な雰囲気をかもし出していますが、フォルマントを少女の声っぽくすると、妙に可愛げがあって笑えます。で、何をしゃべっているかは曲によって違うので皆さんでじっくり聴いて確認してみて下さいね。（中河） Comments for Shooting Star (Disc 1 - Track 37) This is the impressive melody of the observatory with its synthesized voice. This time the song ended being its own theme, and I have used this voice in various melodies, The degradation of the sound and it's little artificial tone gives an atmosphere of a near, yet decadent future, and the format I gave to it is the voice of girl, though strangely, I aimed to give it a sound similar to the laughter of innocent child. However, even if it's somewhat different of what I originally intended, I hope that it ends having the approval of all of our listeners. (Nakagawa) AT inside～共鳴～(DISC02-25) 割とミニマル系の手法を好んで使うことが多い私（と阿知波さん）ですが、これはミニマル音楽そのものですね。無機質なシーケンスフレーズに始まり、徐々にパート数を増やしつつ、やがて切なく美しいピアノの音色が響きだすと、音世界にグッと引き込まれる気がします。本来、こういう音楽はメインとなるフレーズを何度も脳に染み付くまで聴かせてからじっくり展開させるのが王道ですが、さすがそんなことをしていたら５分超の長い曲になってしまうので、ダイジェスト版っぽく構成してみました。普段こういう音楽を聴かない人も、飽きずに聴ける 楽曲に仕上がったのでは‥‥と思ったのですが、今このコメント書きながら聴き直してみると展開早っ！（中河） Comments for AT inside ~ Resonance ~ (Disc 2 - Track 25) I chose use relatively minimalist techniques for some compositions compared to the other members of the sound team (including Achiwa-san), and this song is one that was one of the minimalist compositions. I was ignorant on the beginnings of the sequence phrases, and I got better little by little as I advanced making the parts, and before soon, I got keen at adding a beautiful piano tone and echo, and I'm glad I could draw in so well the world of the sounds. Essentially, music like this ends up becoming a main phrase, and I can't remember how many times I had listened to the songs that moved me very deeply, even the ones that I carefully developed instead of doing them through the easy way, and I'm still amazed that I managed to make these long pieces that surpass the 5-minute mark, organized in my digest edition. Usually, the people listen too to the music, though sometime I'm very tired when giving the final touches to a song... What I'm thinking!? I have to finish writing this comment to return quickly to the development works! (Nakagawa) Vidarr(DISC01-13) カシ○ペア風のイントロがお気に入りのナンバー。 キーボード３台並べて、オルガン・ブラス・オケヒットの３音色で演奏って感じ です（笑） さて、この曲ではEWI3020を使用しました（知らない人はさらっと流してくだされ） が、ギターの方は打ち込みなので、正確無比な上に超絶技巧もお手の物です。 （打ち込むのはめちゃくちゃ大変だけど） そのため、対旋律を吹いたりギターとユニゾンで合わせるのはかなり苦労しました。 特にチョーキングに合わせてベンドコントロールをするのは難しかったです。 結局「テンポフリーで吹いたほうが良いかも」ということで、部分的にバックトラックを聴かずに録音したら以外とうまく吹けたりしました。 最終的にはEWIレベルが３ぐらい上がったかも（笑）（中河） Comments for Vidarr (Disc 1 - Track 13) With a intro made of a pair of woodwinds, my favorite piece begins. Feel the line-up of 3 keyboards, the organ, the brasses, and the playing of a 3 set orchestra. (laughs) Well, for this song I used the EWI3020 (I wouldn't be surprised if most people don't know about it), step recorded the playing of a guitar, and executed it with unsurpassed accuracy and excellent techniques, this being my specialty. (However, I think I dedicated myself too much to this) For that reason, I emitted a opposing melody at the unison, so it matched the one of the guitar of the guitar, and making that was very problematic. Doing the bend control was particularly frustrating and hard. After all of that, I did something called [Sprouting in a good form a free tempo], and did a partial backtracking to see if the recording ended as I had expected. Finally, I leveled up to level 3 in EWI using ability. (laughs) (Nakagawa) 新緑の大地(DISC01-04) パンフルートの素朴な雰囲気が印象的なワールドマップの曲。大地の息吹を感じさせるこの音色は小編成のちょっとした楽曲だけでなく、壮大なナンバーにも十分に耐えうる艶とインパクトを持っています。 パンフルートと言えばやっぱりザンフィルですよね。というかザンフィルしか知らないし。そんなわけでザンフィルっぽさが出てるかな？（中河） Comments for Green Lands (Disc 1 - Track 4): The simple atmosphere of a pamphlet it's on the song of the impressive world map. The breath of the earth can be felt on this, but the tone of this little composition it's not only a petty song, it's a magnificent enough number that withstood the impact and charm that it carries. If I called it a pamphlet, then also it would simplifying it, right? Maybe I should say that I don't know well why I simplified it. Maybe I should leave behind that conclusion? (Nakagawa) 夕焼け空は茜色(DISC01-17) この曲は「いい雰囲気のイベント曲」という指定だったのですが、いい雰囲気をどう捕らえたら良いのか分からず土屋さんに聞いてみると、某ギャルゲーのサントラＣＤを持ってきて、「こん中に入ってる曲からいい雰囲気系のやつを参考に」 ということになりました（←おい！）。 で、それを聴いてみるとなんかピアニカを吹いている曲があったのですが、これがなかなかいい雰囲気だったので、じゃあこれに対抗してハーモニカで‥と思ったのですが、ハーモニカなんて持ってないし吹けないので、手持ちのウィンドコントローラー（WX5)を使いました。土屋さんトコから調達してきたVl70-mというちょっとユニークな構造の音源に繋いで、気に入った音色で吹いてみると意外といい雰囲気に！ こうしてピアニカに対抗してハーモニカ（っぽい音色）の曲ができたのでした。 ついでにこうして私は土屋さんのVl70-mをゲットしたのでした（笑）（中河） Comment for "The Sunset Sky is Red" (Disc 1 - Track 17) This melody was called by us the [ melody for events with a pleasant atmosphere], and I think that we managed to capture and understand the essence of a good atmosphere in it when Tsuchiya-san listened to it, though it carried a resemblance to the soundtrack of a certain gal game, and I decided that [I should give to him this good atmosphere melody to consult it with him] (<- Hey!) So, hearing it, and softening the piano and the harmonica, I ended making a good melody, this a very good atmosphere song, but the harmonica was doing the opposite in here... at least that was what I thought, but I decided not to use the harmonica, and decided to use the wind controller (WX5). Tsuchiya-san provided me with a unique sound source structure called V170-m, and when we began using it, the sound of the wind ended giving a surprising pleasant atmosphere! Thus, despite the opposition between the piano and the harmonica (tone-like) of the song, we were able to do it. Incidentally, I have still to get V170-m like the one that Tsuchiya-san has (laughs) (Nakagawa) Chornicle of Gene(DISC02-35) この手のドキュメンタリー番組風の曲は個人的にすごく好きで、一時期こうしたものばかり聴いていた時期があります。サウンドトラックの中でもドキュメンタリーというジャンルは興味深く、一度はチャレンジしたい分野です。しかし受信料というものはなぜ払わねばならないのか今でも拙者は疑問に思っているのだが、油断しているうちに毎年引き落とされてしまうのでござる。無念。 （中河） Comments for Chronicle of Gene (Disc 2 - Track 35) I like a lot the individualistic feeling and documentary like style that I made with this song, and I spent a lot of time hearing it after it was finished. When I was working In the soundtrack, I had a deep interest in the documentary style, and making this was a challenge on a field I wanted to take. However, I didn't understand that the paying of the license fees could end becoming a problem, and I didn't even thought of that until now. Even if I wasn't prepared for it, at least I was to able to get a reduction in the paying of that. Now I regret having done it. (Nakagawa) |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #8 Jun 21 2013, 04:52 PM | aquagon |
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Brave Beat(DISC01-16) この曲、実はラスボス曲として製作していました。しかしちょっとラスボスにするには安っぽいかなという気がして結局やめてしまったのですが、後ほど企画側から戦闘曲の追加要望が来たので、製作途中でやめていたこの曲を完成させて採用したのでした。 イントロはレーヴァテイルの祈りをイメージしたのですがちょっと神秘的ですよね。そういえば、今思い出したのですがラスボス曲「終章・幻想遺伝子」ってオープニングでも使われているんですよね？（土屋さんからオープニング用に編集したバージョンが欲しいという依頼があったので）。 ラスボス曲が最初に流れるゲームって‥‥ある意味斬新だ！いきなりラスボス戦なみの緊迫感を演出するとは思い切ったことをするなぁと思いました。 でもいきなりラスボス戦並の難易度だったら嫌ですけどね（笑）（中河） Comments for Brave Beat (Disc 1 - Track 16) (and also, for Final Chapter ~ Illusory Gene ~) (Disc 2 - Track 38 ) To be sincere, I thought that this melody was going to be the one used for the final battle. However, short after it we saw how the final boss was, this melody looked insignificant for such a battle, and after a while, we ended discarding the idea, and eventually, we asked it to be a supplement melody for battles, and during the production of the game, after the melody was completed, eventually found its way into the game. The intro gives the mysterious image of a Reyvateil praying, no? Which reminds me right now that the melody for the final battle [Final Chapter ~ Illusory Gene~] wasn't used too during the opening sequence? (Tsuchiya-san himself requested a edited version to be used in the opening sequence during the editing process of the game). The final boss music being used at the very start of the game... now that's something original! We produced the song so he sudden beginning of the battle with the final boss gave a sense of tension, and I think that it also gives a sense of bravery. However, I also think that the average of final battles have a rather unpleasant level of difficulty, no? (laughs) (Nakagawa) マッタリビング(DISC01-20) 曲名はマッタリとリビングを合成したのですが、なんでこんなことになったかというと‥。 「マッタリリビングイベント」という指定の楽曲があったからです。 で、私はもう意味がチンプンカンプンでとりあえずマッタリ感とリビング感を出そうと思いつつ曲を作っていたら、なんか頭のなかにダイ○ンエアコンの某キャラクターが一杯現れて上空を飛び回り始めました。 そして出来上がったのがぴ○ょんくんのテーマ曲‥じゃなくてマッタリリビングイベント曲なのです。みんなには内緒だよ！（中河） Comments for Malta Living (Disc 1 - Track 20): The song name Malta Living is a mix of terms, but about what they mean... We just designated this song for the [Malta Living Events]. The first time I heard the title,I thought it was just gibberish,but later on it gave to me a sense of laid-backness (mattari/malta) and a sense of living (rivingu/living) and after that I composed this based on that, it gave me the idea of the character being under an air conditioner, drinking tea, while flying through the high sky. And finally, when it was completed, it ended being the theme for the laid-back scenes... Well, that's the explanation behind the Malta Living Events. Everyone, that's a secret! (Nakagawa) 空の街(DISC02-14) やっぱりこういうのほほんとした曲がないと落ち着きませんよね。 なんか今回のサントラはドカーンていう派手なパーカッションが鳴り響く楽曲が多く、ヘッドフォンで聴くにはちょっとつらいものがあります。私も年寄りになったなぁ。 そんなわけでみんなも耳を大切にしましょう。 ‥じゃなくてコメントなのですが、楽曲のイメージとして「心地よい氷の舞。オーロラの雰囲気」という指定がありましたので、神秘的なひんやり感と幻想的な暖かさというなんか相反するような温度感を絶妙にミックスしてみたつもりです。 女性コーラスの神秘的な響きや、シンセのふわふわと舞う粉雪のような音色は、涼しげだけど温かみもあるとは思いませんか？（中河） Comments for Sky Town (Disc 2 - Track 14) You all thought that I wouldn't be able to compose a song as peaceful as this, right? Well, in it's composition a used a gaudy reverb percussion a lot of times, called the De Caen, though it was a little painful having to use headphones all the time for working with it. I think I have also gotten old... Because of that, I hope you all that hear it end treasuring this piece. ...Well, continuing with the comment, the image we designated for this composition was [A comfortable dance of ice and an atmosphere of aurora], giving it a mysteriously pleasant feeling and fairytale-like warmth, and we planned to give to it a contrary feeling of a warmth feeling being mixed with some exquisiteness. The mysterious echoing of the female chorus, the sound similar to the dancing powered snow and the airily synth, don't you think that is both warm and refreshing? (Nakagawa) Fenrir(DISC01-06) 戦闘曲作りが大好きな僕ですが、さすがにこう長いこといくつも作っていると開ける引出しも枯渇してくるというもので、ブランニュータイトル・アルトネリコのバトルにはどんな感じの曲が良かっぺや～なんとか違うイメージ出したいしなあ～と苦心してあれこれ試案を出して最終的な採用案となったのがこれです。 アナログリズムマシンライクなリズムトラック、硬質なベースライン、思い切り左右に振られて執拗に同じシーケンスをくり返すマリンバ、シンセリードが唄うヒロイックなメロディー、そしてブレイクにはラップが登場します。 僕らしくもあり、らしくなくもあり（？）聴いた方の意見も真っ二つに割れるんではないかとドキドキワクワクしております。（阿知波） Comments for Fenrir (Disc 1 - Track 16) This is my favorite battle theme, it came unexpectedly to me and reopened my eyes when I was drying up and thought that I wouldn't be able to compose anything after doing so many songs, and I felt that this song was perfect for the Battle Theme of the Brand New Title, Ar tonelico ~though somehow I wanted it to give a different image~ and after many tentative trials, we finally ended using this version. The rhythm of this track is similar to the rhythm of an analog machine, a stiff bass line, the similitude of the sequencer to the feeling of fighting with all your heart and the repeating marimba, and the synth lead singing a heroic melody, and then the break before the loop. We, and everyone (?) we are nervously hoping that this doesn't end causing a division between the listeners because of all the musical styles fused into it. (Achiwa) チクタクマン(DISC01-11) お間抜けなシーンにひろく使われておる曲です。こういった状況描写系の曲を作ったのはけっこう久しぶりで楽しく作りました。 ちなみに僕がこういった状況描写系の楽曲を作るときにいつも参考にするのが、かの有名なジャズピアニストにして作曲家・羽田健太郎氏の楽曲です。名作『マクロス』はじめ数多くのアニメやドラマ、最近はゲームにも曲を提供しておられますが、中でも僕が傑作だと思うのは『名探偵ホームズ』（TVアニメ版）のサウンドトラック。 OP/EDテーマソングもあわせて16トラックとコンパクトなサントラですが、あらゆるドラマシーンに柔軟に対応し、かつ単純な劇伴の範疇を超えて想像力をグイグイ増幅させてゆく手腕はさすがと言うほかありません。 あ、ちなみに曲名はゲームのほうのサブタイトルがアレなのでそこからナニして‥分かる方には分かりますね。（阿知波） Comments for Tic-Tac Man (Disc 1 - Track 11): This is the melody that we used so extensively in the "stupid" scenes. We made a melody depicting this kind of circumstances since we had a long time since we composed a really fun tune. By the way, when I compose a song for such a kind of situation, I always use other songs as a reference, such as the ones that famous jazz pianist composer, Haneda Kentarou, composed. His masterpiece, [Macross], was what got me into anime and dramas, and I think that among his latest works, his masterpiece was the soundtrack for the [Great Detective Holmes] TV anime series. Including the OP/ED theme songs, that soundtrack is only 16 tracks long, so it's a very compact one, but all of them really adapt to all the dramatic scenes and interactions, and despite it's simplistic dramatism, it has crossed the boundaries of imagination, and on my opinion, no other composer has done something so skillfully. Oh, by the way, the song title comes from the feeling of "...what are you doing?" I don't know if I explained it well enough to be understood, eh? (Achiwa) Berserkr(DISC01-25) 冒頭から三味線のリフがジャパネスク・パンクなイメージを演出する印象的な曲ですが、ともするとお侍が大勢でタコ踊りをくりひろげているイメージが展開されるおそれがあるので油断は禁物です。 巨大企業『天覇』関係のボス戦用に用意した曲ですが、わかりやすい悪役ボルドさんのテーマとして覚えていただけるとうれしいです。ただ、わりかしこの人シリアスなムードとともに登場することが多いのでいまいちキャラテーマとしては印象が残りづらいかも。ちょっと残念。 ちなみにこの曲、パッと思いつくだけでも5～6曲の元ネタがあります。要は自分の好きなタイプの音楽のパーツをごった煮にしたような曲なわけですが、それゆえに今回制作した曲の中でもかなりのお気に入り。とりあえずひとつだけ元ネタをばらしますと、メロディをとるシンセは「燃えよドラゴン」を意識してます。（阿知波） Comments for Berserkr (Disc 1 - Track 25) From the start, the riffing of the shamisen puncture has given the image of a Japanesque and impressive melody, and I ended developing a melody that gives a image of samurais dancing like octopuses in a great and dangerous battle. This is the battle theme I prepared for fighting against one of the bosses of the corporate giant [Tenba], and it's easy to understand why I'm happy to remember when I received the task of composing the theme for the villain, Bourd. In simple terms, when comparing this serious guy with the theme of "entry on scene" for one of the many other characters, I wanted to make a lasting impression on the players. Looks like I didn't a bad job. By the way, this song came as a poof from listening to other 5~6 melodies that I was having as material. In short, I used parts of the songs from the musical styles I like and mixed them up to make some of my own, and so, I have my favorite songs between all the ones I made for this project. For now, I'm exposing one of the materials I had, being conscious that this is similar to a synth version of [Oh, Dragon, burn!]. (Achiwa) ポコスコン(DISC01-30) これも状況描写系ですね。こういった曲はある程度作り方の定石みたいなものがあるので、そこにどうひと味加えて個性を出すかが工夫のしどころです。この曲ではドラムンベースのループリズムにチープなシンセリードが載って、タイトルどおりポコスコポコスコと愉快でお気楽な雰囲気を演出しました。ドタバタシーン用の曲でしたが、『楽しい実験の時間』みたいな味わいも。（阿知波） Comments for Pocoscon (Disc 1 - Track 30) This is also used for depicting a situation. This sort of melody is something that has something similar to an already established method of composing, and I wanted to add my own touch to it, since it's my work. This melody was recorded using a rhythm of Drum 'n Bass loop, and a lead synthesizer, and we gave to it the title PocoscopPocosco, since it sounded happy, and gave off a comfortable atmosphere. This is the melody used for the slapstick scenes, and we gave to it a sense of [time for a fun experiment]. (Achiwa) ササゲウタ(DISC01-33) 中国人女性による唄とも詠唱ともつかぬ声が宙を舞い踊るような、不思議な雰囲気の曲です。 中国の音源を集めた素材集に入っていたものを使っていますが、イメージとしては朱哲琴（ダダワ）を強烈に意識しました。 ソロアルバムで楽しめるダダワさんの歌声も素晴らしいですが、僕が一番好きなのは映画『チャイニーズ・ボックス』のサウンドトラックに収録された楽曲です。このサントラ、ベネチア映画祭で「オゼッラ金貨賞」を受賞したというだけあって（どんな賞かよく知らんけど）、個性的な楽曲が目白押しの素晴らしいアルバムで超おすすめ！スクリーミング・ジェイ・ホーキンスのパワーが凄すぎます。 ・・実は映画館で予告編を見て速攻でサントラを買ったはいいが映画本編は未見 だったり。 （阿知波） Comments for Sacrificial Song (Disc 1 - Track 33): With the effect of some chinese women singing an aria together with the effect of their singing in the air, this a mysterious song. I used a chinese sound source I had adquired in my material collection, and I was very conscious that the image it gives was similar to a Zhu Zheqin (Dadawa) song. I really enjoyed Dadawa-san's wonderful singing voice, which was recorded in the soundtrack of my favorite movie: [Chinese Box]. I won that soundtrack in the [Ozerra Gold Award] during the Venecia Movie Festival (without even knowing what the prize was), and having heard and enjoyed that excellent album thoroughly, I super-recommend it to everyone! Whoa, the power of Screaming Jay Hawkins is something really weird... ...Though actually I bought the soundtrack after seeing the preview for the movie and thinking that it was good, so I don't know yet how the movie actually is. (Achiwa) Loki(DISC02-19) アグレッシブなリズム隊とカッティングギターの上で、それと対比するかのように華麗な音色のコーラスとピアノがクッサクサなメロを唄うという、僕の好み全開のアレンジです。お耽美系っていうんですかね。我ながらだっさいの好きやなあ～と思いつつもついついやってしまう・・。 カッティングギターは庶民派DTM屋の味方（？）、あの懐かしの名機SC-88proの音色です。もっとリアルなギター音源に差しかえてみたりしたのですが、このいかにもシンセギターなゾリゾリした音色がこの曲には合うと判断して、このまま行くことにしました。実はほかの曲でも未だにハチプロをそこかしこで使ってたりします。（阿知波） Comments for Loki (Disc 2 - Track 19): Upon the aggressive rhythm and the cutting guitar, there are also a magnificent chorus and piano solo melodies singing, and I'm fond of how the arrangement ended. It's a very absorbing song, no? Even if I do say it myself, I went through some of my previous compositions to get some inspiration, and get comfortable for composing... Cutting guitar is what everyone calls the supporters of DTM (?), the tone of the nostalgic and high-performance SC-99pro. It's somewhat different from the sound source of a real guitar, but I decided that the tone of this synthesized guitar was better for this song, and followed suit. Actually, I have continued using the 8-pro everywhere in all my compositions. (Achiwa) Sleipnir(DISC02-23) これもギター・ベースともども16分で忙しくリフを刻む、一聴してそれとわかるボス戦の曲です。 イントロがお気に入りなのですが、ザクザク刻むギターを聴いていると耕運機が大挙して押し寄せてくるようなイメージが脳裏に浮かぶおそれがあるので油断は禁物です。 今回、中河さんにも無理をお願いして、インスト戦闘曲の題名はすべて北欧神話から引っ張ってきました。だからといってアルトネリコが北欧神話と特につながりが深いとか、そういうことでもありませんので誤解のなきよう。（もちろん数知れないリソースのうちのひとつであることは間違いないと思いますが）要は語感がかっこいいから使いたかったってだけなんですが。めぼしいかっこいい名前は使い果たしたかな、と思ったら、例のあの槍の名前が残ってました。しまった使えばよかったなーと思いながらテストプレイしていたら、ゲームに登場するある重要なものの名前としてうまく使われていました。偶然ながらうまいこと補完しあってよかったなと思ってます。（阿知波） Comments for Sleipnir (Disc 2 - Track 23) In this, I also needed 16 minutes to balance well the riff between the guitar and the bass, so it was finally approved as one of the songs for boss battles. The intro is my favorite part, because give off to your mind a feeling of a lot of people trying to go on through a lot of difficulties. For this, I asked some unreasonable things to Nakagawa-san, such as the things of all the battle themes having names taken from the Norse mythology. Nevertheless, looks like I unintentionally caused a misunderstanding, making it look like Ar tonelico has very deep connections to the Norse mythology, when it actually doesn't has any. (Of course, it's not very different from what many believe not knowing this). The point is, that the sense of using a different language for these tracks just feels great. I thought that it would be great to use some of the important names in-game, but the only remains of that was the name of Odin's lance for the airship (Gungnir). When I finally saw that name being used during a test playthrough, I was glad that a name as important as that was skillfully used for something so important to game's plot. I thought that it was really unexpected when the game was completed. (Achiwa) |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #9 Jun 21 2013, 04:52 PM | aquagon |
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Enquete Comments for the Hymnos Concert Side Blue - Singing the Stars ~ Hoshiyomi: Comments from Akiko Shikata: こんにちは、志方あきこです。 アルトネリコヴォーカルＣＤ「星詠～ホシヨミ～」を聴いてくださり ありがとう ございました！ 作曲し謳い上げながら、私が感じ描きあげたアルトネリコの音物語が、 皆様の心 の中ではどのような世界となって広がっているのか、 そういうのを想像するだけ で、とてもわくわくしております。 聴いて下さった皆様の心に、「楽しい」とか「嬉しい」とかそういう 元気が出る ような、想いをお届けできていたら、とても幸せです。 また、音の世界で皆様とお会いできる事を、楽しみにしております♪ Was yea ra, hymme sarla sos yor, en presia briyante enclone anw yor！！ Hello, here is Shikata Akiko. I am very grateful to all of you for listening to the Ar Tonelico Vocal CD [Singing the Stars ~ Hoshiyomi]! Each time I have raised my voice in singing for a composed song, I also felt the story of Ar Tonelico sketched in the sounds, and how that world extends inside of your minds, is something that I can only imagine, but it makes very nervous to think about it. I hope everyone had listened to these songs with their hearts, because among other things, the [enjoyment] and the [happiness] are the most robust feelings that I intended to put in these songs, and I will be very happy if these feelings can reach you. So, please, everyone have fun until we meet again, in the world of sounds. I will be happy to sing a song for your sake and please, let my voice of joy wrap you!! Comments from Yuuko Ishibashi: クレア歌担当: 石橋優子デス 毎日寒いですねー。。。。 あまりにも寒くて、私ん...ついに....。 唄魔法に手を出すことに... 近日発売されるビデオアニメにて、 『フェイマ』という役の歌を担当います 只今レコーディング中なのですが...。 えらいにいっちゃ~~~ムスカシすぎ... でもでも！！頑張、てますので、ぜひ！！ ぜひ！！ビデオも買、てネ ではではみなさん、 かぜなどひかないように Here is Claire's singer: Yuuko Ishibashi. All the days have been cold, no? At least for me, they have been very cold... in the end... I got involved with the Song Magic... And soon enough, a Video Anime is going to be released, and I was tasked with performing the songs for [Fayma], and right now I'm in the middle of recording them... It's great~!... But it's also very hard... B-but!! I will certainly continue giving my best on this!! Absolutely!! Please, everyone buy the video when it comes out, OK? So, like the wind, I won't quit About the album: というアルバム名は、ゲーム内に出てくる「星詠」という、ミシャの背負う 役割 から採っています。そのアルバムタイトル名の通り、このアルバムは星詠の 気持 ちをそのまま映し出した一枚になっています。 星詠みとは「謳いの巫女」。この蒼盤「星詠」の楽曲イメージはまさにその「祈 り」であり「平安、願い」でもあります。「静」か「動」かで言えば、「静」を 司るCDと言えるでしょう。 ゲームをこれからプレイする方へ、そして既にプレイされた方に、更なる楽しみ 方を１つお教えします。星詠収録曲「EXEC_CHRONICLE_KEY/.」と 「EXEC_HARMONIUS/ .」の２曲は、歌詞カードに着いている対訳をしっかりと頭に 叩き込んで（もし くは読みながら）、ゲームのシーンをプレイしてみましょう。 もしくはシーンを 覚えていれば、CDを聴きながらそのシーンを思い出して歌詞を 読んでみてくださ い。この曲達が、如何に真剣にこのゲームのために作られたも のかを感じ取って いただけると思います。 きっと、楽曲を耳で聴くだけよりも、そして歌詞カードを見ながらCDを聞くだけ よりも、ゲームのストーリーを知り、この詩がどうして謳われるのか、どんな気 持ちで謳うのかを知っていれば、更にこの歌詞は深まり、更に想いも深まります。 是非試してみてくださいね。 最後にもう一つ、CDだけでお楽しみ頂ける秘密情報。 「星詠」と「月奏」の、それぞれボーナストラックである「星詠」「月奏」２曲 には、ちょっとした遊びが入っています。その遊びとは何か…？ それは、月奏のアンケートのコメントに書いておきますね。 何はともあれ、星詠をお買い上げ頂き、またアンケートまでご記入いただきまし てありがとうございました。このCDに収録されている曲達は皆、私にとってとて も思い入れの深い曲ばかりです。是非末永く可愛がってあげてくださいね。 ディレクター 土屋 暁 The name from this album comes from the [Hoshiyomi (Star Singer)] title from the game, the same title that Misha carries, and also, puts a burden on her. And in accordance with the album name, I also wanted to make it project the feeling of watching and singing for the stars in it. The Hoshiyomi is a [Singing Priestess]. And the image that the music from this blue disc [Hoshiyomi] gives off shows the [prayers] and the [wishes for peace] of that priestess. If I had to say that if this album it's mostly [silence] or movement, I would say that it's mostly silence. When you play the game, or if you played it already, I think you will enjoy even more each one of the things I want to show to you all. From the songs recorded in Hoshiyomi, there are two ones, titled [EXEC_CHRONICLE_KEY/.] and [EXEC_HARMONIOUS/.], whose translations in the lyrics card are awaiting to be read (if you intend to read them, that is) as you hear them being played in the game. Otherwise, please, read the lyrics while you listen to the CD while reminiscing the scenes where these songs were played in game. These songs show some of the most serious reasons behind the creation of this game, and I think you all will be able to feel them. Certainly, when these songs reach your ears, and you read the lyric card while listening, you will understand better the story of the game, and also why these songs were sung, and what kind of feelings they carry, because these lyrics are very deep, and also the feelings contained within them. Please, try to understand what they mean the best you can, OK? One last thing, about some secrets behind the CD. Each one of the discs, [Hoshiyomi] and [Tsukikanade] have their own bonus tracks, with the same name of the albums, and we put something inside them. What is it...? The answer to that will be posted in the Enquete Comments for Tsukikanade, OK? At any rate, I want to give my most sincere gratitude to you for buying the Hoshiyomi disc, and for taking your time to fill the Enquete Form. The songs that are recorded in this disc are the deepest ones that myself, and everyone in here has composed thus far. I hope you all can keep loving them forever. Director Tsuchiya Akira Enquete Comments for the Hymnos Concert Side Red - Chanting the Moon~Tsukikanade: Haruka Shimotsuki's Comments: こんにちわ。霜月はるかです！ この度は『月奏~ツキカナデ』をお買い上げて下さい ありがとうございます！何気にこのCDの中では ち曲歌わせて頂いている私ですが。実質10曲 くらい歌った気分です(笑)コーラスの多いこと といったら...！！これなにたくさん声を重ねたり別の 歌詞が絡みあったりする曲はネガイ体験だったのです ...って白夜幻想譚 (イリスのアトリエー主題歌) もそうでしたね (笑)ガストさ ん でやらせて頂く曲は毎度密度が三振ってやり がいがあります。 今回はみとせさんと 一緒CDなのも嬉し かったです。みとせさんも 志方さんや石橋さんのヒュムノス も最高！なので！蒼side a 『星詠』もゼヒ！ではではっ！ Hello. Shimotsuki Haruka here! I want to thank you for having bought the [Chanting the Moon~Tsukikanade] disc! I really didn't expect to be assigned for singing the songs of this disc. All of the 10 songs in there felt great, (laughs) especially with these multiple choruses...!! The lyrics have a very special feeling when listening to all of these voices piled upon each other, though I don't have many experiences of being requested for singing these... Though the one I was trying to imitate mostly what I did in Byakuya Gensoutan (the main theme for Atelier Iris), eh? (laughs), and I hope that everyone in Gust that asked me this don't get mad with me for that. I was happy to work in this CD together with Mitose-san. The Hymmnos from Shikata-san, Mitose-san and Ishibashi-san are the greatest! Seriously! And please, don't forget about the Side Blue [Hoshiyomi] disc! See you all later! Noriko Mitose's Comments: 月奏~ツキカナデ 聴いて下さて ありがとうございます ヒュムノスも重ねて重ねて、幾重にも重ねた薄衣のようにひとつひとつは う。すらと透けてそれぞれが見えるような、この作品の中の曲はみんな そんな曲ばかりです。それはまさしく重なってゆく祈りや想いの姿に 似ていると、そう思います。ただ、この『月奏』はそういったゲーム中での 行事りからひととき切りはなされ、給料に、"音楽" として楽しむための そんな別の形の生命も与えてもらいました。音楽バカか。集まって やりすぎ！っていくらい作り込でしまった曲たちも。音楽としても また愛でていただけたら、嬉しいです。 みとせのりこも がんばって プレイ します！ ...戦闘 すごく へたなん ですけど... みとせ のりこ Chanting the Moon ~ Tsukikanade A lot of thanks for listening to it Repeating and repeating the Hymmnos, each one repeating and multiplying themselves like piled threads of silk. Even if each one of them are transparent, these are only the songs we all created for this. In they, there are piled all the forms of all our feelings and prayers, at least that is what I think. However, the songs from this album called [Tsukikanade] aren't detached from their important functions in the game, and my only real pay for doing this work, is the "music", and all the great times I had giving life to so many different forms of the songs. "That music is stupid? That makes me want to kill someone!" that's something I would say if someone underestimated the work we put in all the songs. If you can just love the music by what is it, I will be very happy. Mitose Noriko will also give her best to play this game! ...Though I'm really bad at fighting battles... About the album: 月奏というアルバム名は、ゲーム中には殆ど出てこない「月奏」という、大昔の シャーマン（今の音科学の前身に当たる人達）達の呼び名から来ています。シャー マンとは謳い祈る事で奇跡を起こす人達のこと。そのタイトル通り、このアルバ ムは全編通してゲーム内ヒュムノスの「奇跡」部分を引き受けています。即ち、 ゲーム内の世界で革新を起こしているのは殆どこちらのアルバム収録曲なのです。 「静」か「動」かで言えば、「動」を司るCDと言えるでしょう。 この事は、ゲームをプレイされればよくわかると思います。恐らくビックリする シーンの殆どは月奏収録曲によるもの。そしてその後は、大抵星詠収録のヒュム ノスが謳われ、世界は安定していきます。月奏が革新、すなわち父性を担当し、 星詠が安定、即ち母性を担当しているような感じになっているのです。星詠も併 せてお持ちの方は、そのアルバムの雰囲気から既にお気づきかもしれませんね。 また、このゲームのために作られた楽曲の数々は、ゲームの中で謳われるときの シーンに併せた歌詞、呪文列で構成されています。是非とも歌詞カード片手にゲー ムをお楽しみ頂ければ幸いです。特に「EXEC_LINCA/.」と「EXEC_SUSPEND/.」の 楽曲、歌詞はその物語の特性に細かい部分まで配慮して作っています。 最後にもう一つ、CDだけでお楽しみ頂ける秘密情報。 「遊び」とは何か。実は、両方とも「謳う丘」をアレンジしたメロディが、間奏 に含まれているのです。間奏に入ったらそれを意識して聞いてみてくださいね。 …？何のこと？意味わかんない！と思った方、「星詠」のアンケートに答えてい ただきますと、この文章の前側を見ることが出来ます。 何はともあれ、月奏をお買い上げ頂き、またアンケートまでご記入いただきまし てありがとうございました。このCDに収録されている曲達は皆、私にとってとて も思い入れの深い曲ばかりです。是非末永く可愛がってあげてくださいね。 ディレクター 土屋 暁 The name of this album comes from the [Tsukikanade (Moon Chanters)], the name that the shamans from the very ancient times (the people that are the direct ancestors to today's modern Sound Science/Phonetics) called themselves. The shamans are the people that caused miracles to happen when they sang or prayed. And in accordance with that title, the Hymmnos from the game that cause actual miracles are all recorded in this album. That is, all the songs that are recorded here are causes for the reformation of the world. If I had to say if the album has more [movement] or [silence]; I would say that [movement] is the dominant part of this album. About this, I think you should play the game to understand it better. Perhaps the scenes that will surprise you the most are the ones where the songs from this album are played. And also, the Hymmnos that come from Hoshiyomi, are for the world reaching peace. Tsukikanade is reformation, the father part, while, while Hoshiyomi is peace, the mother part, and that it's the way I hope you feel them too. Also, compare this with what Hoshiyomi carries, since there some things in the atmosphere of that album that you won't want to miss out, eh? Even if we made a lot of songs for this game, is the best to check their lyrics while watching the scenes where they are sung in the game, and think of them like they were spells. Please, have the lyric inserts at hand while you are having fun playing, if you do so, I'll be very happy. Especially the songs [EXEC_LINKER/.] and [EXEC_SUSPEND/.], considering their lyrics have as special characteristics the small stories we made for each of them. Finally, there's a last thing, and that is some confidential information about this CD. Here is the answer to [What is is it]? Actually, we have included two arranged melody forms of [Singing Hill] in the interval of these songs. Do you think you would be able to recognize them when you hear them? If you are thinking "...? What? I don't understand what you mean!", you will understand better when you read the [Hoshiyomi] Enquete, on the sentence that is on the same line as this one. At any rate, I want to give my most sincere gratitude to you for buying the Tsukikanade disc, and for taking your time to fill the Enquete Form. The songs that are recorded in this disc are the deepest ones that myself, and everyone in here has composed thus far. I hope you all can keep loving them forever. Director: Tsuchiya Akira |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #10 Jun 21 2013, 04:52 PM | aquagon |
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Enquete Comments for Claire's Musical Haruka Shimotsuki's Comments: ヒュムノスミュージカルお手にとって下さり、ありがとうございます！ 今回のこの形式は、アルトネリコの世界におけるヒュムノスの使われ方っていう のをリアルに伝えてる形式ですよね。台詞やストーリーが新しく描かれる分だけ、 そのキャラの口からヒュムノスが紡がれるんだよなあ、と聴いた後に深く納得し てしまいました。 なんといっても今回はクレアさんの優しい歌声の秘密！あのクレアさんがあんな 激情でヒュムノスを…！というあたりが聴き所ですよね。あれ、わたし１リスナー 意見になってます（笑）私の担当したＯＰヒュムノスにも、月奏としての文法と か設定に基づいた意味が込められてますので、その辺りも是非チェックしてみて くださいね♪ A lot of thanks for having bought the Hymmnos Musical! We chose to give it this form to convey in a more realistic form the Hymmnos that are used in the world of Ar tonelico. The story and the lines spoken by the characters are a new way of sketching the world, and listening to them saying these lines, together with singing the Hymmnos they craft, immerses you even more in it. And in here, the secrets behind Claire-san's gentle singing voice are revealed! And these are passionate Hymmnos she crafted...! so please listen to them, Ok? And even if I was mostly a listener here (laughs), I also was charged with the task of singing the OP, and I hope having done a good work with the grammar and meaning that were made before, in Tsukikanade, so please, check them up, OK? Noriko Mitose's Comments: 「ヒュムノスミュージカル」聴いていただいて有難うございました。 アルトネリコのゲーム本編ではほとんど出てこなかった一般の人たちの生活。そ の中にもちゃんと生きている謳魔法の姿や、ヒトの身体でありながら謳を紡ぐ月 奏たちの姿が、この作品ではメインに描かれていて、参加させていただいたわた しも、ソル・シエールという世界により厚みと広がりを感じることが出来ました。 わたしはまた他のレーヴァテイルのみなさまとは一味違った位置付けの謳をいた だきましたが、実はあの謳のフレーズは最古のヒュムノスで、まだ言葉としての ヒュムノスが成立する前の、ヒュムノスの原典とも言える謳魔法の一節なのだそ うです（土屋さん談）。 そんなことを土屋さんと事前に話し合ったりしながら、言葉のない声だけの表現 の中で、いかにして「SUSPEND」の根底にある”安らぎをもたらす鎮静の想い” を音にのせていくか、稲垣さんとも実験を重ねて録っていきました。 ヒュムノスの始まりから今までの歴史の中で積み重ねられてきた、月奏たちの魂 と祈りを感じてもらえたら嬉しいです。 そろそろ告死天使が板についてきたみとせのりこでした。 I'm very thankful to you for having listened to the [Hymmnos Musical] This is like a little recount of the daily lives of the people in game world of Ar tonelico. And it also shows perfectly the form of the existing Song Magics, and the form and existence of people that crafted the songs, the Tsukikanade, and so this work was mainly sketched with that purpose, and I'm glad that I could partake in this, and that I was able to widen and deepen the way the people feel the world of Sol Ciel. Even if I received the role singing for other Reyvateil, one that has a position totally different of every other one, actually that song has one of the oldest Hymmnos phrases, and even if these words came from the times before Hymmnos was established, they are one passage of the Song Magic that is called the origins of Hymmnos (as Tsuchiya-san said). Tsuchiya-san and myself talked about that prior to this, even if I was only a wordless voice in here, he asked me to do something based in [Suspend], and place into it the "feelings of bringing someone into peace", and I began together with Inagaki-san to record our experiments for it. What we made was a compilation of the story of Hymmnos, from its beginning to the current times,and I will be very happy if you can take its feelings as a prayer for the souls of the Tsukikanade. It looks like I'll have to get used to be "Mitose Noriko, the Angel of Death". Yuuko Ishibashi's Comments: 毎度(*^▽^)/ クレア歌担当の石橋優子です。 「そよかぜの約束」 クレアの心の奥に秘められた想いが少しでも伝わりましたでしょうか？ ♪戦いの 日々に疲れて もし涙流したら…♪ そんな時はクレアの歌を聴いて、あなたの頬を優しく撫でる「そよかぜ」を感じ ていただけたら嬉しいです☆ さあ、もうすっかり秋！,br> 食欲の秋、芸術の秋、スポーツの秋… あなたはどんな秋を過ごしますか？ 私は食欲モリモリです(笑) またどこかで会いましょう！ ちゃお(*^◇^)/ Thank you for everytime(*^▽^)/ Here is Claire's singer, Ishibashi Yuuko. [The Promise of the Breeze] Wouldn't you want to know even just a little of the feelings that Claire has hidden in the depths of her heart? ♪If someday I cry, tired from the days of battling...♪ In that moment, if you can feel the [breeze] brushing gently against your cheeks as you listen to Claire's song, I'll be very happy.☆ Well, the autumn has just come! ,br> The autumn of appetite, the autumn of the fine arts, the autumn of sports... Well, I want to eat something delicious! (laughs) Well, until we meet again, somewhere in the world! Chao! (*^◇^)/ Dahna's Comments: 皆様はじめまして。 この度エウフロシュネ声楽士・ディアンの歌を担当致しました 『伝承歌劇団～エウロパの軌跡～』声楽士のDahna（ダーナ）と申します。 この度は「クレア ～そよかぜの約束～」をお買い上げいただきましてありがとう ございました！ 鼓膜を揺さぶる衝撃、初聴き後の余韻はいかがでしたか？ 私も初めて全てを通して聴いたときは鳥肌が立ちました… 音楽と歌と物語が演出の元で紡がれ、聴き手の数だけの映像が創造（想像）され る… アルトネリコシリーズ初の男性Voとしてこの素敵な作品に参加させていただけた 事を本当に嬉しく思います。 詩魔法とヒュムノス…何故あの歌が、ここで歌われるのか… 月奏の歌声がみなさまの癒しになれば幸いです。 Everyone, I'm pleased to meet you. This time, I was in charge of singing the songs for Dian, from the Singing Knights of Euphrogene. I am called Dahna, from the Singing Knights of the [Legends of the Opera Troupe ~ The Locus of Europa]. And I want to give you my sincerest thanks for having bought this disc, [Claire ~The Promise of the Breeze]! By any chance, are you tympani shocked when you first hear to the swelling of a song the first time? I also get chills everytime I listen for the first time to a very good song... And the music, story and songs that were crafted from the beginning, only some few of the several I have heard created reflections (impressed) me... And, really, I'm very happy to have been the first male vocalist to participate in such a wonderful work as the Ar tonelico series is. The Song Magic and the Hymmnos... Which of these songs I will sing here...? If I can heal everyone as the singing voice of the Tsukikanade, I'll be very happy. Masahide Fuse's Comments: どうも皆様。今回はチョイ役で登場(笑)のライナー役、布施雅英です。 ゲームの時から数年が経ち少し大人になったけど、やっぱりおバカなライナーは いかがでしたでしょうか？ 楽しんでいただけたら幸いです。 さて次回は… 『ライナー ～垂直跳びのその訳は～』 のヒュムノスミュージカルでお会いしましょう！！(嘘) Hi, everyone. Once again, and even if its only for a short while (laughs), I show up again as doing the role for Lyner. Mashide Fuse here. I'm not wrong thinking that when you saw Lyner, and how he was when he was a kid, and how he was when he grew up, you thought even if it was a little that he was somewhat stupid, right? I'm happy you had fun with that. Well, the next time we'll have... [Lyner ~ Explanations for growing vertically~] as the next Hymmnos Musical that will be released!! (I'm just kidding) Takashige Inagaki's Comments: この度は『クレア～そよ風の…以下省略』をお買い上げ頂きまことにありがとう ございました。 今回も頑張って私なりに詩を紡がせて頂きましたが、お楽しみ頂けましたでしょ うか？この作品の中で一貫して通されているのは人間の心の動き、思いの力、愛、 と言う物だと考えております。それらをしっかりサポート出来る音楽になってい れば幸いです。 今回は全てにおいて全く新しい試みばかりでしたので、制作サイドもかなり悩み ながら生み出しました。曲の長さや、どのタイミングで台詞を入れるかなど、全 体のクオリティーを考えた上、いろいろな制約や大人の事情が絡み、このような 形に仕上がったのですが、アルトネリコの世界を表現するにはほぼ完璧な形に限 り無く近い物が出来たと思いますので、皆さんも聴きながら目を閉じ、ソル・シ エールを流れるそよ風を感じ、音楽だけで無く、そこに暮らす一人となって世界 を感じてみて下さい。 それでは、これからも精進して参りますので、今後ともよろしくお願い致します。 I want to thank you for having bought the [Claire ~ Promise...omitted] CD. This time, I was also tasked with crafting the songs, and do you think it was really fun to do so? In this work, I'm constantly being tasked with making song capable of moving the hearts of the people, showing the power of feelings, the love, and I have to consider all of these things. And I'm very glad that I was able to compose such great songs, thanks to everybody continuing to support me. This time, I decided to do new experiments on all the songs, so my creative side didn't suffer so much for creating them. The length of the songs, and the timing for when the speech lines were being spoken, enhanced a lot the overall quality, and the various limitations and its linkage to some adult circumstances, resulted all in this way, and I think that we did a very good work presenting in this way the world of Ar tonelico, making it looks like the world isn't going to be finished soon. If everyone can listen to it while closing your eyes, and feel the breeze that blows throughout Sol Ciel, even if there isn't any music, I want you to, please, be able to feel that world as if you lived within it. So then, from now on I will concentrate in going on, and I'll be happy to be of your acquaintance from now on. YUKKA's Comments: この度は、「クレア～そよかぜの約束～」ご購入いただき有難う御座います。 今回のシナリオを書かせていただきました。 伝承歌劇団のYUKKAと申します。以後、お見知りおきくださいませ。 えーっと...コメントですか？ 本当に聴いてくださって有難う！というのが一番なのですが（笑） なにをお話しましょうか。 今回のCDに関して話せ？あ、左様でござ～ますかｗ まず、一番最初に今回のお話をGakkie氏から振られた時。 今年の初夏の頃ですかね。（え？） Ga「YUKKAさん、アルトネリコってゲーム知ってる？」 Yu「アキバのドンキの所にドーン！って看板出てたのは知ってる。」 Ga「話書いて。」 Yu「うん、わかった。...え？えっとガストのゲームだったっけ。」 Ga「うん。ゲームやっといて。」 Yu「うん。やるけど。え？自腹！？」 自腹だったか否かは謎のままで...（笑） お話を頂くまで、プレイしたこと御座いませんでした。すみませんm(_ _)m 他にも資料集やらなにやらと拝見しましたが、設定軸がしっかりしているので 逆に話が書きやすかったです。 話を貰ってからRECまでの日程の都合で、3日で書き上げたシナリオだなんて内緒 です（笑） 正直、ゲームを実際クリアしている方の中でこのCDを見た方。 「なんでクレアなの？」って思った方もいたのではないかと思います。 クレアという人物、ゲーム中では大きな役割ではありませんが。 ゲーム内にある、彼女が「そよかぜの歌」を歌うシーン。 そして、彼女がレーヴァテイルであるにも関わらず、 人々の安らぎの為に「詩」ではなく「歌」を歌っているという状況。 一人の人間が何かを捨て、新たな何かを見つけた。 そんな人生が垣間見える一つのシーンでした。 ワタクシ自身、音楽の世界でStoryを綴るということを生業としているので、そう いう世界で「人の心に訴える何か」を作り出せる.歌える人というのが どれだけ選ばれた者で、どれだけの苦労と努力を重ねているか。 少なからず存じ上げております。 クレアも、なにかそれだけの事を成せる過去を持っているからこそそれだけの歌 を歌えるのではないかと。 ワタクシが話を書く上でいつも大事にしたいと思っている事。 それは、どんな人物でも、そこに到るまでにはそれぞれの人生を経てきたんだと いう事です。 そこには様々な心の移り変わりが存在し、人格が形成されてゆく。 これは当たり前のようで、実生活では以外と気に留めない事だったりします。 どんないい人でも、悪い人でも。 その人がそう育ったには必ず理由や原因が存在するはずなんです。 そう、あのクルー=アッハでさえ（笑） ミディールも、自分が破棄さた悲しみ、実験体にされていた苦しみがあり、そこ に更に注ぎ込まれた月奏たちの思念、最後に放たれたクレアの怒りの攻撃思念。 様々なモノがミディールの中に入り乱れているのですから、あれだけの言葉が溢 れ出るのはワタクシの中ではごく自然の流れでした。 もちろん、この話は「アルトネリコ」のゲームを軸に作り上げていますが、ワタ クシは、クレアがあの時あの場所にああして立っているまでに到る心境の移り変 わりを描かせて頂きました。 このCDを聴いて、クレアだけではなく、全ての人々が起こす行動には理由があり、 存在しているのだと皆様が考えられる一つの作品になれれば幸いです。 余談ですが、劇中に出てくる仮面の楽団「エウフロシュネ」これは、ワタクシが 所属するバンド「伝承歌劇団～エウロパの軌跡～」をモデルにして書かせていた だきました。 企画側の方に、「伝承さんをモデルにしたキャラを出しましょうよ！」と持ちか けられた時は目を丸くしてしまいました。 だって、冗談だと思ってたんですもの（笑） まぁ、実際に仮面のバンドが存在するんですし。演奏陣いますしねぇ。歌姫も揃っ てますし。語り部もいますし。 ライブ用に、曲を土屋氏と稲垣氏に更に書き下ろしてもらって（笑）ヒュムノス ミュージカル Liveの企画を考えたいな～。 だって、生でやりたいもん。歌も正規の長さで聴きたいもん。優子りんもやれる もん。伝承さんも頑張らせるもんｗ だから企画考えましょう。うん。プロデューサーを突付きますｗｗｗ実現出来る よう、こっそり頑張ります（笑） なんちってｗ I want to thank you for having bought the [Claire~Promise of the Breeze] disc. I am the one that was on charge of writing the scenario. In a called YUKKA, from the Legends of the Opera Troupe. I'm glad to be of your acquaintance. Ehh... I need to do some comments? I really want to thank you for listening to this! That is the first thing I want to say (laughs) Now, about what I should talk? About this CD? Ah, well, are you Ok with tha~t?ｗ First of all, this started when I talked to Gakkie-san, and got rejected by him. It was around the start of this summer... (eh?) Ga [YUKKA-san, do you know the game called Ar tonelico?] Yu [I know about it from a billboard] Ga [Write a story about it.] Yu [Ok, understood... Eh? It wasn't a game from GUST?] Ga [Yes. At last you noticed it's a game] Yu [Ok. I'll do it. Eh? I have to do it all myself!?] And then, I got myself into something about which I didn't know, similar to a riddle... (laughs) However, at the time for when I received the task of writing this, I didn't even play it. Sorry. m(_ _)m Besides, with reading the Official Material Settings Collection (the Settei book) it was more than enough for me to understand the game's world and begin writing about it. From when I began writing, to when we began the recording, I got 3 days to write down all the scenario, in secret (laughs) Honestly, clearing all the game can give you a clearer vision of what is in this CD- I think that doing that, you won't have to ask [Who is Claire?] The character called Claire, is even an important character? In the game, she is the person that sings [Song of Breeze] in one scene. And, in spite of that, she also is a Reyvateil. For the tranquillity of the people, she doesn't sing [Songs], but she rather sings [songs]. Why she had to let go her only loved person, and what new things she found? All of that was seen, even if was only a little peek, during an scene. I, in the world of music, composed something called a Story, and in such a world, there is [something that raises in the hearts of people] created and sung by some people that was chosen by destiny, but what kinds of burdens and endeavors do they carry? That was something that made me think a lot. Are they good people, or evil people? And those people, what's is the reason for their creation, and the reason for which they originally exist? That's right, even that Crew Ahha (laughs). Also, for Mideer, I wanted to give the image of the sadness of being discarded off, and the suffering of being used for experiments, and furthermore, I also wanted to add some explanations of the thoughts of the Tsukikanade, who ultimately released Claire from her aggressive and rageful behavior. Various things are jumbled together in Mideer's character, to the point that words are overflowing, because I got filled with many words for making this story and they were flowing naturally from inside me. Naturally, this story was made upon the basis of the game [Ar tonelico], and I received the task of sketching a scenario for Claire, who in that place and in that time, stood up to many challenges, until her mindset suffered a radical change. When you listen to this CD, you won't be listening only to Claire, but also to all the people, with their motives and actions, and if you all can think about these motives and actions, I will be very happy. As for some explanations, the masked musical group that appears in this disc [Euphrogene], were written and modeled after the members of the band which I am part of, [Legends of the Opera Troupe ~ The Locus of Europa]. During the planning of this project, when they said to me [Please, make some characters using the members of your band as models!] I rolled my eyes over just at the thought of doing that. Though 'm mostly joking with this (laughs) Actually, they are only a masked band. They have a camp for doing their musical performances. And there is also a songstress. And there is also the storyteller. About a Live version, Mr. Tsuchiya and Mr. Inagaki were in charge for writing the song (laughs). However, I don't think that there will be a Live version of the Hymmnos Musical project. However, I would like to see a Live version someday. And I would also like to hear a full-length version of each one of the songs. Ms. Yuuko also feels like that. And the Legend of Europa will continue giving its best. Well, these are my thoughts on this project. Uh-huh. Our producers where poking to us for implementing some www, and we will do our best with it (laughs). See you all later! w TN: As you all can see, I kinda made up the romanizations for some terms and characters from the Musicals, given that they don't have official romanizations. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #11 Jun 21 2013, 04:53 PM | aquagon |
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Enquete Comment for the Hymmnos Musical [Spica ~ A Heart-Crafted Present]: Haruka Shimotsuki's Comments: みなさまこんにちは、霜月はるかです！ 今回は”スピカ”のCDという事で…あれ？スピカってレーヴァテイルじゃないの に、ミュージカルCD？どうやって音楽が絡んでくるのかしら？と？マークだらけ だったんですが、台本を読んで「なるほど！」納得。いいなあ、ヒュムノスを奏 でてくれるオルガニート、私も欲しいです（笑）しかもクレアCDとの絡みもあっ て！ディアンさん再登場で秘かにウキウキしてしまいました…って、はっ。普通 に感想になってるｗ 今回もOPを担当させて頂きました。うみのさんの女性らしい柔らかい詩が物語の 始まりを奏でて素敵ですね～。おなじみになってきたブルガリアン多重コーラス も、もはや楽しくて抜け出せなくなってしまいました。そんなわけでアルトネリ コならではのミュージカルCD、是非楽しんでください！ Hello everyone, here is Shimotsuki Haruka! This I will be talking about "Spica's" CD... eh? A Musical CD for Spica, who isn't a Reyvateil? Then how she can be involved with the songs? and? That is what I thought initially, but when I read the script, I said [Ah, so it's like that!]. Very good, then if humans can also sing Hymmnos, then I also can, that is what I wanted the most (laughs). And furthermore, is very related to Claire's CD! Dian-san appears again, but it was supposed to be a secret... ha. Well, these are my impressions. w Once again, I was in charge of singing the OP. Singing the feminine and soft this song that Umino-san made for the beginning of this story was very lovely, no~? I'm now very familiar with the Bulgarian-like multiple choruses, and I think I'm singing very good pleasant songs such as this one. Well, that's all, I hope that you enjoy the Ar Tonelico Musical CD, and please, over all, have fun while listening to it! Noriko Mitose's Comments: Ar tonelico Hymmnos Musical「スピカ～心が紡ぐ贈りもの～」を聴いて下さって 有難うございました。 ジェミーというキャラの個性や性格や、役の声優さんの声も聴きながら、自分の 中から「ジェミー」というキャラとの接点を引き出して唄ってみました。シュレ リアともミュールとも違う、「ジェミー」の声とジェミーだから紡げる詩魔法が、 唄から感じられたと思っていただけたなら幸いです。 …ジェミーってこんな感じの唄を唄う子、と思いながら自分なりの「ジェミー癖」 をつけたら、作曲家でアレンジャーでディレクターの稲垣さんがますます「ジェ ミー癖」を増強するディレクションをして下さいました。いつでも濃い味好きな 稲垣さんです、ええ。 I want to thank you all for listening to the Ar Tonelico Hymmnos Musical [Spica ~ A Heart-Crafted Present]. The characteristics of one of the characters, Jemi, as well hearing how her seiyuu-san played her, made a point of contact with me, and I wanted to sing as her voice. She is completely different from both Shurelia and Mir, because of her voice, and since I was singing Song Magic she crafted, I was happy to feel how I sung it. I felt and thought that the way I sung for Jemi was very different from any other way I have sung before, and because of that, I ended calling it [Jemi Style]. I want to give my thanks to the composer and arranging director Inagaki-san for reinforcing my [Jemi Style] under his direction. Umm... It looks like Inagaki-san loves the dark style music... Yuuko Ishibashi's Comments: これを読んでいるということは「スピカ」を全部聴いてくださったということで すね♪ ありがとうございます～♪ 毎度お馴染み石橋優子です。 さて、アルトネリコの世界では異色のエンディング曲「路地裏の女王」は如何で したか？ ♪ヒュムノスジャズ♪ 私の新たな引き出しが完成しました☆ あとは猫飴を売りつつ情報を売って… イ ヒヒ★ いつか私も女王になれる日を夢見て頑張ります(笑これからもアルトネリコをよろ しくお願い致します！ I hope that while you are reading this, you have also listened to the complete [Spica CD], eh~? A lot of thanks~! The always friendly Ishibashi Yuuko is here. Well, didn't you think that the ending song [The Queen of the Underworld] had something unique in the world of Ar Tonelico? ~Well, it's Hymmnos Jazz~ My newest creation is complete! Now I just have to go selling Kitty Candies and information... eeheehee... I will also continue doing my best and dreaming until the day I become a queen! (Laughs, and I will also continue working in Ar Tonelico!) Suzuka Nakahara's Comments: こんにちは。今回初めて参加させていただきました、中原涼（ナカハラスズカ） と申します。 『アルトネリコ』は以前から知っていたので、お話をいただいた時はすごくすご く嬉しかったのを覚えています。 『アルトネリコ』の曲は今までに歌ったことのないタイプの曲なのでレコーディ ングはすごく大変でした。 初めての歌い方、初めての言葉、レコーディング時間もすごくかかって…。 でも、何回も重ねに重ねた歌・想いが『カリヨンオルガニート』に込められたら、 と頑張りました。おかげさまでものすごく強力な詩魔法になったようで…(笑) 聞けば聞くほど味わい深い曲ばかりのＣＤ、たくさん楽しんでいただければ嬉し いです♪ Hello to all. This is the first time I have participated in this project. I am called Suzuka Nakahara. I remember that, when I was told about Ar Tonelico, before I knew about its existence, I was very happy. No song before in Ar Tonelico was sung before like the type of song I sung, which ended being a very complicated recording. Since I began to sing, since I began to chant these words, the recording took a lot of time... However, because of these numerous tries, the song piled up. The feelings it contains are to not give up, and something called the [Carillon Organit]. Thank goodness that it ended being a extremely powerful song magic... (laughs) If when you hear the songs this CD contains, you understand the deep meaning they have, and enjoy them a lot, I will be very happy~ Gakkie's Comments: スピカ ～心が紡ぐ贈りもの～ Ar tonelico hymmnos musical をお買い上げいた だき有り難うございます。 シリーズをプロデュースしております、ディレクターのGakkieと申します。 前回のクレア編に続き、第二弾の企画が上がった時どのキャラでお話を作ろう かと悩みましたが土屋氏の思い入れのあるキャラクターでもあり設定資料集の巻 末のお話もあったことから『スピカ』に白羽の矢を立ててみました。 ゲーム中でも殆ど主軸にならないサブキャラをど真ん中メインに持って来るとい う、大冒険とも言える暴挙なうえに（土屋氏にも「大丈夫ですか？」と言われま した）本来歌を歌わないキャラを使って『歌物』をやろうなんて当初かなり無謀 な企画、と言われましたがやってみたら出来ちゃいました。 もちろん歌い手さん、役者さん、作家さん作曲家さん、作詞家さん、ミュージシャ ンの皆さんその他大勢のスタッフの皆さんのお力添えがあってのたまものですが。 収録時、スピカ役の『ミルノ純』さんなんか「まさかスピカがこんなに主役扱い されるとは夢にも思ってませんでした！」と、かなり驚かれていましたよ。 今作品の企画が動きだした時、最初から「スピカを起用するなら『ドタバタ劇』 にしたいなぁ」と考えていました。 その中で歌や音楽をどう絡めていくか。そこが最初の大きな壁となりました。も とより歌とは縁のないキャラクター。 となると他にレーヴァテイルを出さない訳にいかないし・・・・ 設定資料集巻末の話と絡めるなら、ライナーたちと知り合うより遥か以前になる し・・・ その頃謳ってたレーヴァテイルと言えば・・・・ 『クレア！？』 前回使っちゃったよ！！ 困ったなぁ～～～～～。 ・・・・・・・。 ま、いっか！ もっかい出しちゃえ！ しかもスピカに『謳うアイテム』持たせちゃえ！ ってな感じで、脚本家のYUKKAさんにネタをふったところ『カリヨンオルガニート』 なるアイテムを作ってくれたんですね。 実はこのアイテム、構造としてはパラメノの特徴を持っており『想いのこもった 音』を吸収するんです。 それを本体にはめ込まれたグラスノに蓄積して発動させるというアイテム。しか し発動させるには鍵となる『使用者の強い想い』が必要！ その事をアイテムの制作者…ゲームをやった方なら誰だかお気付きになられたで しょうが 100万リーフで何でもやる、あの少年風少女メルクですら知らなかった んですよ。 エウフロシュネやクレア、ジェミー達の『力ある言葉』『想いのこもった歌』を 吸収したそれは、スピカの『強い想い』に呼応し・・・・・ 遂には遺跡を破壊するまでの力を発動してしまった訳です。 今回のお話は前作ともかなり絡んでますしゲーム本編ともかなり深いかかわりが あります。 このお話が無ければ、スピカは天覇に出向く事も無かったでしょう。とすれば、 彌紗とも出逢って無かったかもしれません。クレアだって今でも天覇で謳ってた かも知れません。 大きな歴史に埋もれた小さな歴史が未来を紡いでいる。 そんなシリーズとしてこれからもヒュムノスミュージカルシリーズをどんどん作っ ていけたら、と思います。 もし次回作が出るなら誰を使おう？あれにしようか？ このキャラにしようか？ ムフフ・・・・・ また皆さんを驚かせられる様な企画を考えておきますのでどうぞお楽しみに。 I want to give you my sincerest thanks for having bought the Ar Tonelico Hymmnos Musical: Spica ~A Heart-Crafted Present. I am the Producer of the series, Director Gakkie. Continuing where we left off with Claire's disc, and when we were tasked with making a second part for the Hymmnos Musical project... "Which character should be the the one upon which we will make this story?" That was the question that was worrying us, and when I said that to Mr. Tsuchiya, and after thinking it for a while, he went with what you can see in his interview at the final pages of the Settei Book, we set our sights in making a story for [Spica]. However, making a story for a secondary character with almost no background story in the game, and turning her into the main character, was both a step to a big adventure, and also, a very reckless move (even Mr. Tsuchiya himself said [It's alright for you all to do something like this?]) When we made that an essentially non-singing character sing, it seemed at first like a very thoughtless project, and we were as well, being told that we were doing something with a lot of quality. Of course, this being the fruit of the combined efforts of all our composers, singers, actors and actresses, lyricists, musicians and everyone on the staff, and it wouldn't exist otherwise. When we began doing the recording, Spica's actress, [Jun Miruno-san], said [I can't believe it, act as Spica with her being the main character is something that I couldn't think of, even in my wildest dreams!], and she looked very surprised. When we started this project, from the beginning we thought about [I want to act as Spica while she is in a [Slapstick drama]]. How we should coordinate the songs and music in there? That turned into our first obstacle. Especially for a character that has no relation to the songs. Of course, that doesn't mean that we turned her into other Reyvateil... And as we said in the interview that's on the Settei Book, we wanted everything here happen a lot of time before she met Lyner and all of his companions... And then we thought of using another Reyvateil for the singing... [Claire!?] But she had her own story already!! That worried us a looot ~~~~~. Ah, OK! Let's make her appear once again! Furthermore, she will be the bearer of the [Singing Item] for Spica! That is what I said when I had a good feeling, and I sent to the scenario writer, YUKKA-san as material, a Item that was created a long time ago, and was in some collapsing ruins. That item is the [Carillon Organit], eh? As a matter of fact, this item has the special characteristic of being made of Parameno Crystals, which have the property of absorbing the [Feelings Contained in the Sounds]. Because of that substance, it can accumulate feelings and invoke their effects as soon as is put near a Grathnode Crystal. However, in order to invoke these effects, it requires a key, and that is [The Strong Feelings of its User]! And that Item was made by... well, it's possible that those who played the game would have noticed it, but only that boyish girl that would anything for 1000000 Leaf would have been able to meld one without knowing about its properties. The [Power of Words] and the [Songs Containing Feelings] of Euphrosyne, Claire, and Jemi's group are also absorbed in these crystals, and hail to each other and to Spica's [Strong Feelings]. This means that at the end, she ended invoking the destruction of the ruins where they were. This work is very related to the previous Musical, and also, has a pretty deep connection with the original game story. Unless this story existed, the only thing we would know about Spica's past is that she was a Grathnode supplier to Tenba. And as such, we wouldn't know anything about her before she met Misha. But probably Claire would have continued singing in Tenba until the current days. There is a great quantity of history that is still a mystery, and we will do our best to continue crafting stories that show it little by little in the future. And because of that, the series will still go on, though I危 asking myself how we could do another Hymmnos Musical for this series. For the next part, who should be the main character? In what time? What s/he should do? Hmmm.... Well, everyone, I think I surprised everyone with this project, and I hope you all have enjoyed it a lot. Takashige Inagaki's Comments: この度は『スピカ ～心が紡ぐ贈りもの～』をお買い上げいただき誠にありがとう ございます。 音楽を担当致しました、稲垣貴繁です。 毎度毎度御世話になります。 さて前作『クレア ～そよ風の約束～』に続き今作 『スピカ ～心が紡ぐ贈りもの～』はいかがでしたでしょうか？ 考えてみれば、ツキカナデで3曲ホシヨミで1曲 OVAで1曲 ヒュムノスミュージカルシリーズで・・・・ アルトネシリーズで最も歌を提供している作曲家になってしまいました。 そんなにネタ無いよ！ と毎回苦しみなが・・・・楽しみながら作曲活動に勤しんでおります。 この仕事が始まると、一切他の仕事出来無くなるんですよね。 それぐらいアルトネリコシリーズには力を入れてます！聴いて下さる皆様の御期 待を決して裏切らぬようまた、満足して頂けます様、日々精進致しております！ しかし、毎回思うのは・・・・・ 『歌い手の皆さんが、よくあんな曲を歌えるなぁ』 ってことですね。 普通の曲じゃ無いですからね。って自分で言うのもなんですが。 とにかくこれからも歌い手さんに御迷惑をおかけしつつ頑張っていきますので、 お客様もどうかお手柔らかに温かく、広い心で受け入れてやって下さい。 それでは次回ヒュムノスミュージカル 『レアード・バルセルト ～こんな私に誰がした～』でお会いしましょう。 えっ！！ I want to give to you my heartfelt thanks for having bought [Spica ~ A Heart-Crafted Present]. I am the one in charge of the music, Inagaki Takashige. I'm very grateful for your continued support. So, in what way I have worked in the previous project, [Claire ~The Promise of the Breeze], and in its continuation, [Spica ~ A Heart-Crafted Present]? If you think about it, I have composed 3 of the songs in Tsukikanade, 1 in Hoshiyomi and 1 in the OVA. And in the Hymmnos Musical Series... Is where I got the offering of being the composer for the majority of the songs in this part of the Ar Tonelico series. And so many things to do without any material as reference! And even if it all the times were hard for me in this... at least I got a lot of fun while doing my best composing. When I began this job, all the other jobs stopped being important to me. And around that time, I began to put my efforts into the Ar Tonelico series! Please, everyone, give a good listen to my compositions to see if I could meet your expectancies, if I succeeded in doing it, then all the hard work I during so many days will have paid off! However, about how I feel everytime... [Please, all the singers, sing these songs the best you can~] it would be something similar to that. Because these aren't ordinary songs, eh? That's the other thing I say to myself. At any rate, from now on, I will try to not cause too much trouble to the singers, since they also are giving their best, and to our valued costumers, please, accept in your gentle, warm and wide hearts all that we have done. Well, until we meet again, in the next Hymmnos Musical [Leard Barsett ~ Who would congratulate me?] Eh!? Reiko Takahashi's Comments: お買い上げいただき、ありがとうございます。前回の『クレア～そよかぜの約束 ～』に引き続き、日本語詞を書かせていただきました、高橋麗子です。 『スピカ～心が紡ぐ贈りもの～』、いかがでしたか？楽しんでいただけましたか？ あんな曲、こんな曲、えっ？そんな曲も！？盛りだくさん！！「書いて」と言わ れた私が困った(笑)、いえいえ、楽しく書かせていただきました(本当に)。 スピカの性格がよくわかる(？ 笑)お話と詩の融合で作り出された今回のヒュム ノスミュージカル。何度も楽しんでいただけたら嬉しいです。 A lot of thanks for buying this CD. Continuing the work from last time's [Claire~The Promise of the Breeze], I am the lyricist for the Japanese parts of the songs, Reiko Takahashi. Which were your thoughts on [Spica~A Heart-Crafted Present]? Did you enjoy it? That songs, these songs, ehh? Those songs too!? They are too much!! I have been ask that if I'm being bothered when I write lyrics (laughs), well, not all, for me it always has been something fun (Really). Did you understand well Spica's character? (laughs) I hope having done a good job uniting the speech parts with the songs in this Hymmnos Musical. If you can enjoy many times, I will be very happy. ★YUKKA氏コメント スピカ~心が紡ぐ贈りもの お買い上げありがとうございます。 脚本のYUKKAです。どもども。 ...結構アレよ？ 『ヒュムノスミュジカール』だっていうのに 主人公は『スピカで！』って急に言われると プロデューサー(Gakkie)殴りたくなりますよ？ しかしアレやね。 世界観監修してくださっている『神』が... 『まぁ、グラスノ使えれば何が起こっても ありっちゃ~アリですけどね。』 ...って呟いたというのを... ワタクシは聞き逃げさなかった ですけどね いろいろと挑戦させて もらうた一作です。 音楽 。 物語共に 楽しんでいただけたら 嬉しいです ゆっか Spica ~ A Heart-Crafted Present A lot of thanks for having bought it. I'm YUKKA, the scriptwriter. It's a pleasure. ...It isn't splendid? However, didn't you think that when it was said that [Spica] was going to be main character in here I went to ask immediately the producer (Gakkie) about this? However, how did you think that everything ended? The supervisor and creator of the world, or better said, the [God] of this world... [Hmmm, and what do you think about if we use the Grathnodes for this~ or something like that?] ...Though it was only in a whisper... After I heard it, I decided I wouldn't run away eh? Since I thought I had received a lot of challenges together with the task of doing this work. The music, together with the story if you are able to enjoy them, even if it's only a little I'll be very happy. Yukka ★Dahna氏コメント この度は「スピカ～心が紡ぐ贈りもの～」を聴いて下さってありがとうござい ました。声楽士ディアンの歌声役の声楽士Dahnaです。 今回もたくさんの歌声に彩られた素敵で面白いヒュムノスミュージカルになりま したね。引き続き参加出来た事を心から嬉しく思います。 楽団エウフロシュネの面々も登場場面や台詞が増えていて、人間味が増す程に 近しい存在に感じられてきました。 普段の旅の様子、その穏やかな楽しさがここに記されているからこそ、前作「ク レア～そよかぜの約束～」での彼等が生きてくるのだと思います。まだお聴きに なってない方は是非是非お聴き下さい！ 「あぁ！そうだったのか！」と何度となく頷く事になるでしょう♪ アルトネリコって本当にいろんな文化やシチュエーションの可能性を孕んだ世 界なんですね。ヒュムノスミュージカルだけでも前作のクレアCDのような壮大な ものから、今回のスピカCDのような街角の物語まで・・・ その多様さは唄われる音楽にまで共通しています。 （ED曲を初めて聴いた時の衝撃ったら！）これからもどんどん深みを増してゆく アルトネリコの世界。 どんな歌が生まれ、我々の耳に届いてくるのか・・・まだまだ楽しみは尽きませ ん。 今回のレコーディングでも例外無くDahnaの雨男パワーが炸裂しました。しかも 歌詞は「乾き潤す水は～♪」ですよ？ これで意のままに雨を降らせる事が出来たら現代の月奏になれるでしょうか？ （笑）ヒュムノスミュージカルに参加して以来、募り続けている思いがあります。 それは・・・「フルサイズで唄いたい！」 去年の伝承歌劇団のワンマンライブでは石橋優子さんをゲストにお招きして、ク レアCDの「チェロの光～Calm～」をフルサイズで唄う事ができました。けれど、 他のエウフロシュネの音楽は誰の耳にもその最後の音を聴かせてはいないのです・・・ 知っているのはソル・シエールの人々だけ？ さて、この次に楽団エウフロシュネの音楽が皆さんのお耳に届くのはいつでしょ う？どうぞお楽しみに♪ I want to give to you my sincerest thanks for having listened to [Spica ~ A Heart-crafted Present]. I am the Singing Knight Dahna, the singing voice of the Singing Knight Dian. Didn't these many singing voices make this Hymmnos Musical more lovely and interesting? And I'm very happy, even in the deepest parts of my heart, to have participated in this project consecutively. We increased the in-scene entries and speeches for each one of the members of the musical group of Euphrogene because we felt that they increased the human kindness that the musical gave. They appear like normal travelers, and both their gentleness, fun feeling and lifestyle, are chronicled in here and in the previous work [Claire ~The Promise of the Breeze], and I think we did a very good portraying them. Because of that, please listen to them well, since it would be unacceptable if you didn't it already! [Aah! So it was in that way!] I don't know how many times I have said that while nodding~. Ar Tonelico really is a world filled with the cultures and potential situations that all we have conceived, no? And the Hymmnos Musicals only add up to that world, such as the magnificence of the previous Claire's CD, and the street-corner story style of the current Spica's CD... That is a community filled with a so big variety of music being sung. (And the first time I heard the ED song I was very shocked!) And from now on, the world of Ar Tonelico shall continue its deepening steadily. Which kind of songs we will craft, and how they will reach our ears... well, we still haven't run out of ideas to continue making fun things. And in this recording, even myself, Dahna, the one that causes rain with his presence, we ended making a explosion of power. Furthermore, what about the lyric line [The thirst-quenching water~]? Do you think that if the Tsukikanade existed in the current era, they would also be able to call a downpour at will? (laughs) Since I participated in the Hymmnos Musicals, there is a thought I continued having. And that is... [I want to sing a full-sized song!] The last year, in the One-Man Live of the Legends of the Opera Troupe, I invited Ishibashi Yuuko-san, and together, we sung a full-sized version of [Cello's Light ~ Calm], from Claire's CD. However, we weren't able to make the other songs of Euphrogene reach the ears of everyone... Only the people of Sol Ciel knows how these songs are in their full versions? Well, when we will be able to sing Euphrogene's songs again, so these songs reach the ears of everyone? Look forward for when that time comes~ Miyako Umino's Comments: …今朝あなたが見た夢は、私の見た夢です。 私の夢はアルトネリコの音に彩られています。 あなたの夢も、きっと音が流れてるはず。 たとえそれが声無き声であったとしても。 声は、夢をふちどる音なのです。 ...In this morning, you dreamt, so I did. My dream was the coloring of the sounds of Ar Tonelico. Your dreams, certainly too, must have had sounds flowing in them. Even if they were only wordless voices. The voices are, the sounds that make the borders of dreams. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #12 Jun 21 2013, 04:53 PM | aquagon |
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And well, after so much time without translating any of the composer notes and comments, here I return with the first of the comments translations for At2! Comments for the Ar tonelico II OST: アルトネリコ2のサントラCDをお買い上げ頂きありがとうございます。皆さんのか げでアルトネリコも続編を製作することができました。 さて、今回はワールドマップやダンジョン、街のBGMなどを制作しておりました。 当初、音楽の発注状沢を見ると中央アジア系のイメージが前作より増している感 じで、やはりマニアックな仕様といった印象でした。また、生ドラム系のサンプ リングな世界観に合わないので使わないなど土屋ディレクターのサウンドイメー ジとのすり合せを行ったうえで、楽曲制作がスタートしました。 そこで、私のほうでもちょっとロシア風なアレンジだったりとかモンゴル系のサ ンプリングを使用したりと、前作から一捻りが入りました。普段は脇役のアジア の民族楽器も珍しく活躍しています。打ち込み面でもノイズ・エレクトロニカ系 などのクラプサウンドを取り込み、退廃的かつ未来的な側面が演出されていて、 前作以上に個々の個性が強い内容になったと思います。もちろんヒュムノス語を フィーチャーしたコーラス曲もより強化されました。 今後のゲーム音楽の在り方の一つを提示する作品になったのではないでしょうか。 独創的な世界を彩る楽曲達が、皆さんの素晴らしい冒険と共に心に残ることを願っ ています。 Thank you for having bought the soundtrack CD for Ar tonelico 2. Thanks to the support of everyone, we where able to make a sequel for Ar tonelico, and this time, I worked on composing the music for the world map, dungeons, and towns. This time, while thinking about what image the music should evoke, I chose to increase the Asian feel in comparison to the previous game, and I began to work like crazy to be able to make everyone feel the music like that. Still, since I couldn't use the samplings for live drums, I thought I wouldn' t be able to give that look of the world to my music, but after I talked about it for some time with Director Tsuchiya and exchanged ideas about the sound image for the game, I could start working composing. Because of that, I ended using some samples that sounded more like a Russian and Mongolian style, and reworked more on some of the things I had done in the previous game. Normally, the Asian ethnic instruments only play a secondary role in the composition of music, so it was quite curious to have them playing the main melodies instead. I also succeeded in taking some samples of clap sounds of the Noise Electronica style, and I also decided to implement them, to allow a better depiction of a world that seems that only has a decadent future, and I think that the individual songs allow a better depiction of that image than what I was able to do in the previous game. Of course, I also reinforced the use of the Hymmnos language choruses, since I featured them in a large number of my pieces. In which way I might present the music I will compose from now for my next works, and will it be similar to this one? I wish that the melodies that paint this creative world, and will accompany all of you throughout your adventure, remain on your hearts. サウンド 中河健 Composer - Nakagawa Ken あのアルトネリコにめでたく続編が誕生~！ 前作サントラのライナー(ん？)に書きましたが、タイトルの成長はファンの皆さ んの応援こそが原動力。たくさんのお励ましをいただき、本当にありがとうござ います！暖かいご声援があるかぎり、これからもアルトネリコはさらなる大樹へ と成長していくことでしょう。 音楽面では、新規タイトルということで「とにかく新しいことはなんでも試して みよう！」 という姿勢だった前作から、確立された世界観をスタッフが共有することで生ま れるより洗練された独自色を打ち出したものになっていると思います。とはいっ てもそこはアルトネリコ、一般的なRPGとはひと味もふた味も違う楽曲が今回も自 白押し！ことあらに奇をてらうのではなく、膨大な設定に根ざした独特の世界観 から生まれた『必然の個性』を持った楽曲たちを、このサントラで存分に楽しん でいただければ幸いです。 ただし申し訳ないことに、アルトネリコの音楽を味わうためにはサントラだけで は物足りない...ということは前作からのファンの皆さんにはご理解いただけるの ではないでしょうか。そう、今回もアルトネリコの目玉となるボーカル曲『ヒュ ムノス』を満載したボーカル『アルトネリコ2 ヒュムノスコンサート』シリーズ がもちろんスタンバイ。 こちらもゲームソフト・サントラCDともどもぜひともよろしくお願いします！ えっ、もうとっくに予約済み！？ And the sequel for the beloved Ar tonelico has been born! I wrote in the Lyner (eh?) notes for the soundtrack of the previous title that its development was thanks to the support of all our fans, and we are truly grateful for all the support and all the encouragement that all of you has given us! As long as we have such a warm support, the great tree of Ar tonelico might grow even larger. As for the soundscape of the game, since it's a new title, we thought [Well, let's try some new things!] That was the attitude we had since we finished working in the previous game, and since all of the staff have collaborated in the creation and refinement of this world setting, I think that we have managed to make quite an unique world. That is what Ar tonelico is, and I want everyone to acknowledge that the setting and music are some of the things that set it apart from any typical RPGs! And it's not because it displays originality, but because it's rooted in such an extensive setting, so the world that was born from it, it's [Inevitably Unique], that's among the things that are also contained in the songs, and I'll be very happy if everyone has been looking forward for this soundtrack. However, I'm afraid that this soundtrack won't be enough to taste everything about the music of Ar tonelico... and I think that the fans of the previous game might know what I'm talking about, right? Yes, again the special feature of Ar tonelico, the vocal [Hymmnos] songs, which this game is full of, are on standby on the [Ar tonelico 2 Hymmnos Concert] series. So please, also enjoy them, together with this soundtrack and the game! Eh, you have already reserved it!? サウンド阿知波大輔 Composer: Achiwa Daisuke 今作のコンセプトは『どうせやるならトコトンやろう！』。それは曲に関しても 同じで、ゲームBGMも、一癖も二癖もある曲を目指して制作をしてきました。 今回は前作以上に民族色を強くする方向と、サイバー色を強くする方向のどちら かに振っています。民族色の方では特にアジアな雰囲気を特化し、サイバー色の 方は、楽器という枠越えた、金属音のような効果音的なものも音色にして何でも あり！のようなものを目指してみたのです。その結果、このようなとても濃いア ルバムが完成しました。今回の楽曲こそ、アルトネリコという世界観の持つ独特 な雰囲気を十二に伝えていると自負しています。他では絶対に聴くことの出来な い、アルトネリコだけの音の世界です。自分は創作をするときに、そういったも のをとても大事にして作っています。なぜならそれこそが、アルトネリコの世界 をこの世界とは違う場所、違う世界に、あたかも本当に実在するかのようなリア リティを与える要因になるからです。このアルバムを聴いている間、皆さんの中 に本当のメタ・ファルスが生まれることを信じて止みません。 The concept for this time is [If we have to do it, we'll do it as we see fit!]. That's how we made everything related to the music, even the game BGMs, and we aimed to make one of them with at least one or two defining traits. This time, we aimed to increase the use of ethnic and cyber kinds of music, and we made all of the songs assume either one style or the other. For the ethnic music, we specialized mostly in giving it an Asian style, while with the cyber music, we made the music go to the wayside, and add all the metallic sound effects and synthesizer effects we might have needed! That was how we aimed to make the music. As the result, we made a very consistent album. About the songs of this game, I would want to brag that all of them convey different parts of the atmosphere and world setting that makes Ar tonelico unique. That is something that you won't be able to hear anywhere else, given that these are sounds that exist only in the world of Ar tonelico. Whenever I worked in this project, I had the most care with making the game like that, and we ended making it like this. That is because the world of Ar tonelico is a completely different place from this world, an entirely different world, so one of my priorities was making it as real as it was possible, as if I was going to make it real. Whenever you all listen to this album, please don't stop believing in your hearts that all of its sounds were actually created in Metafalss. ディレクター・サウンドディレクション 土屋暁 Director & Sound Director: Tsuchiya Akira |
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #13 Jun 21 2013, 04:54 PM | aquagon |
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And well, here we go with the next set of comments, this time from the Homura Hymmnos Concert! Comments for the Hymmnos Concert 2 Side Red - Flame~Homura Comments for BASARA: メディアグルーヴ Media Groove: 音の映像の一体感、それがアルトネリコ2制作時の、演出面でのテーマです。前作 アルトネリコでは『音が物語に与える力』という事をテーマに制作していました。 今作ではそれを1つステップアップし、更けなる音と映像と物語の融合を目指して います。音が物語や世界に与える力は相当なものがあります。歌曲、BGMにかかわ らず、音によって感動し、音によって迫力を感じ、音によってテンションが上が ります。そしてその効果は、音と映像、そしてシチュエーションがマッチしてい る時にこそ、最大となるのです。今作では更けにそれを深め、物語を文章単位で 吟味して音を当てているシーンが数多存在します。その殆どが、このアルバム 『焔』やもう一枚のアルバム『澪』に含まれている歌曲を奏でるシーンでもあり ます。本当にその世界で奏でられる詩、音楽、世界を持っている音。そういった ものをこのアルバムで感じ取っていただきたら、制作者としてこれほど嬉しいこ とはありません。 The identification with the images of the sounds, that is the theme we chose for Ar tonelico 2 when we were producing and making it, while, on the other hand, the theme under which we created the previous Ar tonelico was [The power that the sounds give to the story]. This time, as a way of stepping up, we aimed to find a way to bring together even closer the story, the sounds, and the images. Regardless of if they were songs or BGM, we can be deeply moved by the sounds, and when we feel the intensity of these sounds, because of the situation fitting perfectly with the music, is when they are the most moving things in the world. While working in this project, we deepened that aspect, and after experimenting a lot with the text lines of each scene in the game and its music, I can say that there are many scenes whose music matches perfectly with what is happening in them. Among the many songs that are played in these scenes, there are the ones that were recorded in this album, [Homura], and in the other album, [Mio]. The sounds, songs and music, all carry sounds that truly are played in that world, and represent it. If you can feel these things in this album, nothing would make me happier, as the one that created them. Comments for EXEC_METAFALICA/.: 封印された、この地で最も強大な詩 Sealed away, the most powerful song over this land 数百年前、既に大惨事によって大地を失った「第二紀」に生まれたこの詩は、そ れでもこの世界に現存する詩の中では古い部類に入ります。それは、この世界が 大惨事後にも高度な文明を保持し続けたことの裏付けでもありますが、このメタ ファリカはその中でも最高峰ともいうべき詩です。なぜならこの詩は、理想郷メ タファリカ伝説(詩によって豊かな大地を生み出す)を実現させる類い希なる大規 模な詩だからです。しかしそれは、完成後すぐに封印されることとなりました。 理想郷を求めて止まない人々が、なぜこの詩を封印してしまったのか。その真実 はゲームの物語で語られています。そしてもしかしたら、この詩を心で感じ取っ ていただければ、詩自身からその理由を感じ取れるかも知れません。是非心のシ ンクロ率を高めて、この詩を聞いてみてください。 Various centuries ago, after the great catastrophe that caused the loss of the land, a song was created during the [Second Era], and yet, it's still a very ancient ancient song that existed in this world was put into it. That is, to continue preserve the advanced civilization that still existed upon this world, this song, Metafalica, was made to be the most powerful of the songs. That is because its purpose is making real the legends of the Metafalica utopia (creating an abundant land through the singing of a song), and because of the wishes contained in it, it's such a large scale song. However, little after it was completed, it was sealed away. Why the people that never stopped seeking a way to realize their utopia sealed this song? The truth about it is told in the story of the game. And maybe you can feel this song on your heart, and even might feel the reasons behind that with only listening to the song. Certainly, when you listen to this song, please try to raise the synchronity between your heart and it. Comments for EXEC_SOL=FAGE/.: 神よ、我が心と共鳴せよ Oh, Goddess. Oh, I shall make our hearts resonate together. この詩はヒュムノスですが、少々特殊な使用用途を含んでいます。普通の使い方 は神とのリンク、いわゆる神下ろしで、この詩を謳うことで神を自らの身体に下 ろすことが出来ます。そして更けに、この詩は特殊な "バス(接続経路) " を持っ ており、他のヒュムノス詩とリンクする事が可能なのです。これにどのようなメ リットが有るのかといいますと、普通人間では謳いきることの出来ない強大な力 を持つ詩を、神の力を使って謳うことが出来るのです。神の持つエネルギーは、 人の数百倍とも言われれいます。実際に物語の中で、この詩はそういった、いわ ゆる "プラグイン" として何度も活躍しています。プラグインとしてこの詩を呼 び出すときには、必ず詩の始まりの部分に接続用のコマンドが入ります。この 『焔』のアルバム中で、2つの詩が、このSOL=FAGEとリンクしています。興味が有 る方は、是非歌詞カードとにらめっこして、探してみてください。 This song is an Hymmnos, but it also has another small and special use. Normally used, it serves to link the singer with the Goddess, in what is called the "Heavenly Descent", because it allows the Goddess to descend into the own body of the one that is singing this song. That is because this song carries the qualities of an special "Bus (connection line)", so it also allows the linking of other Hymmnos songs. This could be said that is the greatest merit this song has, because it allows the ordinary people to use songs that have so much power, that under normal circumstances, they couldn't ever sing, and that is because they can use the power of the Goddess to enable themselves to sing these songs. The power the Goddess has is said to be hundreds of times the power that any person could have. And virtually, in the story of the game, we could say that it has a very active role as a "Plugin". When this song is invoked as a plugin, it's obligatory to input it as a connection command attached to the start of the song. In this album, [Homura], there are two other songs that link to this SOL=FAGE, and if you're interested into that, you will certainly continue looking very frequently to this lyrics card, and please, try seeking the songs that are connected to this one in there. Comments for EXEC_VIENA/.: 謳え、天へ続く階段 Sing, stairway that continues on to the heavens 今回の『焔』に収録されている音楽は、壮大なゼネコン音楽といいましょうか...大 地を創成したりといった、大建造物の創成するものが多数存在します。これらの 詩はとても大きな事を行える反面、人一人の力ではどうにもならない程の強大な 力を必要とします。 その為に神の力を借りたり、人々の想いを1つにまとめて強い想いにしたりといっ た事を行っていくわけですが、このヴィーナがその転換点となります。ヴィーナ は手段として謳う詩ですが、この詩を謳うときのドラマは、今回の物語でも最大 の見せ場となるでしょう。また、この曲やEXEC_METAFALICA/.は映像側コンダクター となって作られた詩で、それ故、映像演出と詩の同期にかなりの力を注ぎました。 物語中でこの詩が聴ける頃には、世界もプレイヤーも相当盛り上がっている事で しょう。是非そのエネルギーを、映像と共に感じて欲しいと思っています。 The songs that were recorded in this disc, [Homura], could be described as songs for a great building work... for the creation of a land, and many of these songs are for the creation of great structures. On the other hand, these songs create things so great, that it's futile for a single person to try to sing them, since they need a great quantity of power for their effects to trigger. For that purpose, while they normally loan the powers of the Goddess, and gather the strong feelings of each person to be able to bring forth the effects of these songs, this one, Viena, is different from them. Viena is sung as a way for, conveying the drama of the moment when it's sung to the players as one of the most important scenes of this story. Also, this song, and EXEC_METAFALICA/. are different sides of the Conductor that became the main part into the created songs, and because of that, we poured a great deal of effort in the image we were producing and its synchronization with the song. When you hear this song, the world of the game and you, as the player, will be able to get excited at the events that happen at that moment of the story. I think you'll be able to feel that energy together with the image we put in it, and certainly, I wish you can feel it. Comments for Hates ciel, melenas walasye: 気づけば周りに暖かな心 If you notice what you have around you, your heart will become warmer 今回は、レーヴァテイルが歌うヒュムノスではない歌に、少しばかり焦点を当て てみました。前作ではレーヴァテイルが謳うヒュムノスに対し、心で歌う歌を奏 でる為のキャラという形で設定していましたが、今回はレーヴァテイルの心情変 化とシンクロする形で、ヒュムノスと通常の歌曲を混ぜてみています。この歌は、 ルカがレーヴァテイルの力を使わずに、自分の声で歌っている歌です。その為単 旋律ですし、圧倒するような壮大さなどは有りませんが、どの詩よりも「ルカ」 という個人の強い想いが沢山込められています。この物語でルカは目覚ましい成 長を遂げます。そういったルカが最後に歌う歌がこの歌です。そして物語では、 ヒュムノスではない、何も具体的な力を生まないこの歌が本当の理想郷を生み出 すためにとても重要なキーになっている様を描いています。それがどういったも のなのが、物語を通じて感じ取ってもらえれば、制作者としてとても嬉しく思い ます。 This time, we tried to give a little more of focus on the Reyvateils being able to sing songs that aren't Hymmnos. That would be contrasting to the singing of Hymmnos that the Reyvateils of the previous game did, and though we had in there a character that only played the songs she sang from her heart, this time we wanted to do it in a way that the players could synchronize themselves with the feelings of the Reyvateils, and we tried to do so by mixing both Hymmnos and normal songs. About this song, Luca isn't using her Reyvateil powers for it, but it's only a song she sings with her own voice. Because of that, we made it with a simple melody, and we pressed for not making it magnificent at all, but instead, focused on putting as much as we could of the strong feelings of the individual called [Luca]. During the story, Luca made quite a remarkable development, and this is the song that she sings as the proof of her growth as a person. And in the story, even if isn't an Hymmnos and doesn't produce any kind of concrete effects, this song ended being an essential key for the birth of the true utopia, and that is how we sketched it. If you can understand it like that, and feel its role in the story, I'll be very happy. Comments for EXEC_with.METHOD_METAFALICA/.: 光溢れる大地へ... Towards a land of overflowing light... この長い曲名の所以は物語を体験して頂くことで感じ取って欲しいと思っていま す。説明すれば簡単で、「焔」に収録されているEXEC_METAFALICA/.と「澪」に収 録されているMETHOD_METAFALICA/.が合体したものです。しかし、実際にはその無 機的な説明では絶対語る事の出来ない、大きな大きな想いがこの詩の中には込め られています。そもそもヒュムノスという詩は、心が紡ぐ詩です。表面的な耳で 聴こえる「歌部分」よりも、その歌っているときに心の中にある「想い」がとて も大事なものです。例え同じヒュムノスを二人で声を合わせたところで、想いが 重なっていなければ効果は発揮されません。ましてやこの詩は、違う2つの詩を二 人で意気投合して謳う詩。そのシンクロ度合は生半可なものではありません。今 作の物語は、この詩を目的として物語が進行します。様々な苦悩、試練、冒険を 経てこの詩にたどり着くのです。だからこそ是非、その過程と共にこの詩を感じ て欲しいと思っています。 The reason for giving this song such a long name is because of something I wish you all can feel in the story. But to put it simply, it's because this song is the combination of both the EXEC_METAFALICA/. song that is recorded on this same [Homura] album, and the METHOD_METAFALICA/. song that is recored on the [Mio] album. And even I'm not able to make a better explanation that feels less artificial at the moment, there are very great, enormous feelings contained inside of this song. Since in the first place, the Hymmnos songs are songs crafted by the heart. Even if in the surface you can only hear the [song part], when it's sung, the most important thing are the [feelings] that come from the heart of the singer. For example, in a situation in which two people sang in unison the same Hymmnos, if they didn't put their feelings into it, it wouldn't display any effects, and even less with this song, where the songs of two different persons have to be sung together in a way in which both sympathize with each other. In the story of this game, this song is the final goal that everyone is striving for, the one that all of them reach after overcoming many hardships, trials and adventures. Because of that, I wish that you all can feel and reminisce about all you did to be able to reach it in the game when you can finally hear it. Comments for Flame~Homura: 想いの力、引き出す業 The power of the feelings, drawing deed 今作の物語のテーマは沢山の人達の絆、すなわち「愛」です。それは、人々の愛 のみならず、この世界が我々を包み込んでくれる愛、それよりも大きなこの世界 全体の愛など、様々なものがあります。そしてこの世界は、それらの愛によって 支えられています。愛はいつでも、誰の周りにもあります。そして様々な形の愛 が存在します。そして、どんな愛をどう引き出すかは、その人次第なのです。メ タ・ファルスの世界は人工の大地であり、土もなければ草水も生えていませんで した。人々はそこに土を敷き、田畑を耕して数百年に渡り生き延びてました。そ こには無常感すら感じますが、ここにも確かに大きな愛が存在します。人々の愛 も、世界の愛も。そこに貴方が存在している事、そらがそこに愛が存在している 事に他ならないのです。この焔という詩は、そういった世界の愛を受け取り、そ の愛で世界を導く役目の御子「焔の御子」をテーマに歌ったものです。 The theme of this game are the bonds between many people, namely [love]. That is, besides the love of the people, there is also the love with which the world enshrouds us, and greater than anything, the love we have for everything in this world, among its many forms. Thus, this world is supported by all of these forms of love. The love is always around everyone, and it exists in a great variety of forms. And no matter in which form its drawn, it always is dependent upon the people. The world of Metafalss is an entirely artificial land, where water and grass naturally born from the earth don't exist. The people had spread land over that cold metallic structure and planted crops during the course of hundreds of years just to stay alive. There you feel how transient life is, and that should make you able to feel a greater love for this place: love for the people and love for the world. No matter where you are, the fact that love will always continue existing at your side won't change. This song, Homura, was sung with the theme of accepting that love for the world, because that is the role of the Maiden that has to lead all that love into the world, the [Maiden of Homura]. Comments for EXEC_SPHILIA/.: 心で対話することば Exchanging words through our hearts この曲は、ヒュムノスの新しい表現手法の一つとして設計したものです。その表 現手法とは、詩による対話。この詩曲スフィリアは、とある「いのち」との対話 のために紡ぎ出される詩です。その「いのち」は、音波 (声) を使って会話をす ること出来ませんが、詩にとって想いを伝えることが出来ます。そして、それに 対してこのヒュムノスを使って返事をするのです。すなわちこの歌曲は、その会 話相手である「いのち」の返事次第によって全く違う詩曲になるということで秒 単位での即興曲という事になります。ヒュムノス詩を自在に操れるレーヴァテイ ルだからこそできる、詩を呼吸のように自然に謳う事を体現した良い例です。こ の収録されているSPHILIAは、どのような対話をし、どのような結論になったので しょうか。この詩から感じ取ってみてください。 This song was planned as new method of expression in Hymmnos, and that method is establishing a conversation through a song. This song, Sphilia, was crafted with the purpose of conversing with the [life] of other person, and for doing so, the sound waves (voice) alone aren't able to convey alone the feelings to it, so they have to be conveyed through a song. And thus, to reply to it, it also uses Hymmnos. That is, because this is the conversation between a person and the [life] of other, and their replies, it ending being completely different to the other songs, and that's why we used so many improvisations per second in it. That is because because the Reyvateils are able to freely manipulate the Hymmnos songs, and this song is an excellent example of how natural the singing of these songs is for them, like breathing is to us. Finally, about SPHILIA itself, why such a conversation was established, and what conclusion it ended reaching? Please, try to feel these things from this song. Comments for EXEC_DESPEDIA/.: 荒くれ者には戒めを I shall punish these ruffians DESPEDIAは兵団制御クリスタルと呼ばれるヒュムネクリタルの一群に属します。 その昔、まだ大地が有った時代 (第一紀) に、神の軍団と呼ばれる兵団が作られ しました。それらはレーヴァテイルによって制御出来、またレーヴァテイルが搭 乗できるように作られていたのです。その制御に使われていたのが、やはりヒュ ムノス詩でした。その中でもこの詩曲は相当ハイレベルなもので、全師団を束ね るクラスのレーヴァテイルがダウンロードしていたものであると言われています。 使いこなせるようになければ、この詩によって神の兵を自分の手足のように操れ る程でした。またこれらの詩は、神の兵1体につき1つのクリスタルが対応する形 になっており、全兵団を一気に操れるような事は出来ないようになっています。 この辺りのセキュリティの高さメタ・ファルス文明の特徴でもあり合理化を最優 先するソル・シエール (前作の舞台) とは対照的な部分です。 Despedia is the name of one of the Hymn Crystals that are used to control the army robots. They are called the Divine Army, but they actually were created a long time ago, during the time when there was still land on the world (the First Age). The ones able to control them were the Reyvateils, so they always sent Reyvateils whenever they were going to make them, and when the control crystals are used, they became Hymmnos songs. So befittingly, this is a very high level song, so we can say that the Reyvateil that downloads it would be in possession of a song capable of controlling an entire group of the Divine Army. However, it's not so easy, given that this song also allows the Reyvateil to control the Divine Army robots as if they were part of her own hands and feet, and the crystals and robots were designed in a way that only one robot responded to one crystal, thus making impossible for a Reyvateil to control all of them at once. These tighter security measures show the traits of how much preference the civilization of Metafalss has for rationalization over Sol Ciel (the setting of the previous game), and it's a part of great contrast between both regions. Comments for EXEC_HARMONIOUS_FUSION/.: 憎悪を静める子守歌 A Lullaby to calm the hatred 遠い昔にミュールというレーヴァテイルが紡いだヒュムノス「HARMONIUS」。その HARMONIUSがヒュムノスフュージョンを起こしたのがこの曲です。ヒュムノスフュー ジョン とは本来、元々プリセットされたヒュムネクリスタルの想いに、謳い手レー ヴァテイルの想いがプラスされて効果が変化する時に使われる言葉です。ですが、 想いが強ければ自分自身の心の中でフュージョンを起こすことも可能です。HARMONIUS_FYUSIONは、 そういった類のフュージョンを起こした詩で、オリジナルのハーモニウスが人々 に幸せな気持ち与える詩であるの対し、フュージョン版は憎悪の思念体を穏やか な気持ちにする効果になっています。このように、若干の効果の変形を行うこと も、卓越したレーヴァテイルなら可能なのです。 A long time ago, a Reyvateil called Mir crafted the Hymmnos [Harmonious], and this melody is the result of a Hymmnos Fusion happening to that Harmonious song. An Hymmnos Fusion is in essence when a singer adds her own feelings to the originally preset feelings of a Hymn Crystal, changing even its effects when the words that form its lyrics are sung. However, for the Fusion to be possible, the Reyvateil has to have very strong feelings inside of her own heart. Harmonious_Fusion is a song that has passed through that process, and while the original Harmonious had as effect giving feelings of happiness to the people, the Fusion version has the effect of changing the feelings of hatred into feelings of calm. Being able to cause a change in some of the effects of a song like this is possible only for the strongest Reyvateils. Comments for The Heart Speaks: 精一杯の気持ち、伝えたい I want to convey my feelings to you, with all my strength 男性ボーカルから始まるこの詩は、本作の主人公クロアがある人に向けたラブソ ングです。クロアはレーヴァテイルではりませんから、ヒュムノス語は心から湧 いてきませんし、意味を取るのも発音するのも一苦労なのです。そのクロアが敢 えてヒュムノス語を使って、更けに詩にして相手に自分の想いを伝える...という、 その事自体が、言葉の意味以前に想いの塊ではないでしょか。今作ではヒュムノ スという言葉を通じて、様々な関係の表現を描いています。この曲、そしてSPHILIAな どはその代表例ですが、大切な人のためにヒュムノスを使う、想いをダイレクト に通じ合うためにヒュムノスを使う場面が多々あります。ヒュムノス語はその効 能故、物理的な力にばかり目が行きがちですが、その原点は言葉では表現しけれ ない想いを直接伝える言語なのです。それを再認識しながら物語を読み進めてみ れば、本来のヒュムノス語の力が見えてくるのではないかと思います。 Having some male vocals from the start, this song is a love song that the main character, Chroah, sings for a certain person. Since Chroah isn't a Reyvateil, he can't naturally speak or understand Hymmnos, and so, learning the pronunciations and meanings of the words was quite difficult for him. So when he dared to use the Hymmnos language, and furthermore, to make a song to convey his own feelings to the other person... well, he hadn't already amassed his feelings before knowing the meanings to these words? This time we wanted to sketch more forms of expression through the use of the Hymmnos words, and this song, together with SPHILIA, are the most representative examples of that, and we created various scenes where we can see the characters using Hymmnos for an important person, and also, using it to convey feelings directly. That is the reason of Hymmnos being so effective, and even though it has physical effects, but it's original reason of being its being a language made especially for the conveying of feelings. If his allows you to see the language in new light as you continue reading through the game, maybe you can see the essential power of the Hymmnos language later on. Comments for Colors~Will this Flower Bloom?: 強くも儚い純粋な心 An strong, yet transiently pure heart... 想いを伝える発信源、心。生まれたときには誰もが純粋な心を持っています。そ の心は純白と表現することが出来るでしょう。そして人は生き始めます。様々な 道を歩み始めす。そして、様々な色に染まっていきます。それは善し悪しではな くただ、様々な色に染まっていくのです。純白は染まりやすい。もし自分の目指 す色が有るのなら、それ以外の色が着けば傷つくこともある。純白は美しいが、 無垢であるが故に染まりやすく、そして穢れやすいものなのです。そんな、とあ る人物の「心」をテーマにした楽曲、染。想いの発信源、そして絆を結び合う場 所、アルトネリコのテーマである「想い」の源「心」を、一人の少女を無点に当 てて描いてみました。 The source of the feelings that we convey, the heart. Everyone has a pure heart when he or she is born, and we should be able to express having such a pure white heart. Then we begin to live, and to walk through many different ways. Then, the heart is colored with many colors. These aren't good or bad, they're just different colors, and a pure white color is easily colored. If you aim yourself to have a certain color, you might be hurt if you end having any other color than the one you chose. The pure white it's beautiful, and because it's so pure, it gets colored easily, and gets tainted easily as well. That characteristic of us the people, the [heart], is the theme of this song, Colors. The source of the feelings, and how it's tied to other ones. The [heart], the source of the [feelings], which are the main theme of Ar tonelico, and we intended to depict in this song a girl when her heart was still completely pure. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #14 Jun 21 2013, 04:54 PM | aquagon |
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Ok, comments for the Mio Hymmnos Concert, ready! Comments for the Hymmnos Concert 2 Side Blue - Waterway~Mio Comments for Opening - Resonance Reaction: 詩を持つ力 The power that the songs carry ヒュムノスコンサートシリーズも、「星詠」 「月奏」 に続いて第二弾を発表す るに至りました。こうして第二弾をお届けできる運びとなったのも、一重に聴い ていただいている皆さんの陰に他なりません。その皆様のご支持に対し、私達は 更けに強い、大きな想いをもって、この第二弾の制作をしてきました。今作でも 「詩を持つ力」テーマとし、一つ一つ丹念に込めた「詩の想い」、それを元にし て楽曲の中に展開する「世界」、そして奏で謳う「音楽」という、アルトネリコ ならではの楽曲の作り方で紡いでいます。1曲1曲を単なる歌ではない、物語と想 いが詰まった「世界」として描いている楽曲達。こうして作られた高い想いのエ ネルギーが、皆さんの中に必ずや何かを残すと信じています。このアルバムを聴 いて頂ける皆様が、僅かな時間でも魅力ある世界と融け合うことが出来たのなら、 これほど嬉しいことはありません。これらの詩曲達が、あなたの心に「想い」を 紡ぐことを信じて。 And with this, I announce that the second part of the Hymmnos Concert series, which continues what the albums [Hoshiyomi] and [Tsukikanade] did, have arrived. Thus, we finally could reach this point, and the first thing that I want to say to you all is thank you, without your support, this wouldn't have been possible. And in gratitude for your support, we strengthened ourselves even further, and made this second part with even greater feelings. Even if the theme of this game is the [power that the songs carry], we made each one of the [feelings of the songs] one by one, very diligently, and basically, inside of each one of these songs, a [world] expanded, and we made them making sure that whenever that [music] was played or sung, they would have the characteristic sound of Ar tonelico. These aren't simply "1 song, and another song", but they actually are stories and feelings packed into the [world] that these songs depict. Thus, given the high emotional energy through which we made these song, I believe that all of them will surely remain indise of your minds. If you all are able to be charmed by this world and melt within them when you listen to these songs, even if it's just a little, nothing would me make happier than that. I believe that these songs will also allow your heart to craft new [feelings]. Comments for Singing Hills ~ Harmonics FRELIA: 共鳴、融和、絡み合う心 Resonance, Harmony, Entwined Hearts 今作の謳う丘は、アルトネリコ2のテーマである「人と人との絆」「心が繋がるこ と」を描く詩として制作しています。ゲーム本編では前作より更けに深く、人と 人との繋がりに無点を当てて描いています。パートナーの絆のみに無点を当てて いた1作目から、ヒロイン間、パーティー内、そして世界中の人々の絆を描いてい る今作。そんな今作のテーマ曲ですから、そのテーマを描くことに力を入れてみ ました。例えば、歌詞には二つの旋律が絡み合っている所がいくつか存在します。 通常なら同じ歌詞か、全く違う歌詞による輪唱になる部分ですが、この曲では、 それぞれの旋律でも意味が通り、二つの旋律を交互に読んでいっても意味通るよ うに作られています。その他、イントロのヒュムノス部分でも、絡み合う旋律の 中に幾つかの細工が施されています。そういった所で、今作のテーマである「絆、 心の繋がり」を感じ取っていただけたらとても嬉しく思います。 This Singing Hills version was created as a song that would depict the themes that are on Ar tonelico 2: [the people and their bonds] and [the entwining of the hearts]. So we made it even deeper than the version of the previous game, and sketched within it the theme of the entwining of the people in the purest way possible. We didn't sketch in it the bonds between partners as the only pure kind of bonds, since they are just one of the kinds, the other would be the bonds between the heroines, between the party members, and finally, between all the people in the world. Because that is the theme of this game, that is what we tried to put and depict in it with all our might. For example, you can see in the lyrics that there are many points where the two melodies entwine with each other. While in normal circumstances both parts would have the same lyrics, that isn't the case here, since we made them as parts of a canon with entirely different lyrics, and within this song, each one of these melodies carry their own meanings, and we made it in a way that both melodies can be read mutually and still understand their meanings. And also, even in the Hymmnos part in the intro we applied some of the same tricks where we combined two melodies, like in the rest of the song. Having said that, I'll be very happy if you all can feel and accept the themes of this game: [Bonds, and the entwining of the hearts]. Comments for METHOD_IMPLANTA/.: もし刻を戻せるのなら... If only we could turn back time... IMPLANTAの効能は、詩魔法サーバーのリカバリです。PCによく「リカバリディス ク」というDVD-ROMが付けいていますが、それと同じと思って頂いて構いません。 歴史的にはこの詩は、EXEC_HAIBANATION/.ととても深い関係にあります。それは ヒュムノス部分の物語によって表現されています。この曲のヒュムノス語部分の 物語は、遙か昔よりメタ・ファルスに伝わる神話 "zodal rhaplanca (ラプランカ 死せる魂の手記)" という物語そのものです。メタ・ファルスでは大昔から理想郷 神話がいくつも創られており、この物語はその1つとして創られたものです。ラプ ランカとは、メタファルスに古くから伝たわる女神人の名前で、メタ・ファルス の神話には頻繁に登場する人物です。IMPLANTAはHAIBANATIONのヒュムノス詞物語 の後編に当たる物語で、2つ前って1つの話として完結するように出来ています。 興味有る方は、HAIBANATIONとIMPLANTAのヒュムノス詞を解読してみてください。 The effect of Implanta is the recovery of a Song Server. If you compared it to the [Recovery Discs] DVD-ROM that are included with the modern PCs, it would be a very fair comparison. Historically, this song has a very deep connection with EXEC_HIBERNATION/., and that is shown by the stories that are told in the Hymmnos parts of their lyrics. The story that is told in the Hymmnos parts of this song is a very ancient myth that has been passed on in Metafalss, called "zodal rhaplanca (Record of Rhaplanca, Who Bestows Death upon the Souls)". Since very ancient times, the people of Metafalss has created many myths about utopias, and this story is part of one of these myths. Rhaplanca is the name of a goddess that has been passed on since very ancient times, as well, and she is a character that frequently appears in the myths of Metafalss. Implanta is the continuation of the story that is told in the lyrics of Hibernation, and there is one part prior to Hibernation, and two parts after Implanta, which make up the complete story. If you are interested, please try deciphering the Hymmnos lyrics of both Hibernation and Implanta. Comments for METHOD_METAFALICA/.: 全ての民へ届けこの想い Let these feelings reach all the people: METAFALICAもIMPLANTAと同じく、メタ・ファルスに伝わる神話 "valda rhaplanca (ラプランカ命湛大樹の手記)" をモチーフに創られています。しかし、その構成 方式は全く違う形をとっています。METAFALICAという詩は、EXECの方がMETHODよ りも数百年早く誕生しています。にも拘わらずEXEC側は "valda rhaplanca" の物 語を部分的に抜粋するような形で構成しています。更けに結末は原文とは違いバッ ドエンド。METHODは、その原文のもう半分の物語を有し、2つ揃って本来の "valda rhaplanca" になるように創られています。なぜEXECにはバッドエンドの想いが込 められたのか、そしてMETHODはなぜ創られたのか。それが今作の肝でもあります。 またこの詩はヒュムノフュージョン(*1) を起こしており、それによりクローシェ がこの詩を謳う時にどのような気持ちだったか、そしてどんな絆が有ったのかを 感じることが出来ます。是非ヒュムノス詞からそれを感じ取ってみてください。 (*1)ヒュムネクリスタルに記録されている詩を自分の心に取り込む際に、自分の 強い想いが重なり、本来そのヒュムノスが想定していない効果や想いが上乗せさ れること。 Similarly to IMPLANTA, METAFALICA was also made under the motif of one myth that has been passed down in Metafalss: "varda rhaplanca (Record of Rhaplanca, Who Struggles to Cultivate a Great Tree)". However, the way in which they are organized are completely different. About the song of Metafalica, the EXEC part is older than the METHOD part by various centuries, and in spite of this, the EXEC part was made from just a part of the "varda rhaplanca" story. Furthermore, the original end of the story doesn't look at all like a bad ending, in comparison to how the EXEC part ends. In the METHOD part, the second half of the story was included, and when both are together, they form the complete "varda rhaplanca" story. Why the EXEC part only had the feelings for a bad ending, and why the METHOD part was created? That is a part of the innards of this game. However, this song also caused an Hymmnos Fusion (*1), so more importantly, what kind of feelings Chroche had when she sang this song, and what kind of bonds she was able to feel at that moment? Certainly, please, try to feel these things from the Hymmnos lyrics of this song. (*1) When you are receiving the song that is recorded in a Hymn Crystal, if your own strong feelings overlap it, they might be added to the feelings and effects that the Hymmnos is supposed to naturally have. Comments for METHOD_REPLEKIA/. 100人の想いよ、一つの心となれ Oh, the feelings of 100 persons will become one heart 今作のテーマが「絆、心の繋がり」であるのなら、当然謳われるヒュムノスもそ れに沿ったものになります。このレプレキアはまさに、一番分かりやすい一例と なっています。この詩は、100人、1000人といったレーヴァテイルの詩を、1つの 強大な詩としてまとめ上げる詩だからです。この詩は、今作の語る上で欠かせな い、とても重要なものとなっています。またお気づきかと思いますが、今作は、 この詩を含めた幾つかのヒュムノス「METHOD_」から始まるものが存在します (普 通は「EXEC_」です) 。これらがなぜ頭が違うかと言えば、処理する詩魔法サーバー が違うためです。そしてこの設定が、今作のテーマ「絆、心の繋がり」と密接に 関係しているのです。ゲームをプレイして設定を理解すれば、更けに想いは深い ものになるでしょう。 Since the theme of this game is [Bonds, and entwined hearts], it's natural that we would make a Hymmnos based on it, and this one, Replekia, ended becoming the easiest to understand example of it. That is because this song can gather the songs of 100, even up to 1000 Reyvateils to greatly power up one Song Magic. This song is not something that was shrugged off in the story, because it plays a very important role on it. Still, I think you might have noticed it by now, but various of the songs in this game, such this one, have a different Hymmnos header: [METHOD_] (when the usual one is [EXEC_]). And the reason for it having a different header it's because these songs are processed by a different Song Server, and that setting it's very deeply related to the themes of [Bonds, and entwined hearts] this game has. If you play the game, and understand how that setting works, that might deepen your feelings about it. Comments for EXEC_over.METHOD_SUBLIMATION/. ~ lamenza: 慟哭 Laments 今作のラスボス戦は、ボスの状態が変化する時にシームレスに曲が変化するとい う試みを行っています。その最初の曲が、この「lamenza」です。曲のタイトルEXEC_over. METHOD_というのは、METHOD_SUBLIMATION/.に支配されたEXEC_SUBLIMATION/.とい えば分かりやすいかもしれません。元々あったEXEC_SUBLIMATION/.を後から当て たパッチMETHOD_SUBLIMATION/.によってコントロールしています。なぜこのよう な事をする必要があるかと言えば、二つの異なる詩魔法サーバーを同時にコント ロールする必要があるからです。そしてこのSUBLIMATIONという詩は、それぞれ役 割を持ち独立した、3つの効果が存在します。1つめこの詩は、現状の世界を嘆き 悲しむ詩です。裏切り、ねたみ、悲しみなど、負の感情による世界への警告であ り、これから始まる世界昇華へのイニシャライズです。その効果は世界を停止さ せることです。 For the final boss music of this game, since the boss changes forms, we wanted to experiment with the music changing seamlessly from a phase to other of the final battle. The first part of this song is this one: [lamenza]. As for the song title: EXEC_over.METHOD_, maybe it will be easier to understand it if we said that EXEC_SUBLIMATION/. is being controlled by METHOD_SUBLIMATION/. By nature, EXEC_SUBLIMATION/. is getting a patch applied from METHOD_SUBLIMATION/., and it's being controlled by it as well. And why it requires a name like this, it's because this song requires the simultaneous control of two different Song Servers to work. Also, this song, Sublimation, has three independent part, and as such, each part has its own effects, making it a song with a total of three effects. The first part is this song, which expresses sad lamentations over the current situation of the world. Things like betrayal, envy, jealousy, sadness, all these negative feelings are being used as a warning for the world that its sublimation its being initialized now. Its effects are completely halting the world. Comments for EXEC_over.METHOD_SUBLIMATION/. ~ ee wassa sos yehar: 大いなる魂の祭典 The Great Festival of the Souls この詩がどのような効果と想いを持っているか、それは恐らく詩を聴いていただ ければ誰もが感じ取ることが出来るでしょう。世界昇華を行う為には、まずは現 状を破壊させなければなりません。既に出来上がっている世界では、完全なる世 界の転換を望むのは無理だからです。この2番目の詩は、まさにその解体、浄化、 そして悪しきものを振り払う、といった事を実行するものです。それを広範囲で 実行するこの詩は、当然ながらとてつもない力を持っています。強い、全てを貫 き全てを破壊し、それでも尚減衰せずに突き進む力。そのようなぶれることのな い強大な力を持つ詩は、只ひたすらシンプルで、そして自らの想いの根幹に近い 部分から発せられる力で構成されています。そしてこの詩は、そのような力と想 いを持った詩がどのようなものかを、体感させてくれる事でしょう。「詩の持つ 力」を直感で感じさせてくれる楽曲が、ここに存在しています。 You might be wondering what kind of feelings and effects this song could have, and that is also something that everyone will be wondering upon listening to this. To sublimate the world, first it's necessary to completely destroy everything that exists currently. That is because it's impossible to reform the world if there is already a completed world in the area. This second part of the song does exactly that: destroy and purify the world, and annihilate any evil that exists within it. And because it has such a wide range of effects, naturally, this song has an unbelievable amount of power. An enormous power, capable of piercing through everything, destroying everything, but that doesn't reduce its strength as it continues accomplishing its function. And the reason for a song having such a great power is actually a very simple thing: its composed from the power that spouts from the part closest to the root of the feelings of the singers. Thus, you might be able to feel things such as what kind of power and feelings are carried within this song. [The power carried by the songs] that it's felt instinctively in the songs exists here. Comments for EXEC_over.METHOD_SUBLIMATION/. ~ omness chs ciel sos infel: 世界の愛、愛故の狂気 A world of love, madness because of the love 人には必ず目的がある、行動には意味がある、という観点から物事を捉えると、 ラスボスにも必ず、そこにいる意味、目的があります。通常ゲームのラスボスは 大抵邪魔であり、それ故にラスボス戦の曲は大変に荒れ狂った曲となる事が多い ものです。では、ラスボスがこの世界に対し、大きな愛をもってそこに存在して いたのなら、それはどのようなシチュエーションとなるでしょうか。そして、そ の世界の当事者が謳う詩がBGMとなる場合、そのBGMはどのようなものとなるでしょ うか。余りに純粋すぎる心、そして神々しいまでの想いを、人々はどのような感 覚を持って受け入れるのでしょうか。この曲が、それらの全てを体験させてくれ ます。この詩は、SUBLIMATIONの第三形態となります。狂気、狂気...と続いてき た最後を飾るこの曲は、貴方にとって、どんな曲として感じられるのでしょう。 愛あふれる曲に感じられるでしょうか。それとも、狂気に満ちた曲でしょうか。 The people certainly have goals, which gives meaning to their actions, and so you all could grasp them from its point view, the last boss also has its goals and motives. In the normal games the final battles are mostly hindrances, so the music for these battles are frequently very raging pieces. However, what kind of situation would be brought if the last boss had a great love for this world and everything that lives within it? And also, for the ones that sing this song in that world to be used as a BGM, what kind of thing could have become that BGM? Could it have an excessively pure heart, too divine feelings, and accepting the feelings that the people have, regardless of what they could be? You should be able to experiment these things through this song, and that is what ended becoming the third part of Sublimation. Madness, madness... while we continued embellishing this song until its finale, you might be able to feel it as any kind of music. Might you feel it as a song overflowing with love? Or as song filled with madness? Comments for Waterway~Mio: 理想郷は "この" 海に在るのでしょうか Could the utopia exist in "this" sea? このCDのタイトルともなっている澪。澪とは船の作る波の緒のこと。この世界を 海に見立てれば、水をかき分ける澪の先頭にいるのはクローシェです。この世界 で最も尊い命、そして、大陸を紡ぐ御子と呼ばれる身。それはとても輝かしい栄 光の座であると同時に、この世界の命綱を握っている身でもあります。切実な民 の声、崩壊し続ける世界。様々な困難が毎日のように訪れ、それでも尚決断し、 進まなければならない宿命。この曲「澪」は、そんなクローシェの理想郷への願 ...いや、祈りとも取れるほどに切実な想いを詩に込めてみました。伝説のメタファ リカ。それは、伝説でしかないメタファリカ。今まで誰も見たことも紡いだこと もないものを、少なくとも己だけは信じ続け、それに向かって進んでいかなけれ ばならない。それが彼女に与えられた運命です。彼女の果敢で一体気な、そして 繊細で優しいクローシェの姿を、この曲から感じ取ってもらえたら嬉しいです。 This one is the titular track of this CD, Mio (Waterway). A waterway is like a ship made out from threads of waves, and if you could see one going to the sea in the sea, you would see the head of the ship breaking through the water, similarly to how Chroche does. She is the most precious life in this world, and she is called the maiden that can craft the land that all in Metafalss desires so much. She is in a glorious and shining position, but at the same time, she has the life of this world in her hands. The pressing voice of the people, the world that continues crumbling away... these are the difficulties that visit her everyday, but still, she has decided that she must continue advancing through the path that destiny has set for her. This song, [Mio], is Chroche's wishes... no, her prayers for the realization of the utopia, and as such, it came off as a song filled with very serious feelings. The legend of Metafalica, but that isn't only a legend. And even if no one has found a method for crafting it until now, she continues believing in it, even if it's only a little, and she aims to continue trying to craft it. That is the destiny that was bestowed upon her. I'll be very happy if you can feel all the resolution, and delicate gentleness that Cloche has, from this song. Comments for Reisha's Lullaby: ねんねころりや夜空の月よ Oh, it's time to sleep, moon of the night sky この詩は、ルカの母親であるレイシャがルカに毎晩聴かせていた歌です。ヒュム ノスではりません。今作のテーマである「絆」には様々な絆が存在しますが、こ の詩が担当するものは家族の絆。ゲーム中では、最も沢山聴く機会がある曲です。 歌は過去の思い出や情景を記憶し想いとしていつまでも心の中にそれを保持し続 けます。昔聴いた曲を聴くと、その頃の雰囲気、想い、風景から匂いまで、一気 に蘇ってくる体験、皆さんにも有ると思います。そういった歌の持つ力を子守唄 を使って表現してみました。しかし今作はこれに留まりません。この歌詞には、 子守唄であると同時に、もう一つの暗号が秘められているのです。巧妙に子守唄 としての歌詞の体裁を保っていますが、その中にはもう1つの解釈があり、その意 味こそが、この歌が紡がれ語り継がれてきた所以のものなのです。 This song is the lullaby the Luca's mother, Reisha, used to sing for her every night, and it's not an Hymmnos. Since the theme of this game are the [Bonds], and there are many kinds of bonds, this song is in charge of demonstrating the bonds within a family, and you will have many chances to hear it during the game, as a something that has always remained in the memories of some of the characters, and as such, you will see it frequently during scenes that are actually memories of the past. I think that everyone also has experienced it, that upon hearing again a song they heard a long time ago, they experience returning instantly to the atmosphere, feelings, and the odors of the scenery of when they heard it for the first time. That is the power of the songs that we wanted to express by using this lullaby. However, that doesn't end in this game, because the song is a lullaby, but at the same time, it also has one encrypted part. By understanding how cleverly the lyrics of this lullaby were made, you might be able to give it another interpretation, and that meaning is the one that we wanted to convey in the story when we created it. Comments for Eternally Bonded: 永遠なんてあり得ないのね... Nothing is eternal... 限られた時間の中で人は存在しています。それは生死をもってしなくても、移ろ いゆく刻の中で、様々な出逢い、そして別れがあります。長い時間貴方の隣にい る人や、一瞬で通り過ぎていく人...様々な人が貴方の人生に登場します。ですが、 時間の長さと絆の深さは関係有りません。貴方にとって大切な人に、貴方はいつ も自分でやり切ったと思える関係を築き上げていますか？後で...と思っているう ちに、取り返しの付かない事になってしまったことはありません？殆どの人には、 そのような辛い経験が有るのではないかと思います。どうしてあの時言っておか なかったんだろう、どうしてあの時出来なかったんだろう...。そういった後悔の 念は、それまでの間、その人に対して自分の出来る全てをしてこなかったという 気持ちから来るものです。だからこそアルトネリコでは、ルカとレイシャとの関 係で伝えています。大切な人に大切なことを伝えるのは、常に「たった今」しか ない事を。 All the humans exist within a limited timeframe. In the time we have between birth and death, and inside the passing of time, we have many encounters, and also, many partings. The people that you have known and stood beside during a long time might pass away in a instant... and likewise, many people also enter in your life. However, the length of the time and the depth of the bonds aren't related. Did you ever thought about cutting your bonds to the people that is important to you, after all the effort you had to go through for building them up? I think that most people had to go through very painful experiences such as these. Why we left so many things unfulfilled? Why we weren't able to say these things back then...? These feelings of regret come for not allowing ourselves to do everything we wanted with these people that are so important to us. That is what I wanted to convey in Ar tonelico through the relationship between Luca and Reisha. There are always important things that we want to convey to our precious people, but always, no moment is better to do so than [right now]. Comments for EXEC_HIBERNATION/.: 力の木の実は善か悪か The power of the seeds is good? Or is it bad? この詩はIMPLANTAと対になる "zodal rhaplanca (ラプランカ死せる魂の手記) " の前編に当たります。それは「本当の理想郷とは何なのか」というテーマです。 ここで用いられた "zodal rhaplanca" という神話は、ラプランカ神話の中でも最 も残酷な物語と言われています。その理由は、この物語が結論づける理想郷の定 義が、あまりにおぞましいものである為です。実際にどういう物語なのかは、ヒュ ムノス詞から感じ取ってみてください。このように古代メタ・ファルスには、様々 な観点から理想郷を論じる神話が沢山ありました。そしてそれらの物語は全てパ ラレルとして存在しており、登場する女神ラプランカは、物語ごとに違う宿命を 背負い、違う結末を生み出していきます。機会があれば、今回公開した2つのラプ ランカ神話以外の神話もお伝えできればと思っています。 This song is paired with Implanta, because it's the first part of the "zodal rhaplanca (Record of Rhaplanca, Who Bestows Death upon the Souls)" story, and its theme is [What is the true utopia?]. The part used from the "zodal rhaplanca" story could be also called the cruelest part between all of Rhaplanca's myth, and that is because, to sum it up, in the story of this song, the utopias are defined as repulsive things. And about what kind of story it could be, please, try to feel it from the Hymmnos lyrics. Many myths were passed down and discussed in Metafalss, reflecting different viewpoints about the utopias, and in all of these myths, Rhaplanca always makes an appearance, always as Goddess Rhaplanca, but each one of them end giving different destinies to her, because each one has its own distinct ending. And if we had the opportunity, I think that we would want to show more myths beside the stories of Rhaplanca that we revealed to you all here. Comments for Bonds~KIZNA: 伝え合う想い、それは詩になる The feelings that we have conveyed and entwined, they will turn into a song. このアルバム最後を飾るのは、今作で最も伝えたかった想い「絆」をテーマとし た詩曲です。普段あまりに自然すぎて忘れがちな絆。アルトネリコ2は仮想世界で はっても、そういった人と人との繋がり、家族の絆、友達の絆、パートナーとの 絆真剣に描くことを心がけて制作してきました。それは、それらの物語が皆さん 実体験とリフレインすることで、現実の皆さんの生活に少しでも「気づき」や 「元気」を送り込みたい、という想いから来ているものです。そして、人と人と の絆のドラマには、しばしば「歌」が関わってきます。歌というもの人のこころ を癒し、元気づけたり勇気の源となったりし、そして時が経てば思い出の玉石箱 として、あなたの心に存在続けるものです。人との絆、そして歌。この切っても 切り離せない2つの関係を元に、精一杯の物語を描いてみたつもりです。そんなア ルトネリコ2が、皆さんの中に何か1つでも残すものがあれば、制作者としてこれ ほど嬉しいことはありません。 And for closing off this album, we wanted to put a song that conveys the most the feelings about [bonds] that are the central theme to the game. Usually, we forget with too much easiness the importance of the bonds, and even if Ar tonelico 2 exists in an imaginary world, we put our hearts into making it in a way that depicted the bonds within the family, between friends, and between partners in the most serious way possible. We made all of these things that the characters on the story experience based from real experiences and refrains, because we wanted to feed, even if it was only a little, to the lives of the real people some feelings of [realizing] and [vigor]. And also, the drama of the bonds between people are frequently affected by the [songs]. The songs heal the hearts of the people, they become the source of vigor for the people. and with the time, they end becoming the jeweled box of memories that always will continue existing in your heart. The bonds between people, and the songs. That is what intended when I did my best sketching this story with these two elements that by nature are inseparable from each other, no matter how much you try to cut them. So if Ar tonelico 2 manages to leave at least one of these things inside of your heart, nothing would make me happier than that as its creator. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #15 Jun 21 2013, 04:54 PM | aquagon |
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Comments from the Homura Premium Book: 霜月はるか Shimotsuki Haruka 曲に馳せる想い The Feelings Behind the Songs Comment: 前作に引き続きレーヴァテイルとして作品に関われた事、とても嬉し いです。 瑠珈はとても表情豊かな子なので、シーンによってころころ変わる 感情を、歌で出来るだけ表に出せるように頑張りました！ ディレクションで「やる気なーく歌ってくださぃ」なんて、滅多に言われ ませんよ (笑) 本当に声優さんになったような感覚です。 曲によって違う、歌の表情を是非楽しんで頂けたらと思います。 相変わらず難易度の高い楽曲ばかりで、自分で創った曲も含めて とてもバラエティに富んだ楽曲陣になりました。つくづくアルトネリコ のCDは "濃い" なあ。まあこの濃さが、たまらないんですけどね！ I am very happy that I was able to work in succession as a Reyvateil in both this and in the previous game. Luca is a girl with a great abundance of emotions, and in the scenes featuring her you can see how frequently her emotions shift, and I did my best expressing that only through my singing! With the director telling me things such as [Please, sing without any inssspiration], which are things I almost never hear (laughs), I felt as if I was a voice actress too. Even if my songs are somewhat different, I certainly hope that you all enjoy immensely what I have expressed on my songs. As always, these were very difficult songs, and I also included some songs I created myself to raise even more the great variety of songs we had. I deeply feel that the Ar tonelico CDs are "deep", and well, we cannot help making them deep! 担当曲 In Charge of the Songs: 「焔」2. EXEC_METAFALICA/. (歌) 3. EXEC_SOL=FAGE/. (歌) 4. EXEC_VIENA/. (歌・作曲) 5. Hartes ciel, melenas walasye (歌・作曲) 6.EXEC_with.METHOD_METAFALICA/. (歌) 7. 焔~HOMURA(歌) [Homura] 2. EXEC_METAFALICA/. (Singing) 3. EXEC_SOL=FAGE/. (Singing) 4. EXEC_VIENA/. (Singing, Composition) 5. Hartes ciel, melenas walasye (Singing, Composition) 6.EXEC_with.METHOD_METAFALICA/. (Singing) 7. Flame~HOMURA (Singing) Profile: 「イリスのアトリエ」シリーズ、「プリンセスメーカー4」等、数々のゲームで主 題歌を歌う。2005年9月に初メジャーアルバム「あしあとリズム」リリース。2007年 2月にはセカンドアルバム「ティナダーリアの種」にて、自らの幻想世界を表現す るシンガーソングライトーとしての側面も見せ、アルバムはオリコン初登場41位 を記録。個人での活動の他、myuとのユニット "kukui" で作詞・歌を担当しTVア ニメ「ローゼンメイディン」EDヤ「神曲奏界ポリフォニカ」ED、「西の善き魔女」 OP等を制作。その透明感のあるやわからない歌声と、独特の浮遊感を持ったコー ラスワークによって彩られた楽曲は、まさにファンタジーサウンドと呼ぶに相応 しい。 She has sung the main themes songs of many games, including among them the [Princess Maker 4] and [Atelier Iris] series of games. On September of 2005 she released her first major album, [Ashiato Rhythm]. On February of 2006, with the release of her second album, [Tindharia no Tane], she showed her side as singer and songwriter that has a great ease for displaying her own fantasy worlds, and the album got to rank 41 of the Oricon rankings on its first week. Besides her individual career, she has also collaborated with myu as part of their collaboration band "kukui", as the lyricist and singer for the ED of the anime series [Rozen Maiden], the ED of [Shinkyoku Soukai Polyphonica], and the creation of the Openings for [Good Witch of the West]. Her voice always feels clear and transparent, and she always decorates her songs with an special floating chorus work, which appropriately is called Fantasy Sound style. みとせのりこ Mitose Noriko 曲に馳せる想い The Feelings Behind the Songs Comment: 今回は自分の謳だけでなく、ルカ=霜月さんやクローシェ=志方 さん (『澪』に収録) の謳の作詞もさせていただいて、前回の百倍 くらい (笑) どっぷりと「アルトネリコ」の世界に浸って制作させて 戴きました。 2ヶ月以上もシナリオやキャラの精神世界に耽溺するように作詞 をし続け、佳境の頃は本当にメタ・ファルスに住んでいるような気持ち でした。あれはまさに音と世界との蜜月だったと思います。 皆様にもこの圧倒的な濃度の「murfanare<想い>」が伝わること を祈りなら、一音にも心を込めて謳わせて戴いたつもりです。 This time I didn't work only in my own songs, given that I also had the job of making the lyrics for the songs of Luca=Shimotsuki-san and Chroche=Shikata-san (recorded in the [Mio] album), and because of that I got immersed 100 times more than in the previous game (laughs) into the creation of the [Ar tonelico] world. During more than two months, I diligently continued studying the scenario and the Soulspaces of the characters to make the lyrics, and near the end, I felt as I was living on Metafalss. I think that it was as if I was having a honeymoon in that world of sounds. And with an overwhelming concentration, as I pray that I can convey these [murfanare (feelings)] to you all, I hope that you all accept at least one of the sounds in which I put all my heart. 担当曲 In Charge of the Songs: 「澪」4. METHOD_IMPLANTA/. (作詞) 5. METHOD_METAFALICA/. (作詞) 「焔」2. EXEC_METAFALICA/. (作詞) 6. EXEC_with.METHOD_METAFALICA/. (作詞) 8. EXEC_SPHILIA/. (歌・作詞) 9. EXEC_DESPEDIA/. (歌・作詞) 10. EXEC_HARMONIUS_FYUSION/. (歌・作詞) 11. こころ語り (歌・作詞) 12. 染~SEN (歌・作詞) [Mio] 4. METHOD_IMPLANTA/. (Lyrics) 5. METHOD_METAFALICA/. (Lyrics) [Homura]2. EXEC_METAFALICA/. (Lyrics) 6. EXEC_with.METHOD_METAFALICA/. (Lyrics) 8. EXEC_SPHILIA/. (Singing, Lyrics) 9. EXEC_DESPEDIA/. (Singing, Lyrics) 10. EXEC_HARMONIOUS_FUSION/. (Singing, Lyrics) 11. The Heart Speaks (Singing, Lyrics) 12. Colors~SEN (Singing, Lyrics) Profile: 幼少時、聖歌隊員として音楽に親しむ。RPG「クロノ・クロス」EDテーマで注目を 集め、その後様々なゲームの主題歌を担当。kirche、ORITAのふたつのユニットで ヴォーカルをつとめながら、2004年には初のソロアルバム「ヨルオトヒョウオン」 を発表。水晶硝子の唄声と評される繊細で透明感あふれるソプラノと、ネイティ ヴであることを大切にした日本語の叙情的な歌詞で高い評価を得る。2007年5年に は唱歌カヴァーアルバム「カタン」にて、アイリッシュトラドと唱歌の融合を試 みた新しく懐かしい音が好評博す。2007年7月にはSRPG「まほろばStories」に主 題歌・EDの他にも声優として絵本の朗読でも参加するなど、数彩な活躍を見せて いる。 During her childhood, the music began forming a very important part of her life because of her being member of a church chorus. She gained attention because of having sung the ED theme for the RPG [Chrono Cross], and afterwards, she was charged with performing the main theme songs of various games. While she has the role as the vocalist of the bands kirche and ORITA, she released her first solo album: [Yoruoto Hyouon], on 2004. She was praised as a very expressive soprano having a crystal-clear voice, while her beautiful expressiveness for writing lyrics was taken in high regard, even for a native japanese. On May of 2005, she released her vocal cover album [Cotton], and her experimentations of agglutinating songs with illustrations, giving them a very new, yet nostalgic feelings, gave her great popularity. On July of 2007, she also participated as the voice actress for the narrator of the picture book of the ED of the SRPG [Mahoroba Stories], and she also sang the theme song for it, so you can see that she is involved in a great number of works. ディレクターコメント(土屋) 焔というアルバムの持つ想い Director's Comments (Tsuchiya) - The feelings carried by the Homura album 焔というアルバムが目指す方向性はエモーショナル・エスノ。 躍動する大地を想起こされる幾つもの歌声が貴方にアルトネリコ2の熱い息吹を送 り、アルトネリコ2の舞台『メタ・ファルス』の鼓動を十二分に伝えることでしょ う。 このアルバムは、ルカたちの理想郷に対するひたむきな想い、前進する力を具現 化したものです。彼女たちは理想郷メタファリカに馳せる想いは違えども、心の 内に秘めた志はとても大きいものです。 関わっていただいたアーティストさんもキャラ達と同じく、様々な新しい試みに 果敢に挑戦していただきました。このアルバムから、その挑戦的でエネルギッシュ な波動を感じ取っていただけたら、これほど嬉しいことはありません。 The trend to which we directed the Homura album is to an Emotional Ethno. Through it and the many singing voices that raise the emotions of a throbbing land, we are sending to you the warm breaths of Ar tonelico 2, and I think that it was more than enough to convey you all the heartbeats of the setting of the game: the land of [Metafalss]. In this album, we focused on the earnest feelings of Luca and company about the utopia, and the power they use for its realization. Even if the feelings they have to drive them to the realization of the Metafalica utopia are different, inside of their hearts, hidden away, they have the same great intentions. The artists that worked in this and their characters are quite similar, and we were determined to try many new things that were challenges for us. If you can feel these challenging heartbeats from this album, nothing would make me happier. 世界紀行~焔編:リムと人々の生活 Diary of a World Traveler ~ Homura Chapter: The Rim and the lives of its people. リムには人口の90%の人々が住んでいる。この人達の生活はとても豊かとは言い難 い。寧ろ、明日の生活にも困るような人達が沢山存在する。 もともとこの世界は、人が住める世界ではなかった。土の無い大地に土を敷き、 草木を植え、そして畑を作ったのだ。 この地の人々は、自分たちの出来る精一杯の「世界」を、自分たちの手によって 作ったのである。このエネルギーの高さ、想いの大きさこそが、まさに理想郷を 作り出す「力」そのものなのだ。 The Rim is inhabited by 90% of the total population of Metafalss, and it's hard to say that they have an abundant life. Actually, most of the people there worry about how they will continue living the next day. Originally, this wasn't a place designed for the people to live in it, but on a land without earth, they had to spread the earth, cultivate the land, and make their own cultivating fields. The people of this land was able to make this [world] by using all of their might, and through their own hands. Because there is so much energy in them, the feelings they have are great as well, and that is the [power] that will surely be able to create the utopia. 稲垣貴繁 Inagaki Takashige: アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 詩魔法を書き始めた2年。今回もキワモノばかり担当させていただました。音程を 無視した曲やら子供が歌っている感じやら、映画の劇伴の様な物...土屋氏の発注 に四苦八苦しながら頑張りました。お陰で物凄い作品揃いになったと自負してお ります。 普通の楽曲制作の4~5倍苦労するアルトネ関係の音楽。制作側が 苦しめば苦しむ程お客様に喜んで頂ける物になる気がします。 今回は半端じゃ無く苦しみましたから、かなり喜んでいただけるので は無いでしょうか？ 隅々までじっくり聴き込んでみてください。いろんなギミックを仕込んでおさま したから。 This is my second year writing Song Magic, and yet again, I was charged with making music for this game. Music that ignored the music intervals, feel as if children were singing, things similar to the drama of a movie... under the orders of Mr. Tsuchiya, I did my best, though it was very hard to fulfill his demands. Thanks to all of that, I think that I can brag that we managed to make an extremely uniform work. The music of Ar tonelico required from 4 to 5 times the quantity of music work that normally would be needed for a game, and also, the number of work and suffering put into it. However, I feel that even if we, the creators, have to suffer to give happiness to our customers, it's all right on the end. Because there aren't any remnants of these sufferings on our work this time around, do you think that you wouldn't be able to receive any happiness from it? Please, try to hear every single note in the songs. Because we have prepared various gimmicks for you all to listen to. 担当曲 In Charge of the Songs: [澪] 11. 永久に結ひて (作編曲) 12. EXEC_HAIBANATION/. (作編曲) 13. 絆~KIZNA (作編曲) [焔] 3. EXEC_SOL=FAGE/. (作編曲) 5. Hartes ciel, melenas walasye (編曲) 9. EXEC_DESPEDIA/. (作編曲) 10. EXEC_HARMONIUS_FYUSION/. (作編曲) [Mio] 11. Eternally Bonded (Composition and Arrangement) 12. EXEC_HIBERNATION/. (Composition and Arrangement) 13. Bonds~KIZNA (Composition and Arrangement) [Homura] 3. EXEC_SOL=FAGE/. (Composition and Arrangement) 5. Hartes ciel, melenas walasye (Arrangement) 9. EXEC_DESPEDIA/. (Composition and Arrangement) 10. EXEC_HARMONIUS_FYUSION/. (Composition and Arrangement) Profile: 大阪府出身。作曲家。 演奏やアーティストのバックコーラス等をしていた が、某ゲーム作曲をして以来作曲家に転向。 テレビCMやゲーム音楽等、数多く手掛けている。 前作アルトネOVAでは録音監督としても参加して いる。 Born in Osaka. Composer. Used to do the back choruses for various artists and performances, but after composing music for a certain game, he changed his job to composer. He has been involved with the composition for music for many games and TV commercials. He also participated as the supervisor of sound recording for the OVA of the first Ar tonelico. 阿知波 大輔 Achiwa Daisuke アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: ガストの阿知波です。CDをお買い上げいただき、ありがとうござい ます！アルトネリコシリーズのサウンドは、たくさんのクリエイターが それぞれに自分のやりたいことを存分に投入して出来上がっています。 ゲームのサントラという本来は強大な統制のもとに制作されるはずの 音楽ジャンルで、ここまでのびのびとやりたい放題ができる作品は 本当に稀有な存在だと思います。 さらにそうやって生まれた作品が皆さんのもとに届き、ご好評をいた だけるというのはとんでもなく素晴らしいことだと思うのです。 これからも存分にやりたい放題をやっていきたいと思いますので、 今後ともアルトネリコシリーズをよろしくお願いします！ I'm Achiwa, from Gust. Thank you for having bought this CD! The sounds of Ar tonelico were made by several creators, and thanks to allowing to work according to their own individual tastes, we could finally release it. The game soundtracks are, by their own nature, a genre of music that needs to be strictly controlled during its creation, so I think that a soundtrack like this one, that was made by allowing everyone to work and compose in the way they liked, is truly a very rare occurrence. Furthermore, I hope that the things we did to create this game and its music reach you all, and I think that it will be great if it receives a favorable reputation. I think that from now on we all would like to continue working like this, and please, always remember the Ar tonelico series! 担当曲 In Charge of the Songs: [焔] 1. BASARA (作編曲) 8. EXEC_SPHILIA/. (作編曲) 11. こころ語り (作編曲) [Homura] 1. BASARA (Composition and Arrangement) 8. EXEC_SPHILIA/. (Composition and Arrangement) 11. こころ語り (Composition and Arrangement) Profile: 株式会社ガスト・サウンド担当。 アルトネリコ・アトリエシリーズの他「黒い瞳の ノア」「大正もののけ異聞録」などにも参加。 In charge of the Sound area of Gust Inc. He has participated in other games in addition to the Ar tonelico and Atelier series, such as [Kuroi Hitomi no Noir] and [Taishou Mononoke Ibunroku]. 日山尚 Hiyama Nao アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 前作に引き続き、アルトネリコの世界に作詞という形で関わることが できて嬉しく思っています。 今回はヒュムノスだけで荘厳に謳われる「EXEC_VIENA/.」と、 日本語だけで瑠珈の素直な想いを伝える「Hartes ciel, melenas walasye.」という対照的な詞を書かせていただきました。 ご存知の通り、アルトネリコの楽曲にはそれぞれ深く膨大な設定が 盛り込まれていますので、物語のある楽曲が好きな私にとっては楽しい お仕事でした。 どこまでも広がるアルトネリコの世界を詞からも感じていただければ 幸いです。 I am very happy that I was able to continue working in this series, and fleshing out the world of Ar tonelico through the lyrics I wrote for some of its songs. The solemnly sung [EXEC_VIENA/.], completely sung in Hymmnos, and the song that conveys Luca's honest feelings [Hartes ciel, melenas walasye], sung completely in Japanese, I was the one that wrote the lyrics for both of these contrasting songs. Knowing that the setting of Ar tonelico it's so incredibly deep, I did my best to add these songs to it, and I'm always very proud of my work whenever anyone finds a song they like much in the story. I'll be very happy if you can feel the world of Ar tonelico expanding up to the horizon from the lyrics I wrote. 担当曲 In Charge of the Songs: [焔] 4. EXEC:VIENA/. (作詞) 5. Hartes ciel, melenas walasye (作詞) [Homura] 4. EXEC:VIENA/. (Lyricist) 5. Hartes ciel, melenas walasye (Lyricist) Profile: 霜月はるかの誘いをきっかけに作詞活動を始める。 音楽と物語のコラボレーションが織りなす幻想 世界に魅せられ、「ティンダーリアの種」や「月追い の都市」等で企画・シナリオ他を手がけている フリークリエイター。 Started working as a lyricist by Shimotsuki Haruka's invitation. He has created a lot of charming collaboration works where he entwines music and story with a fantasy world, such as the albums [Tindharia no Tane] and [Tsukioi no Toshi], where he did the scenario planning, and he has done other works as a free creator. 柳英一郎 Yanagi Eichirou アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: CDをお聞きの皆様、初めまして。 「焔」に参加させていただきまして大変光栄です。 今回担当させていただいたテーマが「染」ということで、みとせさん から頂いた言葉のイメージをもとに、様々な色彩、またその色が見せる 感情、光や影なんかを音の景色の中に織り込んで行ければなと試行 錯誤しながらの製作となりました。 この楽曲によって登場キャラクターやアルトネリコの壮大な世界に一つ 色を添えることが出来れば大変幸いです。 To everyone that listens to this CD, it's a pleasure to be of acquaintance to you. It's a great honor for me to have participated in the creation of this [Homura] disc. This time, I received the job of working on theme song called [Colors], and from the image that the words of Mitose-san gave me, about the various colors, and how they could bring feelings to the ones that looked at them, it was something I tried to put into the soundscape of the song, through many experimentations and trial and error. Through my work on this song I was introduced to the characters and the magnificent world of Ar tonelico, and if I'm able to dye your hearts with a single color with it, I'll be really happy. 担当曲 In Charge of the Songs: [焔]12. 染~SEN (作編曲) [Homura] 12. Colors~SEN (Composition and Arrangement) Profile: 愛知県出身。 ゲーム会社を退職後、フリーの作曲家として活動中。 TVアニメ「ef-a tale of memories.」のEDテーマ、 BGMに作編曲で参加。PCゲームの主題歌等も 製作している。 Born in the Aichi prefecture. After having retired from the game companies, he works as a freelancer composer. He participated in the composition of arrangement of the BGM and ED theme of the anime [ef- A tale of memories]. He has also made theme songs for various PC games. Edited by aquagon, Jun 21 2013, 04:55 PM.
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Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #16 Jun 21 2013, 04:55 PM | aquagon |
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Comments from the Mio Premium Book: 志方あきこ Shikata Akiko 曲に馳せる想い The Feelings Behind the Songs Comment: "詩(うた)"が重要なファクターとなっている、アルトネリコシリーズ。 前作に引き続き作品に参加させて頂けて、歌手としてそして曲を作り 手として、とても嬉しく思っております！ 今回の作品では、大地を紡ぐ御子 "クローシェ" のキャラクターを担 当させて頂きました。 以前担当したミシャとは、かなり雰囲気も内面も違うクローシェ。 そんな彼女の抱える想いや、目指す未来のあり方について考えを 巡らせながら、ヒュムノス達を紡いでゆきました。 新システムの増加に伴、更けにボリュームと広がりを増した音世界。 メタファルスに響き渡る数々の調べを、どうぞお楽しみ下さい！ The "songs" are becoming an essential factor, that is what the Ar tonelico series is about. I'm very glad that I was allowed to continue participating consecutively on this series, both as a singer, and as a composer! This time, I was charged with the songs of the maiden that creates land: "Chroche". In comparison to the character that I was charged in the previous game, Misha, her atmosphere and personality are very different. And as I went on thinking about her embracing feelings, and the thoughts she has for the future, I crafted her Hymmnos. Accompanied by an increase in systems, the volume of this sound world also increases even more. I hope that you are all looking forward to hearing the many melodies that resound in Metafalss! 担当曲 In Charge of the Songs: [澪] 2.謳う丘~Harmonics FRELIA~(歌) 3. METHOD_IMPLANTA/. (歌・作詞・作編曲) 4. METHOD_METAFALICA/. (歌・作詞・作編曲) 5. METHOD_REPLEKIA/. (歌・作編曲) 6. EXEC_over.METHOD_SUBLIMATION/. ~ lamenza (歌・作詞・作編曲) 7. EXEC_over.METHOD_SUBLIMATION/. ~ ee wassa sos yehar (歌・作詞・作編曲) 8. EXEC_over.METHOD_SUBLIMATION/. ~ omness chs ciel sos infel (歌・作詞・作編曲) 9. 澪~MIO (歌・作詞・作編曲) [焔] 6. EXEC_with.METHOD_METAFALICA/. (歌・作曲・コーラス編曲) 10. EXEC_HARMONIUS_FYUSION/. (イントロ原曲作曲) [Mio] 2. Singing Hills~Harmonics FRELIA~(Singing) 3. METHOD_IMPLANTA/. (Singing, Lyrics, Composition & Arrangement) 4. METHOD_METAFALICA/. (Singing, Lyrics, Composition & Arrangement) 5. METHOD_REPLEKIA/. (Singing, Composition & Arrangement) 6. EXEC_over.METHOD_SUBLIMATION/. ~ lamenza (Singing, Lyrics, Composition & Arrangement) 7. EXEC_over.METHOD_SUBLIMATION/. ~ ee wassa sos yehar (Singing, Lyrics, Composition & Arrangement) 8. EXEC_over.METHOD_SUBLIMATION/. ~ omness chs ciel sos infel (Singing, Lyrics, Composition & Arrangement) 9. Waterway~Mio (Singing, Lyrics, Composition & Arrangement) [Homura] 6. EXEC_with.METHOD_METAFALICA/. (Singing, Composition, Chorus Arrangement) 10. EXEC_HARMONIUS_FYUSION/. (Original Intro Melody Composer) Profile: 東京出身。作曲家、歌手。2005年、葉加瀬太郎が音楽総監督を務めるレーベル "HATS" から7月に1stアルバム「Navigatoria」でデビュー。2005年8月オリコンヒーリン グミュージック月間チャートの8位にランクインされる。2006年、PlayStation2ゲー ム「アルトネリコ 世界の終わりで詩い続ける少女」や「花帰葬」にて主題歌の歌 唱やゲームの音楽の作編曲を手がける。そして2006年10月に待望の2ndアルバム 「RAKA」を発売。また、2007年7月に公開の映画「こわい童謡 表の章」テーマソ ングの作編曲・歌唱・作詞を担当した。歌唱だけではなく自らが作編曲を行って いる自身の作品は、民族的なリズムと、そして緻密なコーラスワークにより構成 されている、。1曲で200ものヴォーカルトラックを重ねることもある幻想的な世 界は、まさしく「ヒーリング・ファンタジア」と呼ばれるにふさわしく、その彼女 の七色の歌声は聴く者を幻想世界へと誘うだろう。 Composer and Singer born in Tokyo. After being invited by the general music manager of the "HATS" label, Hakase Tarou, she made her debut on July of 2005 with her first album: [Navigatoria], reaching the 8th rank on the Oricon monthly healing music charts in just its first month. On 2006, she participated in composition and arrangement of several songs for the PlayStation 2 games [Ar tonelico: Melody of Elemia] and [Hanakisou], and also sung the theme songs of both. And then, on October of 2006 she released her much-awaited second album: [RAKA]. And also, on July of 2007, she also composed, arranged, and wrote the lyrics for the theme song of the movie [Kowai Douyou - Omote no Shou]: Amnesia. And she doesn't only sings, since she also arranges and composes her own songs, making them with ethnic rhythms, and very elaborate chorus work. One of her songs feels as if 200 people were singing a vocal track at the same time, sending its listeners into a fantastical world, which it's surely what gives the [Healing Fantasia] name to her style, and it's surely her chromatic singing voice what sends the listeners of her songs into a fantasy world. 石橋優子 Ishibashi Yuuko 曲に馳せる想い The Feelings Behind the Songs Comment: アルトネリコに携わって2年。様々なジャンルの詩をうたわせていた だきましたが、今回のレコーディングがいちばん大変でした。ここ だけの話、レコーディング中に何度も逃げ出したくなりましたが、ひとつ ひとつ丁寧に心を込めてうたわせていただきました。一音一音が絶妙 に絡み合うメロディと歌詞に注目して聴いていただきたいですね。 そして、今回は何種類もの声色を使い分けての多重コーラスにも 挑戦しました。 隅々まで繊細に紡がれた詩をどれも聴き逃さずに何度も何度もお聴き いただけたら嬉しいです。時間をかけてじっくり紡ぎ上げた詩が、 皆様の心に少しでも響いていただけますように... I have participated in Ar tonelico during two years. And I received the job of singing songs of various genres, though the recording for this game was the hardest part. I'm going to say this only in these comments, but during the recordings, many times I wanted to run away, and even so, I still did my best and put all of my heart into the songs I sang. Please, listen how each of these sounds are marvelously entwined with the melodies and lyrics, and receive them. And also, this time I stood up to the challenge of singing the songs in various tones of voice, and used a great number of choruses. If you can receive the feelings I put into the songs we crafted, and notice all and each of the small details they have, then no matter how many times you listen to them without interruption, I'll be very happy. We put a lot of our time in making these songs, so they can resound in the hearts of you all, no matter how little... 担当曲 In Charge of the Songs: [澪] 10. 聆紗の子守唄 (歌) 11. 永久に結ひて (歌) 12. EXEC_HAIBANATION/. (歌) 13. 絆~KIZNA (歌) [Mio] 10. Reisha's Liullaby (Singing) 11. Eternally Bonded (Singing) 12. EXEC_HIBERNATION/. (Singing) 13. Bonds~KIZNA (Singing) Profile: 4月3日生まれ。趣味:一人カラオケ、音楽/舞台鑑賞。特技:音楽、巻舌、モノマネ 【ジャンル】ポップス、ロック、ジャズ、キャラクター、ミュージカル、声音 【音域】4オクターブ【芸歴】●ゲーム:びゅあびゅあ挿入歌&エンディング/North Windエンディング/イリスのアトリエ「グランファンタスム」エンディング/アル トネリコ(クレアの歌担当)他数多 ●CD:North Wind オリジナルサウンドトラック /Lip On Hip Compilation CD Vol.2、Vol.3/ヒュムノスコンサート サイド蒼「星 詠~ホシヨミ~」君そしてこの宇宙にきらめく君の詩/BELOVED「NO SIGNAL」「空へ の予感」他数多●TV・舞台:BS-i「ぽれぽれジャンボ」歌のお姉さん/ベネッセチャ ンネルOP、今月の歌/ヘロヘロQカムパニー第十七回公演「燃えてサムライ」めぐ み役 他数多●語りと音楽のユニット「CHARMS」にボーカルとして参加●その他TVCMや ライブ、イベント等他方面にで活躍中。 Birthday: April 3th. Hobbies: Singing karaoke by herself, appreciating music and theater. Specialities: Music, speaking quickly, imitating various [genres], such as pop, rock, jazz, characters, and musical, and in has a voice [register] of 4 octaves. [Musical Career]: *Games: Ending and BGM for Byuabyua. Ending for North Wind. Ending for Atelier Iris 3 [Grand Phantasm]. Ar tonelico (as the singer for Claire's songs), and many others. *CDs: North Wind Original Soundtrack. Lip On Hip Compilation CD Vol. 2 and Vol. 3.Hymmnos Concert Side Blue [Singing the Stars~Hoshiyomi~]. And, your song that shines through this universe. Beloved [No Signal]. [A presentiment to the sky]. And many others. *TV: On screen: BS-i [Porepore Jumbo] as the singing girl. Opening for Venice Channel, The Song of this month, Weary Q Company 17th Performance, [Burn, Samurai] as Megumi, and many others. Vocalist in the story and music band [CHARMS]. And participates in many TV Commercials, live-actions, and events. ディレクターコメント(土屋) 澪というアルバムの持つ想い Director's Comments (Tsuchiya) - The feelings carried by the Mio album 澪というアルバムが目指す方向性はファンタジー・ヒーリング。あたかもそこに 世界があるような、アルトネリコ2の舞台「メタ・ファルス」に息づく癒しの詩が、 貴方を安らぎの世界へと誘うことでしょう。 このアルバムに収録されている楽曲は、クローシェやレイシャが、民衆、家族を 想い、その優しい気持ちを具現化したものです。このアルバムに関わっていただ いたアーティストの皆様にも世界と融合し、キャラの悩みや苦悩、そして 優しさを体感しながら描いて頂きました。 このアルバムは、世界と共に生きています。聴いていただける皆様にも、生きた 「メタ・ファルス」の世界を感じ取っていただけたら、これほど嬉しいことはあ りません。 The direction the which we pointed the Mio album is Fantasy Healing. We made it so the healing melodies that breathe on the setting of Ar tonelico 2, [Metafalss], could invite you to a world of peace, as if you were living in that world. The songs recorded on this album are for realizing the gentle feelings of Chroche, Reisha, the people, and their families. The artists that worked on this album received the task of sketch all the feelings they experienced when trying to get into their characters, and trying to agglutinate with the world the sufferings and sorrows of these characters. This album lives together that world. When you all hear this album, if you feel as if you were living on [Metafalss], nothing would make me happier. 世界紀行~澪編:パスタリアと理想郷 Diary of a World Traveler ~ Mio Chapter: Pastalia and the Utopia. この地『メタ・ファルス』における、最も古くから存在する街。 そして、最も理想郷に近い街。町並みは整然とし、住民は綺麗 な緑に囲まれて豊かな生活を営んでいる。しかしこの豊かさは、 大多数の貧しい人々の犠牲の上に成り立っているのだ。 パスタリアは入市規制を行っているため、全世界の僅か10% 程度の人口しか抱えていない。残りの90%の人を理想郷に導く には、あまりにキャパシティが小さいのである。理想郷メタファ リカへの道程はまだ遠い。 This is the oldest city standing on this land, [Metafalss]; and also, is the city closest to the Utopia. The streets are always kept in order, and the people carry on their lives enshrouded in an abundant greenness. However, all of this abundance was built upon the sacrifice of the majority of the population, which live in poverty. Because of the restrictions for living on Pastalia, it can't house more than a 10% of total population of this world. The other 90% always aspires to live into that utopia, but they can't because of the small capacity that Pastalia has. This just goes to show that there is still a long way to go before reaching the Utopia of Metafalica. 土屋暁 Tsuchiya Akira アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 今回はオープニングとメタファリカ関連を担当させていただきました。 両方とも重要な楽曲ですので相当気合い入れてやらせていただいた わけですが、何せ全てが初の試みでしたので、謳い手の皆さんには 色々ご苦労をお掛けしてしまいました。 それにもかかわらず、この難関きわまらない楽曲の数々を楽しみながら 創ってくれたことに、いくら感謝してもし切れないくらいです。 1つのものに向かって全員が前向きに創りあげようとする想い...。 これこそがメタファリカではないかと思います。皆さんにもその思いが 伝わることを、今から楽しみにしています。 This time, I was on charge of the creation of the Opening and the songs related to Metafalica. Both of them are extremely important songs, so I had to put the energy that was befitting for songs of that grade to make them great. At any rate, since I began experimenting for making all of them, I caused various kinds of trouble to all of our esteemed singers. Nonetheless, while we were looking forward to making many more songs, most of these couldn't cross the experimental barrier, because they didn't express the feelings that all of staff were focused into putting into the songs we were making, but were the feelings of only one person between the staff... I think that goes against the concept of Metafalica. I hope that all you are now looking forward towards the thoughts and concepts that we put into the game and its songs. 担当曲 In Charge of the Songs: [澪] 2. 謳う丘~Harmonics FRELIA~ (作詞・作編曲) 9. 澪~MIO (作詞・作編曲) [焔] 2. EXEC_METAFALICA/. (作編曲) 6. EXEC_with.METHOD_METAFALICA/. (作詞・作編曲) [Mio] 2. Singing Hills~Harmonics FRELIA~ (Lyrics, Composition and Arrangement) 9. Waterway~Mio (Lyrics, Composition and Arrangement) [Homura] 2. EXEC_METAFALICA/. (Composition and Arrangement) 6. EXEC_with.METHOD_METAFALICA/. (Lyrics, Composition and Arrangement) Profile: (株) ガスト入社後、主にアトリエシーリズの作 曲を担当。 それ以外にも、企画としての仕事、WEBビジネス などの分野を手かけ、アルトネリコで初ディレク ターとしてゲーム制作に携わる。 (Share) After his entry in Gust, he mainly participated in the composition of music for the Atelier Series. Aside from that, he also has put his hands on the web design business as part of his work on the company, and for creating Ar tonelico, he was appointed as director for it for the first time in all his career. 中河健 Nakagawa Ken アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 聆紗の子守唄という曲は土屋ディレクターにとある映画の劇中歌っ ぽいものをという注文を受けて作曲したものです。 しかし実はその映画の音楽を担当していた方は私が影響を受けた 楽曲家の一人でした。 10代の頃に友達が貸してくれたCDの中にオールシンセで作られた 30分ほどもある壮大な楽曲があり、衝撃を受けました。その緻密で 繊細な音作りは今の私の原点といっても過言ではありません。 そんなわけで、かなり厳しい目 (耳) で製作したつもりなのですが、まだ まだ実力不足だということを改めて実感させられました。 For Reisha's Lullaby, I got a request from Director Tsuchiya asking me to make it similar to a song that is played during a movie. However, actually getting charged of movie-like song like that possibly it's only because of the influence I have received as a musician. When I was only 10 years old, my friends lent to me a 30-minute CD that was completely made through synthesizer, I thought that it was magnificent, and it greatly impacted me. It wouldn't be an exaggeration to say that something as simple as that was the starting point of the sound-making career I have now. Because of that, I seriously want you to all to focus your eyes (ears) into the thoughts we put into the songs we have made, though we I realize that I still have a long way to go before being able to use all of my potential as a musician. 担当曲 In Charge of the Songs: [澪] 1. Opening~共鳴反応 (作編曲) 10. 聆紗の子守唄 (作詞・作編曲) [焔] 4. EXEC_VIENA/. (編曲) 7. 焔~HOMURA (作詞・作編曲) [Mio] 1. Opening~Resonance Reaction (Composition) 10. Reisha's Lullaby (Lyrics, Composition and Arrangement) [Homura] 4. EXEC_VIENA/. (Arrangement) 7. Flame~Homura (Lyrics, Composition and Arrangement) Profile: 高校時代にフュージョンに目覚めて音楽製作を始 める。 キーボードを弾くも上手くならず、ギターを買うも 捨てられるが、替わりにゲーム会社に拾われる。 リスペクトするミュージシャンはジャズ系が多い。 He began composing music when he heard a fusion-style song during his days as a senior high school student. He isn't good at playing the keyboard, bought and sold back a guitar, yet he was picked up by a game company. The musicians he respects the most are jazz musicians in majority. 高橋麗子 Takahashi Reiko アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 今回も複雑に絡み合った楽曲に作詞をさせていただきました。 一部では変拍子担当のギミック作詞家などと言われることもある私 ですが、今回のギミックはいつもとは一味違った表現をしてみました。 ぜひそのあたりも楽しんでいただければと思います。 また、初めてhymmnosの作詞もさせていただきましたが...本当に 大変でした (笑)。 しかしながら、出来上がった楽曲は鳥肌モノで、苦しみながら書いた 甲斐がありました。 楽曲を聴くときに歌詞を読みながら、Ar tonelicoの世界を楽しんで いただけたら嬉しいです。 This time, I also received the task of entwining very complicated songs with the lyrics I made for them. I was told that as a lyricist, I would need to employ various gimmicks for the changes of rhythm, but the gimmicks I used this time are somewhat different from the ones I have used in previous occasions. Certainly, I would certainly be glad if you all could look forward to seeing them. Still, when I was assigned to writing lyrics in Hymmnos for the first time... it was a really troubling things (laughs).However, now that the songs are completed, they have me goose bumps upon listening to them, and even though it was a pain to write these lyrics, I'm glad that I was of so much use. If you read the lyrics as you listen to the songs, and you can enjoy the world of Ar tonelico, I will be very happy. 担当曲 In Charge of the Songs: [澪] 5. METHOD_REPLEKIA/. (作詞) 11. 永久に結ひて (作詞) 12. EXEC_HAIBANATION/. (作詞) 13. 絆~KIZNA (作詞) [焔] 3. EXEC_SOL=FAGE/. (作詞) [Mio] 5. METHOD_REPLEKIA/. (Lyrics) 11. Eternally Bonded (Lyrics) 12. EXEC_HIBERNATION/. (Lyrics) 13. Bonds~Kizna (Lyrics) [Homura] 3. EXEC_SOL=FAGE/. (Lyrics) Profile: 栃木県出身。作詞家。 数多くのアーティストに作品を提供し、Ar tonelico 作品にはOVA収録楽曲「EXEC_HYMME_ LUMINOUS_DEF/.」より参加。 Ar tonelico Hymmnos Musicalシリーズでは 多くの作詞を担当している。 Native from the Tochigi Prefecture. Lyricist. She has collaborated with several artists for various products, with most noteworthy participation in the Ar tonelico series being writing the lyrics for the song recorded in the Ar tonelico OVA: [EXEC_HYMME_LUMINOUS_DEF/.]. She also participated in the creation of the lyrics for many songs of the Ar tonelico Hymmnos Musical series. 篠田朋子 Shinoda Tomoko アーティスト 曲に馳せる想い Artist The Feelings Behind the Songs Comments: 今回の3曲の詞を担当させていただいたのですが、特にEXEC_over. METHOD_SUBLIMATION/.の2曲は、表現の仕方等で色々と 悩みました...。 副題の "lamenza (嘆き)" と "ee wassa sos yehar (偉大なる 解放の為の祭典)" 。どの様な詞を綴れば、ゲームの場面・曲調に 相応しい物になるのか。物語の中に溢れる《想い》を表現すること ができるのかと、あれこみ試行錯誤したのですが...。 僅かなりとも皆様の心にお伝えできたら幸いです。 This time I was charged with making lyrics for only three songs, but all of them, especially two of the EXEC_over.METHOD_SUBLIMATION/. songs, had me extremely worried about the various ways in which the feelings used them should be expressed... These two are subtitled "lamenza (Laments)" and "ee wassa sos yehar (The Festival for the Great Release)". How I should make the lyrics? Will they be appropriate for the scene in which they will be used in the game, and for the song in which they are sung? We were able to present an story overflowing with the presentation of <feelings>, though a lot of that was accomplished through trial and error... If I am able to convey them to you all, even if it's merely a little, I'll be very happy. 担当曲 In Charge of the Songs: [澪] 4. METHOD_METAFALICA/. (作詞) 6. EXEC_over.METHOD_SUBLIMATION/. ~ lamenza (作詞) 7. EXEC_over.METHOD_SUBLIMATION/. ~ ee wassa sos yehar (作詞) [Mio] 4. METHOD_METAFALICA/. (Lyrics) 6. EXEC_over.METHOD_SUBLIMATION/. ~ lamenza (Lyrics) 7. EXEC_over.METHOD_SUBLIMATION/. ~ ee wassa sos yehar (Lyrics) Profile: 作詞家。 代表現品:PS2「花帰葬」OP "花帰葬"・ED "春告 げ" "黎明" CD「星詠~ホシヨミ~Ar tonelico hymmnos concert Side 蒼」 "EXEC_ CHRONICLE_KEY/. (共作)" Lyricist. Her representative works are the lyrics of the OP "Hanakisou (Flower Funeral)" and the EDs "Haru Tsuge (Revealing of Spring)" and "Reimei (Aurora)" from the PS2 game [Hanakisou], and the lyrics for the song "EXEC_CHRONICLE_KEY/." (written collaboratively) from the [Singing the Stars~Hoshiyomi~ Ar tonelico Hymmnos Concert Side Blue]. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #17 Jun 21 2013, 04:55 PM | aquagon |
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By the way, if anyone thought I had forgotten about this, I haven't I simply didn't translate the liner notes for the At3 albums because of spoiler reasons. However, here I'll be translating them, beginning with the liner comments for the OST: Ar tonelico 3 OST Comments アルトネリコ3のサントラCDをお買い上げいただきありがとうございます。 皆様のご声援に支えられてアルトネリコは、本作でひとまずの区切りをつけることが出来した。 世界中のエスニックサウンドをごった煮にしてしまうという命題を与えられたアルトネリコサウンドは、私自身としてもチャレンジの日々でした。ここに完結し た音楽観が正解であったのかは未だに気持ちの整理もつかないのですが、そのマニアックさ 難解さを理解して頂、美しい歌声で少なながらずマイナーなイメージを払拭してくださった多くの歌い手様方には、感謝の気持ちでいっぱいです。 さて、本作品のウリとしてR.A.H.という楽曲自動生成システムであります。 ある日、別プロジェクトでてんてこ舞いだった私に土屋ディレクターから声がかかり、「ランダムに楽曲が生成されるシステムをゲームに取り入れたいので考えて欲しい」 と依頼が来て、 大慌でて音楽理論方面で協力することになりました。しかし、その後の素材制作 は期待の新鋭柳川さんにバトンタッチしてしまい、一番大変なところをほとんど彼・人に 作っていただきました。そして肝心のゲームシステムとしてのプラニングを土屋さんディテク ターが行い、R.A.H.というゲーム性を持った楽曲自動生成システムが完成しました。 そのユニークな音楽性はゲーム中でしか味わえないのですが、ぜひ多くのゲーム 音楽ファンの方々に触れていただけたらと願っています。 皆さんの心に惑星アルシエルの想いが届きますように。 Thank you very much for buying the CD for the Ar tonelico 3 Soundtrack. It's all because of the support of all of you that we have been able to take up the Ar tonelico series up to its finale for now, with the current game. The days I was proposed to make the sound for Ar tonelico from a mix from ethnic music from around our world were some of the challenging ones I've ever had during my life. While I haven't yet sorted out my own feelings about if I correctly interpreted the instructions I was given once I completed the soundscape for the game, I managed to understand how maniac and difficult it was to make them, and I also have a great number of feelings of gratitude to all the singers who worked to us, given how much I had to ask them to use their beautiful voices to sweep away the minor image the music had. Well then, the main selling point for this game is the automatic music generation system called RAH. A certain day, while I was pretty busy with other project, Director Tsuchiya called me, and gave me the following request: "I wanted to ask you to help me implement a system that allows music to be randomly generated into a game", and for the most port after that, I ended having to work together with much people the sort out the musical theory details for such a system. However, later on, I passed on the role of making the samples for the system to our promising newcomer, Yanagawa-san, which might have been the hardest request he had ever received. Thus, Director Tsuchiya began the planning for it as the core of the game system, and eventually, the game carrying this music generation system was completed. While you will only able of experiencing this unique musicianship in the game itself, we of course pray that this will touch the many fans of game music out there, so the feelings of the Planet Ar Ciel will reach all your hearts and move them. ガスト サウンド担当 中河 健 Gust Sound Staff Nakagawa Ken R.A.H.素材とBGMを担当しました柳川です。 今作からの参加ということで、シリーズを通してアルトネリコに触れている皆様 にも満足して頂ける仕事ができているか、 自分では判断がつかずに戦々恐々の日々を送っています（笑） さて、私がアルトネリコ3に関わり始めたのは大学4年（2008）の秋でした。もう 一年以上も前なんですね。 作業の大半を占めたR.A.H.とはその頂からの付き合いとなるわけですが、卒研の 時期にも素材作りをしていて、ひーひー言っていたのを覚えています（笑） そんなR.A.H.もベストミックスという形で収録され、より深くまでアルトネリコ 3の音楽をの音楽を詰込んだCDとなっていますので、隅々までお聴き頂ければ幸い です。 I'm Yanagawa, the one who was in charge of composing the RAH samples and the game's BGM. As I began participating as composer in this entry, I wondered if I could be able of moving even the ones who were moved by Ar tonelico and have followed the series since its very beginning ever since I was given this job, and although I can't judge that by myself, this was something that brought me many days filled with trepidation. Well then, I began to be involved with Ar tonelico 3 during the autumn of my fourth college year (in 2008), although it could also had been a year or more earlier. While most of my job consisted in the working in the RAH system, and that allowed me to greatly socialize with the rest of the staff, this also reminded me of my time as a novice researcher, given that even making the samples reminded me of my tiring days at college (laughs). We have also recorded a best mix of the RAH songs here, so with the Ar tonelico 3 music album being the containing the deepest music in the series, I'll be very glad if you can listen to; and accept these songs in their entirety. ガスト サウンド担当 柳川 和樹 Gust Sound Staff Yanagawa Kazuki |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #18 Jun 21 2013, 04:55 PM | aquagon |
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Now, the translation for the liner notes of the At3 Side Blue Hymmnos Concert. Ar tonelico III Hymmnos Concert Side Blue SAKIYA=RUMEI Hymmnos Comments Comments for Legend of Ar tonelico III 咲夜琉命 Sakiya Rumei ヒュムノスコンサートも、いよいよ3作目です。一作目の「星詠」「月奏」、二作目の「澪」「焔」と続いて、次はなんだろう？ と気になっていた方もいらっしゃったと思い ます。そして今回は「咲夜琉命」と「珠洲ノ宮」という、若干大仰な名前として世に誕生しました。 このCDのタイトルになっている「咲夜琉命」とは、アルトネリコ3ゲーム内の世界で古くから使われている言葉です。その意味は「人間」。「夜を咲かす琉る命」という 意味ですが、「琉」というのは何でしょうか。これは「王になる者」という意味でる。すなわち、夜を咲かす王になる命、という事になります。「終焉を呼ぶ、この世界の王 者」が、咲夜琉命の本当の意味です。ソル・クラスタ（アルトネリコ3の舞台）の昔の人は、この世界に人が君臨し、世界を滅ぼすこを予見していたのでしょうか。 ちなみに、作中に出てくる人格「サキア・ルメイ」は漢字では「咲夜流命」と書きます。これはアルキア研究所の開発者が「咲夜琉命」をもじって付けた名前で、 こちらの意味は「夜に咲いてそのまま流れる（死ぬ）命」という救われないものとなっています。 The Hymmnos Concerts, too, have finally reached their third entry. "Continuing the trend of the first Concerts, [Hoshiyomi] and [Tsukikanade], and the second Concerts, [Mio] and [Homura], what they should be?" was one of the things that worried me the most when we began planning them. And thus the current [Sakiya Rumei] and [Suzunomiya] albums, which could regarded some of the most exaggerated names in the history of mankind, were born. The [Sakiya Rumei] that ended up becoming the title for this CD is actually a word that has been used since very ancient times in the world of the game Ar tonelico 3, and it means [human]. Its concrete meaning is [The shining life that flourishes at night], although you might be wondering what the [shining] part actually means. It means [the one who will become a ruler]. In other words, it means the sovereign life that flourishes at night. However, the actual and true meaning to Sakiya Rumei is [the ruler of this world, who beckons for its end]. Maybe the people that lived ages ago in Sol Cluster (the setting for Ar tonelico 3) predicted that this world would be ruled by that person, and eventually it would completely destroyed by it. By the way, the persona that appears in the game called [Sakia Lumei] has her name written in kanji in this way [咲夜流命]. This was because the developers in the Archia Think Tank gave her this name as a parody of [Sakiya Rumei], and gave it this meaning: [The flowing (dying) and unchanging life that flourishes at night], which was to serve as an indication of her becoming a person who can't be saved. Comments for Singing Hills ~Harmonics TILIA~ 生命の音霊紡ぎ 謳う丘へ宿す Crafting the spiritual sound of the lives, and entrusting them to the Singing Hill 謳う丘も3作目ですね。毎回歌詞の中に、ゲーム性に沿ったテーマ入れているこの曲ですが、今回入れたテーマは「惑星と人の歩んできた歴史」、そして「未来」 です。と言いましても、その殆どが歴史パートであり、未来の部分は「母の意志～」以降しか無いのですが。テーマが惑星という事もあり、前作、前々作とは違う、ピーク レベルはち切れる程の壮大で力強い曲にしよう、と考えて制作していました。イントロは星の創世、Aメロ前半でまだ幼い星を、Aメロ後半で全盛期、Bメロで戦 争と壊滅、その後に「予見」が来ます。予見では「皆で星を母であると認識し、声を合わせて謳えば想いは星に還るだろう」と言っています。言葉の意味はその ままですが、これがゲーム作中とどのような関係にあるのか、そしてゲーム作中ではどのような事が起こるのか、それはゲームをプレイして確かめてみてください。 The third version of Singing Hills, huh? While this song, like the previous ones, have lyrics containing the themes that the game follows, the theme that we put into this one is [the history that both the Planet and the Humans have shared], and also, their [future]. Despite me saying this, actually the History part is what makes up the largest portion of the song, while the the Future part doesn't appear until the [Mother's Will~] section. Given that theme for this song was the Planet, which was different from any of the previous games, I thought about making this as a strong, splendid song, that could burst beyond the peak levels of its predecessors. The intro tells about the creation of the Planet, with the first half of the A melody being the lines that describe the still-young Planet, the second half of the A melody telling about its golden age, and the B melody telling about the wars and its destruction, finishing with a [prophecy]. This prophecy basically says [let us all recognize the Planet as our Mother, and if we sing with all of our voices combined, our feelings should surely return to Her]. While that is what the lyrics mean, what kind of relationship they could have with the game itself, as well as what kind of events will this cause within the main plot of the game, that is something that I wish you to see by yourself as you play through the game. Comments for EXEC_EP=NOVA/. 「ケンカはやめてくださーいっ！！」 Stop fighting, please!! 「ヒュムノス=壮大な多重コーラス」というのは間違いです。「=」ではなくて、「⊃」なら正しいです。多重コーラス曲の傾向になりやすいのは、声を揃えて謳う事で より力が強まる為、そして、ヒュムネクリスタルの持つ想い「詩の想い」が必要以上に感情を煽り、壮大な想いをレーヴァテイルに産み落とす為です。ですからレーヴァテ イル個人の趣味や性格によって、またその時の感情がヒュムネクリスタル「詩の想い」より強ければ、どんなに詩の想いが壮大でも、それとはかけ離れたヒュムノ スが紡がれることもあり得ることです。ただ、この曲に関しては、それを考慮に入れた上でも向インパクト絶大であり、ヒュムノス史にその名を残す「トンデモヒュムノス」 であることに間違いありません。サキはちょっと普通じゃない子（設定的にも、性格にも...）ですから、普通のレーヴァテイルでは、このヒュムネクリスタルか らはこのような詩は生まれなかったでしょう。EP=NOVAは戦闘曲ですから、フィンネルや前作、前々作のヒロインが謳ったなら、恐らくPAJAやREPLEKIAのような詩に なっていたのではないかと思います。 Considering the affirmation [Hymmnos=Magnificent multiple choruses], that's actually an erroneous statement. However, if instead of [=], we put a [⊃], then the statement would be correct. The reason why the Songs easily trended to become pieces with multiple choruses is because harmonizing multiple singing voices allows to greatly increase their power, and thus, upon receiving the necessary influence from the [Feelings of the Song] contained within the Hymn Crystal, the Reyvateil will give birth to these magnificent feelings within herself. Therefore, based on the individual tastes and personality of the Reyvateil, if her own emotions at the time of a Download are stronger than the [Feelings of the Song], no matter how magnificent the feelings of the song might be, she will be able to craft a Hymmnos that can be completely different from them. Still, when it comes to this Song, and despite taking the above explanation in account, it wouldn't be a mistake to consider that it will remain in Hymmnos history as the most [ridiculous Hymmnos] ever made. Given that Saki isn't much of a normal girl (both from the setting and personality standpoints...) she was unable to make a magnificent Song out from this Hymn Crystal. Given that EP=NOVA is a battle song, if Finnel, or any of the previous Heroines had sung it, I think that it most likely would have turned out to be a Song similar to the PURGER or REPLEKIA Songs. Comments for EXEC_FLIP_ARPHAGE/. フィルちゃん、みんなを助けます！ I'll save Filly, and everyone! アルファージは「サキそのもの」と言ってもいいでしょう。サキは常にこの詩と共にあります。ゲーム開始後すぐに精神世界で「アルファージ」を見ることが出来る事から も、それは垣間見ることが出来ます。この曲名は「EXEC_FLIP_」となっています。ヒュムノスで3文節のものは、詩魔法系の「EXEC_HYMME~_」のみでしたが、 このアルファージはそれと同じで、ソケット・プラグイン型ヒュムノス（ベースプログラムがあって、その上に実効果が載るタイプ）です。EXEC_HYMMEは「妄想を具 現化する」ベースプログラムに、「どんな妄想か」の3文節目がくっついて詩魔法になります。ならば「EXEC_FLIP」とは何なのかと申しますと、「自身が妄想になる」 というものです。すなわち「変態（メタモルフォシス）」です。この詩を謳うとき「サキは消えてしまうかもしれない」という話が出てきます。それは消えるのではなく、別のもの へと全身が変化するのです。その時サキの想いが強ければ、その変態に打ち勝ち、自らの自我をつなぎ止めておくことが出来るかも知れませんが、弱ければ飲み込 まれてしまいます。 It would be correct to even say that Arphage is [Saki herself], since she has always existed together with this Song. Since you can even see [Arphage] in her Soulspace a little after you begin the game, this should give you a glimpse of its importance. Also, as you might have noticed, this Song has the title of [EXEC_FLIP]. While the Song Magic class [EXEC_HYMME~_] was the only Hymmnos kind to have three words in its title, Arphage also belongs to its same superclass: the Socket Plugin-Model Hymmnos (the type that causes a practical effect to happen based on a base program]. EXEC_HYMME has the [manifestation of fantasies] as its base program, and as such, the Song Magic will change depending on the [kind of fantasy] that's used to defined the third word in its declaration (the name of the Song Magic itself). And if I had to describe what kind of effect [EXEC_FLIP] has, it would be [Self-transformation into fantasies], or in other words, [Metamorphosis]. When Saki sings this Song, it's said that [she might disappear] once she finishes, but it doesn't actually mean that she will disappear. She will simply become something else. If Saki's feelings are stronger at that time, she might be able to overcome the transformation and continue maintaining her current self. But if her feelings are weaker, she will be absorbed into the Song. Comments for Sands of Time: サキの想いは、伝わりましたか...? Were Saki's feelings conveyed...? サキ個人のテーマとして存在する「紙芝居」。物語中盤で一度、超展開紙芝居を見るイベントが発生する（方もいる）わけですが、サキはその後も人知れず紙芝居 を描き続けていました。この紙芝居には、サキそのものが投影されています。サキ自身が常人ではない、強大な力を持っていることを魔王として表現し、そんなサキでも ずっと傍にいてくれたアオトを勇者として描いているのです。そしてこの紙芝居が、消えていくことを宿命づけられたサキが、大切な人に忘れられたくない一心で描き続 けたものなのです。この紙芝居を大切な人が持っていてくれたら、サキはずっとその人の心に生き続けることが出来るから。サキは本来なら人知れず生まれて、研究所 の外に出ることもなく、何を生み出すこともなく、亡骸すらも残さずに消えていく運命だったのです。だからこそ、自分という存在をこの世界に残したいという想いが、 人一倍強いのかもしれません。 Saki's individual theme is the [picture stories] that she makes up, and although around halfway through the game (depending on the route you picked), you will be able to witness how one of these stories is made and told, Saki still continues to draw them without anyone knowing about it. This is because these picture stories are the way in which Saki projects herself. Saki isn't a normal person, and thus, due to the great power she has, she represents herself as the Demon Lord, while she draws Aoto as the Hero, because of being the person who always was at her side. And the whole reason why Saki continued drawing this particular story was because she was dead set on not wanting her precious people to forget her, even after she had disappeared after fulfilling her destiny, because if she told this story to the people she loves, she could continue living forever within their hearts. By all accounts, Saki was created secretly from the general populace, never came out from the laboratory in which she was created, never created anything, and was fated to disappear without even leaving a corpse behind. Because of these factors, her feelings and efforts to leave her mark in this world may be even stronger than the ones other people make. Comments for EXEC_METEMPSYCHOSIS/. それは、国を護ることより大切なこと That is something far more important than the protection of this country. メテムサイコシスは、ティリアのフォログラフィ（コピー）を作成する詩です。このヒュムノスは第一紀の時代（700年前）にあったものではなく、グラスノインフェリアの後 にクロガネラボラトリーズ（現アルキア研究所）によって発見されたものです。ティリアが不完全な形でメタモルフォシスしてしまった後、会話が出来なくなってしまった彼 女とコンタクトをとるために発見されたものと言われています。それは、ティリアの中から新たなティリアを作る術でした。しかしこのヒュムノスの封入されたヒュムネクリス タルは、運悪くレーヴァテイル革命直前の完成であった為、レーヴァテイル達によってクラスタニアに持ち去られてしまいました。以後このヒュムネクリスタルは、クラスタ ニアの聖鍵として行政区に保管され、有事の際に備えて時の将軍のみが行使できるようになっていると言われています。 Metempsychosis is the Song that creates a Holography (copy) for Tyria. This Hymmnos didn't exist back in the First Era (700 years ago), since it was created by the Kurogane Laboratories (current Archia Think Tank) shortly after the Grathnode Inferia. After Tyria performed an imperfect metamorphosis, it became impossible to converse with her, so it's said that this Song was created to keep in contact in her, which was to be done through the technique of creating a new Tyria from inside Tyria. However, and unfortunately, the Hymn Crystal containing this Hymmnos was taken by the Reyvateils and carried to Clustania after the Reyvateil revolution was completed. From that point on, it was kept in the Executive District as a holy key to Clustania, and it's said that only the current General is able to use it, and even then, only in cases of emergency. Comments for EXEC_REBIRTHIA=PROTOCOL/. 希望の光の中 待ち続けたこの時に Within the light of hope, I have been awaiting for this time これほどまでに希望に満ち、そして絶望に満ち、多機能で高出力な詩は他に無いでしょう。前作アルトネリコ2のEXEC_METAFALICA/.にも匹敵する導力量を要 求するこの詩の機能は、一体の塔を数時間のうちに創りあげ、メインフレームを配置し操業を開始、惑星再生プログラムを実行スタンバイまで持っていくというとてつ もないものです。ですが、この世界の塔は、その辺の島などよりもよほど大きな構造物です。それが数時間で完成するのなら、数年間謳い続けたメタ・ファルスの塔や、 数十年建設を続けてきたソル・シエールの塔の苦労は一体何だったのか...と思わざるを得ません。実際技術革新というものは、10年前に10年かかっていたもの が、10年後には一瞬で出来るようになる事など沢山あります。それにしても、このソル・クラスタの塔はあまりに理不尽なスピードであると思うかもしれません。しかしその 裏側には、様々な理由により一瞬にして作らなければならず、そしてその為に様々な犠牲を強いているという現実が広がっているのです。それはゲーム中で明らかされる ことになるでしょう。 There isn't any other Song that has so many functions and such a high output, as well as being filled with so much hope and despair. It could even rivalize EXEC_METAFALICA/, from the previous game, Ar tonelico 2, given that its large Symphonic Power requirements are due to its functions: creating a new Tower in just a few hours, initiate the booting and operation of the Mainframe, and even setting it in standby mode for the execution of the Planet Regeneration Project, reason why it can't be taken slightly. However, the Tower of this world would have been the largest structure to have been ever built in it, or in its neighboring island. Now, you might be thinking... "If they could have built a complete Tower in just a few hours, what point there was to the hardships of having to continuously sing for several years to build the Tower of Metafalss, or to continue building during many decades just to make the Tower of Sol Ciel?" Actually, this is because of the continuous innovations and improvements on technology, of which there are many examples in which things that took even more than ten years to make a decade ago could be made in just an instant ten years later. At any rate, you might still be thinking that the Tower of Sol Cluster was made at a very irrational speed. However, this had a dark side, one being that it had to be made in just one instant because of various reasons, and because of that, the reality ended being that the builders were forced to make many sacrifices to create the Tower. All of this should be made clear once you get to play the game. Comments for EXEC_COSMOFLIPS/. 共に歩む道、そして葛藤 The Path we Walk Together, and its Conflicts このヒュムノスは「高次生命と対話」の為に作られた詩です。本来は700年前、この世界の創世の時期にティリアにダウンロードされているべき詩なのですが、 何故か、とある場所に転がっていました。このヒュムノスは、端から見れば通訳のソフトのようにも見えますが、実は大変乱暴な効果を持つ詩です。すなわち、謳い手の 中にもう一人の命、それも自らよりも高次の生命体の魂を封入することで、それと同格の存在と対話が出来るようになる、というものなのです。辞書変換ソフトのようなも のですが、辞書ファイルは各実見つけてください、と言っているようなものです。実際700年前には、辞書ファイルたる高次の生命体の宛では有ったといいます。 しかし現在ではそれも潰えてしまいました。ゲーム中ではこの詩によって、意外な相手を同意の上で取り込む事になります。そしてそこからが、本当の世界再生の始まりと なっていくのです。 This Hymmnos was created as Song for [Conversing with High-order Life Forms]. Originally, this Song was supposed to be Downloaded into Tyria when this world was first created 700 years ago, but for some reason, it got lost in a certain place. While from the start we can see it as software, this Hymmnos it's actually a Song carrying extremely reckless effects. These are that the Singer will have to allow another life to exist within herself, and in addition, she will have to seal the soul of a life form from an order far higher than herself into her, reducing said soul to her same level to be able to converse with it. While we can consider it similar to a dictionary and translation software, it would be like telling you "Please, check by yourself each one of the entries of the dictionary file". At that time of 700 years ago, it was thought that the current dictionary file would have been enough to address a high-order life form. However, even that possibility has crumbled away in the current times. During the game, this Song will allow you to reach an agreement with an unexpected opponent and take it in, which will also mark the point in which the Planet's Regeneration actually begins. Comments for Within the Light: あなたとなら歩いてゆける If it's with you, I'll keep walking on ティリアという存在は、オリジン3人の中でもずば抜けて性能が高く、そしてそれ故に最も不幸なオリジンだったかもしれません。オリジンには1体に一人、技術者が 専属でつくことになっていますが、そのティリアの生みの親であり技術者でもあるクロガネが、ティリアに対して相当過酷な環境を強いてきていたからです。そしてティリア は不完全な形でメタモルフォシスを行ってしまい、短い10年あまり「人としての生」を閉じることとなりました。だからこそ、自らを「いのち」として見てくれ る人、特別視しない人を探していたのかもしれません。今作では中作に「防衛機制」という言葉が出てきますが、ティリアの飛んだ性格もまた防衛機制によるものかもしれませんね。 この世界全体の命運を担い、そして自らの運命...道具として扱われる事に対して自らの信念だけであがない、ずっと一人で生きてきた彼女が、700年の時を経てよ うやく自分の居場所を見つけたのです。この詩を作中で聴いた方は、そんな歴史を想いながら聴いてあげてください。 The being we know as Tyria is by far the best among the three Origins due to having the highest efficiency, but because of that, she might have been the unhappiest between all of them. Each one of the Origins had one dedicated engineer that had to take care of them, but the one that served as well as Tyria's creator, Kurogane, always treated her cruelly, and forced her to live in such an environment. And then, in less than 10 years, she had to undergo an incomplete metamorphosis, closing off any possibility for her to [live as a person]. That is why she is a person that looks as herself as a [life], and possibly she doesn't seek to be seen as any kind of an special person. The word [defense mechanism] is used at various points halfway through the game, so Tyria's airhead personality could also be such a defense mechanism. She is the one who carries the fate of this world on her shoulders, as well as her own fate... but due to being treated as a tool in the past, she is simply unable to gather confidence by herself, but after always having walked alone, she finally found her place in the world after 700 long years. If you manage to take the path in which you get to hear this song in the game, please accept it as you feel Tyria's sad story as if it were your own. Comments for Ec Tisia: 私はその言葉を信じ、いつまでも待とう I shall believe in your words, and I will always be waiting for you all. 星から人へ、人から星へ...。星と人の対話が生まれた世界の詩です。あまりこの詩の背景を語ってしまうのは良くないと思いますので、ここでは設定的なお話をしようと 思います。この詩は、ここが初公開となる「アル・シエラ」通称「星語」が使われています。アル・シエラは既出となる律詩前月読（月奏といわれるシャーマンが使う呪文 例）の更に大元に当たる言葉で、人間が使う言葉ではありません。もちろん、人間でもしっかり発音できますが、その意味を完全に翻訳することは出来ません。 なぜならアル・シエラはその発音に、人間の可聴範囲を遙かに超えた音が載っているためです。現在作られているアル・シエラの文字は、それを簡易的に解釈し、（色々と想い や言葉が抜けてはいるけど）概ねこんな意味です、という指標としての表現でしかないわけです。例えば歌詞冒頭の「sheu」という発音列だけで、何百通りという「似 てるけど微妙に想いの違う意味」の発音を兼ねています。それらの違いは、人にとっては些細な違いでしか有りませんが、星にとってはとても重要な違いになっていたり します。アル・シエラについては、機会があれば解説をしたいと考えておりますので、その時に詳しいお話しをしましょう。 From the Planet to the people, from the people to the Planet... This is the Song that the world created from the conversation between the Planet and the people. I don't think it would be a good idea to talk about the circumstances in which this Song is heard for the time being, so we'll leave the conversation about the setting here. This Song is also the first time we use and reveal to the public the [Ar Ciela] language, also known as the [Planet's Language]. Ar Ciela is actually the words that served as the basis for the Carmena Foreluna language we introduced previously (the spell lines used by the Shamans known as the Moon Chanters) and as such, it isn't a language that the humans have ever used. Of course, humans are perfectly able of pronouncing it, but they won't be able to completely understand the meanings of its words. This happens because the pronunciations used in Ar Ciela also include sounds that are far above the audible range for the humans. The Ar Ciela script you can see used here is no more than a simplified interpretation of it (but it omits many of the feelings and words that it should contain), and while you can infer a general meaning from it, this doesn't mean that it should be used as an indicator of how the language is actually written. For example, the very first pronounced line you can see in the lyrics, [sheu], can actually have hundreds of possible meanings by itself, [due to all them being very similar, but the feelings contained in these meanings have very subtle differences among each other]. These differences are so subtle that for the humans they don't even exist, but to the Planet said differences are extremely important. Whenever we have a chance, I'd like to explain more about Ar Ciela, and at that time, I'll talk about it in deeper detail. Comments for Planet Gene: 力強くも青いヒュムノス達 The Powerful yet Young Hymmnos 今作の世界は、一作目、二作目よりも進んた文化であり、また、荒れ地にコロニーを作り始まった世界である為、前作、前々作のような古い歴史が殆どありません。 前作の「ラプランカ伝承」を元にしたような、スピリチュアルなヒュムノスは無く、その殆どが技術偏重の無機的なものになっています。そして、それこそがこ の世界の歴史なのだと思っています。ヒュムノスの性能もパワーも、前作、前々作を凌ぐものばかりですが、その力故か、ヒュムノス自体に「青さ」を感じてしまうのは私だけでしょう か。とても若く、向こう視ずで、一度使い方を間違えれば大変なことになってしまいそうなヒュムノス達。そんなヒュムノスが今回の世界を支えているのです。 1000年の歴史の重み、ヒュムノス誕生の地でもある一作目は、シンプルで洗練された、誰もがその力を理解でき畏れることが出来るヒュムノス達。スピリチュアル 思想の根付く二作目の世界では、その風土が築き上げた、どこか人情味が溢れる暖かいヒュムノス達。そして三作目の世界は、史上最高の技術力とその力を限 界まで使い切ろうとする、エネルギッシュかつ若い力のヒュムノス達...。世界のカラーは、こういったものの積み重ねで出来ているのだと思います。そんな観点から今 作のヒュムノスを見てみてください。今作の世界がまた少し、身近に感じられるようになるかもしれません。 The world of this game has a more advanced culture than the ones of the first and second games, and because it's still a world that began being created as a colony in the middle of a wasteland, it doesn't have an history as ancient as its predecessors. It lacks any spiritual Hymmnos like the ones based in the [Legends of Rhaplanca] from the previous game, and instead it puts too much emphasis in the inorganic technologies and skills, which is by itself what I think that makes up the history of this world. The efficiency and power of these Hymmnos surpass the ones the Hymmnos from the previous games had, but I wonder if I'm the only capable of feeling the [youth] from their source of power, from the Hymmnos themselves. They are still very young, without an actual vision of where they should go, and if these Hymmnos were to be used wrongly even once, it would trigger great catastrophes. Such are the Hymmnos that support the world of this game. The first game gave emphasis to more of 1000 years of history and the land where Hymmnos itself was born, which polished itself through simplicity and had Hymmnos that everyone knew about and feared the kind of powers they held. The world of the second game was rooted in spiritual ideologies, whose natural features were completely built by the people, and whose warm Hymmnos were overflowing with the kindness and of all its inhabitants. And now we reach the world of the third game, in which they have gained the highest technological strength in the history of Ar Ciel and use it up to their limits, whose Hymmnos are filled with a young and energetic power.... I think that the color of the world can be inferred by just the sum of all the things that make it up, and I wish that you please try to look at the Hymmnos of this game from that perspective. The world of this game is still small, but it somehow might feel familiar to you. Anyone else is getting the same vibe about the Ec Tisia comments that we got when I translated the ones for Xa Ziqt Wac s? (about the unveiling of details for Carmena Foreluna and Ar Ciela). |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #19 Jun 21 2013, 04:56 PM | aquagon |
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Ar tonelico III Hymmnos Concert Side Red SUZUNO=MIYA Comments for Grow 珠洲ノ宮 Suzunomiya ヒュムノスコンサート3作目となる今作、その名前は漢字を継承しつつも、前作、前々作よりも大仰な名前となって誕生しました。この「紅」は「珠洲ノ宮」という名前が つけられていますが、蒼の「咲夜琉命」と紅の「珠洲ノ宮」とは、一体何なのでしょうか。蒼の「咲夜琉命」に関しては、蒼のCDのコメントが有りますのでそちらをご覧い ただくとして、こちらでは紅の「珠洲ノ宮」について説明したいと思います。珠洲ノ宮は、アルトネリコ3の舞台がある世界で古くから使われている言葉です。 その意味は「惑星」。珠洲ノ宮の「珠洲」とは惑星アルシエルなど集う太陽系や近隣の恒星のこと（実際はそこまで厳密ではなく、アルシエルから見える星々の集 団のこと）です。すなわち、星々の中にある宮＝自らの住処、すなわちこの世界の舞台である惑星アルシエルの事となるわけです。この世界の人々は、かなり昔からア ルシエルが丸く、そして天に瞬く星の一員であるという事を知っていたようです。大地と詩で対話する人々だからこそ、惑星のことを我々よりも知っているのかも知れません。 The Hymmnos Concerts have reached their third entry with the current ones, and although they always had kanji names, looks like we gave birth to the ones with the most exaggerated names in the series. While this [Red] album has the name [Suzunomiya], you might be thinking: "What could be the meaning of the [Sakiya Rumei] of the Blue album and the [Suzunomiya] of the Red album?" The explanations concerning the [Sakiya Rumei] of the Blue album will be explained in the comments for that album, but now we will explain what is the meaning of the [Suzunomiya] of the Red album. Suzunomiya is a word that has been used since very ancient times in the world that serves as the setting for Ar tonelico 3, and it means [Planet]. The [Suzu] part means the planetary system to which the Planet Ar Ciel belongs, as well as the fixed stars that are close to it (although actually, it isn't that strict, and only refers to the star groups and constellations that can be seen from Ar Ciel). In other words, the palace (miya) in which the celestial bodies are = their own residence, which can be summarized as the Planet Ar Ciel, the world that the series has used as its setting from its beginning. Since very ancient times, the people of this world have thought that this Planet was round, and they have also known that this Planet was as well one of the stars that can be seen shining in the heavens.Because of these people being able to converse with the land through Songs, they might have known about their Planet than what we could have learned about ours. Comments for Symbol of the Wind (Windstone) この荒れ果てた世界にも、美しいものはある Even in this ruined world, there are still beautiful things 今作、アルトネリコ3の舞台であるソル・クラスタの世界を描いた「風標」。この塔は世界の最先端をゆく技術が終結した塔であり、その塔を建設する為にここに来た 人の集まり故に、この世界そのものの歴史は非常に浅いものとなっています。ですが、その塔の周りに集まっている人達は、この塔の近隣の国に元々住んでいたクラス タ系の住民です。この塔のある場所の国の人々ではありませんが、比較的近場に住んでおり、グラスノインフェリアが巻き上げた死の雲海がこの地に到達するまでの 間に、大牙に移り住んできた人達なのです。そしてこの詩は、そのクラスタ系の人達の伝承を元に作られた、昔ながらの歌の一つです。この歌が古語的表現で描かれ ているのはそういった理由によるものです。そしてその意味を紐解けば、クラスタ系民族の気質が溢れる、実に素材で堅実で、奥ゆかしい詞であることがわかることで しょう。 This song, [Symbol of the Wind], serves to depict the world of Sol Cluster, which serves as the setting for Ar tonelico 3. This Tower was built through the leading edge in technology and engineering in the world, and due to the group of people that came here to build it, it's that this world itself has an extremely shallow history. However, the people that came around that Tower and the one who originally lived in the countries surrounding it belong to the Clusterian group. They might not be actually the people of the country in which this Tower is located, but lived comparatively close to it; and when the Sea of Death, caused by the Grathnode Inferia, reached this land, all these people had to move to the Grand Fang. And thus, this song is actually one of the songs that the Clusterians had as part of their culture since a long time ago, and that they have passed down from a generation to other. That itself is the reason why we chose to use words and expressions in archaic Japanese, and if you manage to understand their meaning, you will be able to see how steady is the disposition of the Clusterians, and how humble these lyrics are. Comments for EXEC_CUTYPUMP/. キューティーラブリーハレーション！ Cutie Lovely Halation! この曲は、この詩を謳うレーヴァテイル共々、この世界の歴史に名を残すものとなるでしょう。自らの肉体を強化するためにあらゆるドーピングをするこの詩は、今から それ程昔ではない時に、アルキア研究所によって開発された言われています。しかし、その効果のあまりの強烈さに、誰一人として使おうとする者はいませんでした。 しかし、そんな強烈かつ破壊的な詩を謳おうという者が現れたのです。それがミュートでした。彼女がこの詩を謳おうと思ったきっかけは2つあまり。1つはとある 復讐のために、そしてもう1つは、家族愛...でしょうか。とにかく、この詩を謳い、自らのボディが奴何様になろうとも為し得たいことが彼女に有る事は間違いありません。 これほどの事を決意させるドラマが何なのか、それはゲームをプレイして確かめてみてください。 This Song, and the Reyvateil who sings it, most likely both of their names will be passed down on the history of this world. This Song acts like a kind of drug that strengthens the body of the singer, although it's said that it's a relatively recent discover made by the Archia Think Tank. However, because of the relative strength of its effects, there hasn't been even a single person so far to use it. Despite this, finally a person who would sing such a powerful and destructive Song finally appeared, and that happened to be Mute. There are two reasons why she thought that she should sing this Song: the first one was revenge, and the other one was out of love for her family... or something to that effect. Anyway, there is no possible mistake in that changing her body into some other form will give her many advantages. As for what kind of drama motivated her to take this decision, that is something that I wish you to see by yourself as you play the game. Comments for EXEC_FLIP_FUSIONSPHERE/. 一瞬でも命くれたから... 今度はあたしが返す番だよね... Because you gave me life, even if it was for just an instant... Now it's my turn to pay you back... 「咲夜琉命」にも1曲ありますが、このヒュムノスは三文節。三文節のヒュムノスといえば、「EXEC_HYMME_~」という形式の詩魔法がメジャーですが、これも 詩魔法と同じ形式であるソケット・プラグイン型ヒュムノス（ベースプログラムがあって、その上に実効果が載るタイプ）です。EXEC_HYMMEは「妄想の具現化」を 意味するものであり、EXEC_FLIPはというと「自身の妄想化」です。当然EXEC_HYMMEとは桁違いの「想いの力」と「導力量」が必要になってきます。仕様上、 一般的なレーヴァテイルではEXEC_FLIPを行こうことはできません。この詩は、自らの生命力（定常H波）を全て導力（導体D波）に変換し、その導力流によって塔の 全系統を焼き切る（シャトダウンさせる）ものです。ただし自らの生命力を変換しますから、間違いなく命と引き替えになります。この曲は、フィンネルが現実世界紡い だヒュムノスであり（もちろん一人だけの力ではありませんが）、フィンネルの持つ潜在的な力の大きさをかいま見れる一面でもあります。実際、そこまでやることはなかった とは思いますが、それだけ愛の力が大きかったことと、あまりの緊急事態に力のコントロールが出来なかった、というのが正直なところです。 While there is also one Song like this in [Sakiya Rumei], this Hymmnos also has a three-word title. When we say three-word title Hymmnos, we mostly refer to the [EXEC_HYMME_~] form used by Song Magic, but there is also another form similar to this one, which is called Socket Plugin-Model Hymmnos (the type that causes a practical effect to happen based on a base program). While EXEC_HYMME simply is the [manifestation of fantasies], this other form, known as EXEC_FLIP, has the effect of [Self-transformation into fantasies]. Naturally, and due to this, the requirements it has for the [Power of Feelings] and [Symphonic Power Flow] is completely incomparable to the ones used by EXEC_HYMME, which make it impossible for normal Reyvateils to execute any EXEC_FLIP Songs at all. As for this Song, it has the effect of completely transforming the life force of the singer (Static H-Waves) into Symphonic Power (Dynamic D-Waves), and use that energy flow to completely burn off all of the Tower's systems (in other words, forcing them to shut down). However, given that she will have to transform all of her life force into energy, it will unmistakably kill her off. This Song is an Hymmnos that Finnel crafted in the real world (of course, not just through her power alone), so in a way, it could be said that she has a great potential power hidden within herself. Actually, and while I don't think that she would be able of realizing such a feat by herself, this actually demonstrates how great is the power of love, and how unable we are to control any kind of power whenever we get into a great emergency. Comments for EXEC_ViiBaCi_MjiiRa/. 我が激しき愛と歓喜を世界に I shall give my vehement love and delight to the world 読めない文字が続くタイトルですが、以前のシリーズからたまに登場する「律詩前月読」という言語です。これはヒュムノス語の前身といわれており、ヒュムノ スが生まれる遙か数百年前から存在していた祈祷言語です。この曲が何故律詩前月読で書かれているのかというと、これを歌っている母体か半分人間ではないからです。 半分はもちろんフィンネルですが、もう半分は人を超越した者です。詩の効能は、ムーシェリエルの活性化、コントロール、そして「この世界を救いたいという想いの具現 化」です。その結果何が起こるかは、ゲームをプレイして確かめてみてください。余談になりますが、律詩前月読の部分が不思議な言語で書かれています。 これはこのCDが初公開となる「アル・シエラ」という星の言葉、通称「星語」です。本来律詩前月読には明確な書き文字が無く、祈祷師達は口伝えで代々伝えてきて いました。律詩前月読はヒュムノスの原型と言われていることから、世界内の研究者の中ではヒュムノス文字と表記するのが一般的になっています。ですが、実際には ヒュムノス文字よりも律詩前月読の方が歴史が古いわけで、その更に原型であるアル・シエラ（星語）の方が、より表現としては近いものになるのです。そこで今回は、 律詩前月読はアル・シエラを使い、表記してみました。 These unreadable letters still continue into the title, but they are actually a language called [Carmena Foreluna], which had previously appeared in the series. It's said to be the predecessor to Hymmnos, and it's a language for prayers that had existed far many centuries before Hymmnos had been created. You might be wondering why this Song is written in Carmena Foreluna, and that is because the person singing it has a non-human half. Half of this person is Finnel, of course, but the other half is actually a being that transcends humans. The effect this Song has is the activation and control of Moocheriel, and [manifesting the feelings of wanting to save the world]. As for what events these effects will initiate, that will be up to you to see as you play through the game. Now, sorry for going off the topic here, but I want to explain why the Carmena Foreluna parts are written in a mysterious language.These letters actually belong to a language called [Ar Ciela], which was first presented to the public in the current CDs, and it's commonly called the [Planetary Language]. By its nature, Carmena Foreluna lacks an alphabet or character set to write it, since the shamans always passed it down orally throughout the eras. Given that Carmena Foreluna is said to be a prototype of Hymmnos, the researchers throughout the world generally write the phrases in it using the Hymmnos alphabet. However, Carmena Foreluna has a far older history than the Hymmnos alphabet, and since it also had a prototype in the form of Ar Ciela (Planetary Language), the Ar Ciela alphabet has become a more approximate way of writing it. Because of this, we decided to try writing Carmena Foreluna with the Ar Ciela alphabet this time. Comments for chmod b111000000/n かれ果つ地 そぼ降るは 紅の涙か The crimson tears are what is falling over this dead land? このタイトルは「チェンジモード・ななまるまるえぬ」と読みます。UNIX系コマンドに同名のものがありますが、意味的にも非常に近いものとなっています。最後のnはとも かく、111000000がどうして700なのか...というのを説明しますと、bで2進数という定義をしているためです。2進数で111は7。000は0です。そしてこれは、前 から3つずつの数字で、それぞれの権限を表しています。最初の3つが自分自身、次が自分の中間（この世界の中はクラスタニア）、最後がアウェイ（敵）です。その 中の111は、前から順番に、参照、改変、実行を指し、1が許可、0が不許可になります。すなわち、700は「自分は全権を持っているが、他は誰もアクセスできな い情態」を意味しているわけです。これが今作の塔、通称「ハーヴェスターシャ」の、最高セキュリティモードです。それは本来、メインフレーム（CPU）にウイルス直接 アタックを仕掛けたときにしか発動しない、究極の独裁権限でもあります。この情態は、状況が如何に非常事態であるかを物語っています。ちなみに最後の「/n」は、コ マンド実行を意味しています。 This title is read as [Change Mode Seven Zero Zero N]. There is a command in the UNIX systems that has the same name, and even it's meanings are pretty similar to each other. Now, you might be wondering why there's an "n" at the end, how the 111000000 can be a 700... and these are the things I'll be explaining. Firstly, the "b" serves to define that the numbers are in binary format, so in binary, 111 is 7, and 000 is 0. Now, we separate these numbers in groups of three, and each one of them serves to indicate an status of authority. The first three serve to indicate the authority of the singer, the next three ones the authority of the allies of the singer (which in this world would be Clustania), and the last three ones the authority of the "away" people (enemies). Also, the digits in 111, from left to right, indicate the following accesses: reading access, writing access, and execution access. If the number is a 1, then access is allowed, but if the number is a 0, access is forbidden. In short, the 700 means: [I have complete access, while everyone else is forbidden from even accessing to the system]. This is the highest security mode that the Tower in this game, commonly known as [Harvestasha], has at its disposal. By nature, this mode is never activated unless the Mainframe (CPU) is being directly attacked by a virus, and has the same level of authority as the most extreme of dictatorships. This should allow you to deduce that there has to be some kind of emergency during the story for this mode to be activated. By the way, the [/n] at the end just serves as an order to begin the execution of the command preceding it. Comments for EXEC_Z/. 運命の香りを嗅いで、少し血迷っていただけの 思い出 Smelling the aroma of fate, the only memory I have of it is losing my mind a little. Zとは最端文字です。A-ZまでのZ。これで全てが終わりのZ。そして世界最短の名前を持つヒュムノスがこのEXEC_Zです。何も語ることはない、ただ終わりを迎える だけ...そんな想いがこのタイトルから滲み出ています。この曲は実にヒュムノスらしくない曲です。敢えてヒュムノスらしくありません。なぜなら、この曲はあまりに泥臭い、 歌い手も、それを取り巻く環境も、その全てが「人間のドロッとした暗部」を表現しているシーンだからです。EXEC_Zは、人類がこの世界で生き延びるための最後の 手段として、アルキア研究所によって開発されたヒュムノスです。いわば、人類にとっての最後の箱舟とも言えるヒュムノスになります。そしてこれを謳うレーヴァテイルは、 その本当の意味を知りながらも、権力的圧迫、恋愛的圧迫を受け、半ば自暴自棄になりながら謳います。そこには「綺麗な世界」も「感動する詩の想い」も「確固たる 意志」も、何一つ無いのです。目隠しをして、全力で謳いきる事だけを目的とし、その後どうなろうと知ったことではない...そんな想いによって謳われているこの詩は、全 ヒュムノスの中で最も荒んだ想いを具現化するものになるかもしれません。只ひたすら切ない気持ちと、只ひたすらやるせない想いを、この詩とゲームの物語から感じ 取ってください。この詩が何故ヒュムノスらしくないのか、その意味を解っていただけるかもしれません。 Z is the final letter in the alphabet. The Z from "A to Z". The Z that ends everything. And likewise, this Song, EXEC_Z/., is the Hymmnos with the shortest name in the world. There's nothing else to say, it will just lead everything to its end... these are the feelings that exude out from this title. Also, this Song is actually a piece that wasn't meant to sound like an Hymmnos. We actually dared to make a non Hymmnos-ish Song. That is because we wanted to make the scene in which this Song is sung to be represented by its lack of refinement, its singer, the environment surrounding them, and how all of that represented the [dark side of humankind]. EXEC_Z/. was an Hymmnos developed by the Archia Think Tank to serve as the final method that would allow humankind to survive in this world. We could also say that it serves as the final ark for humankind. And also, the Reyvateil who sings it, despite fully knowing what will truly happen once she sings it, she is still pressured both politically and romantically to do it, so she partly gives in to despair and begins singing it. In this Song, there isn't even a trace of things such as [a beautiful world], [the moving feelings of a Song], or [an unshakeable will]. By covering her eyes, she gives up all her strength in singing this Song just to continue living, so this could be the Hymmnos that manifests the roughest feelings among them all. They could be no more than feelings of pain, and they could be no more than feelings of helplessness, so please, make sure to feel and accept them both from this Song and the story of the game. Maybe then, you might be able to understand its meaning, and why we decided against making this Song Hymmnos-ish. Comments for METHOD_HYMMELI/. 拒絶されるかも知れない恐怖...今なら良くわかるよ Maybe I'm afraid of being rejected... I know that very well now. 今作で唯一のMETHOD系ヒュムノスです。METHOD系ヒュムノスは、前作の舞台である「メタ・ファルス」のオリジナル言語「新約パスタリエ」専用のヒュムノス です。この詩がどこで、どのようにして謳われるのかは、実際にプレイして確認してみてください。ここではこの詩の構造について少し説明します。この詩は、新約パスタリ エの詩魔法「METHOD_HYMME/.」のベース部分を少し改造して作られたものであり、効果は「妄想の具現化しない」というものです。？という感じの説明になって しまいましたが、早い話が「導力流をそのまま一点に誘導する」詩です。詩魔法は、導力流を一点に誘導した後、その導力流を整流することで物質を生成します。それ が詩魔法の仕組みなのですが、この詩はそのプログラムから整流処理を外し、単なるエネルギーとして誘導する事だけを目的としたものとなっています。当然、今まで がこの世界の流れを大きく変えるキーとなるのです。そしてこのヒュムノスは恐らく、ゲーム時間で最も新しいヒュムノスでしょう。 作中でとある天才少女が創りあげたヒュムノスなのですから。 This is the only METHOD-type Hymmnos that appears in this game, and these Hymmnos are the ones that use the original language [New Testament of Pastalie] of the setting of the previous game, [Metafalss], which is also their exclusive kind of Hymmnos. As for where and in which way this Hymmnos is sung, that is something you will have to actually play the game to find out. However, here we will explain a little about the structure of this Song. This Song was made by slightly modifying the base part of the Song Magic system of the New Testament of Pastalie, called [METHOD_HYMME/.], and it's effects are [not manifesting fantasies]. You might now by feeling confused as for why this explanation turned out like this, but the explain it quickly, this Song is for [creating a Symphonic Power flow, and lead it to concentrate in a single point]. Normal Song Magic first leads a Symphonic Power flow to concentrate upon a fixated point in space, and then it restructures said flow to create matter. While that is the structure of Song Magic in general, this Song omits the restructuring process from the program, as the goal for its creation was to simply lead a flow of energy to a certain place. Naturally, this will become a key for far greater changes than whatever had previously happened in this world, and this Hymmnos most likely would be the newest one created by the time in which the events of this game take place. Also, this Hymmnos was created by a certain genius girl in the game. Comments for XaaaCi. 其は我が涙、我が懺悔 These are my tears, my repentance 今回、ヒュムノスではないが力を持った詩、というものが沢山出てきます。ヒュムノスとは厳密に定義すれば「塔によって処理され、その力が具現化するプログラム」で あり、同じく超常的な力を出す詩とあっても、それが塔の機能に依存していなければそれはヒュムノスではありません。そしてこのXaaaCiは、そういったヒュムノスではな い詩の中でも、もっとも強大な力を誇る詩ではないかと思います。何せ、人間よりも遙かに高次の生命が、何十、何百と集まって謳っている詩なのですから。人間は、レー ヴァテイルのように塔の力を使うことが出来ません。当然高次の生命であっても、その理は同じです。自然界に存在する微量の導体H波を媒介にしても、微少な奇跡を 起こすことしか出来ないのです。だからこそ、増幅塔は作られました。ですが、同じ微量であっても、高次の生命の微量は増幅塔の力に匹敵します。そして、その強烈な思 いで主人公達に挑んでくるのです。何十億年と連れ添ってきた自らの敬愛する子供らに、敬意を払いながら。 This time, we produced many Songs that despite not being Hymmnos, still carry some kind of power. The strict definition of Hymmnos is the following: [a program processed by the Tower, and whose power can manifest effects in the physical world], and while there are various Songs that can display similar supernatural powers, since they aren't dependant on the facilities of the Towers, they aren't considered as Hymmnos. And among these non-Hymmnos Songs, this one, XaaaCi., could be thought as the Song that boasts of the strongest power among them all, because of being a Song that tens, even hundreds of the high-order life forms, far superior than the humans, assembled to sing this Song. The Humans can't use the power of the Towers in the same way the Reyvateils can, and naturally, despite these high-order life forms being so, they can't use the Towers by that same reason. Despite there being a minuscule amount of Dynamic H-Waves in the natural world that they could use as intermediaries, such an small amount wouldn't produce anything beyond extremely small miracles, which was why the amplification Towers were created. However, this same small amount still exists, but the power of the amplification Towers wouldn't be anything more to the high-order life forms than what these minuscule Dynamic H-Wave amount would be to us, and still, the main characters challenge these incredibly intense feelings. The feelings of loving and respecting the children She has lived alongside for so many millions of years, while being determined to wipe them out. Comments for Song of the Revolving Stars: 小さな夢 ひとつひとつ 叶えていこう It's such an small dream, but slowly and certainly, let's make it come true フィンネルといえば星です。幸い境遇で育ってきた彼女にとって、空を見上げればいつも見える星は、生きていく上での希望だったのでしょう。星を見ると元気が出る、 と彼女は言います。地上には絶望しかないから...そう思っていたのでしょう。アオトが現れるまでは。それまでは、この世界から早く出たいと思っていました。それはすな わち死ぬという事ですが、アオトが現れてからはその気持ちに変化が現れてきます。今まで違い空の彼方にしかなかった星が、目の前に1つ降りてきたからです。 普段は強がっているフィンネルですが、根っこは普通の女の子。初めての恋にドキドキしてしまうのは仕方のないことでしょう。余談ですが、フィンネルの得意な星占い は、まだ子供の頃にアカネから教えてもらったもものです。今では十分商売出来るほどに上達しましたが、それは一重に、彼女がこの世界にまだあるかもしれない「希望」 を信じていたからこそでしょう。自分で執筆しておいてこういう事を言うのも何ですが、彼女には本当に幸せになって欲しいと願っています。 An star called Finnel. To her, who was brought up in a quite bitter environment, the stars she saw in the sky whenever she looked up were the only things that gave her hope to continue living. I would say that gazing at the stars was what gave her energy, because the only things that happened to her in the land were the cause of her own despair... or at least that's what she thought. However, that was until Aoto appeared. Until that point, she though that wanted to go out from this world quickly, or in other words, die. However, once Aoto appeared, these feelings changed. While until now the stars were only in the completely opposite side of the sky to her, it seems that one has now descended before her eyes. Finnel has always pretended to be tough, but she is at her core a normal girl. She couldn't help being excited and nervous at the prospect of feeling love for the first time. This might be a little out of the topic, but the astrology at which Finnel is so good was actually taught to her by Akane when they both were children. While she has improved so much at doing it that she could open her own astrology business, that is only one of the layers of her personality, and maybe she continues doing it because she believes that this world could still have some kind of [hope]. While she is actually unsure about herself and how she should act, which can be easily noticed from her way of talking, she actually wishes to become a really happy girl. Comments for Glow 詩の力 The Power of the Songs 前作以前からプレイされている方は存知かも知れませんが、この世界は全て「音」で出来ています。正確には音ではなく「想いの力」ですが、この世界の中では音と 想いは延長線上の関係にあるものです。アルトネリコという作品は、プレイされる皆さんに「音楽の持つ力」というものを体験して欲しい、そういった想いで制作した作 品です。それ故に、世界観も、システムも、物語も全て「音楽」と直結したものとして、どこから入り込んでも、行き着く先は「音」になるように、設計して創っています。実際今 私達が住んでいる現実でも、音楽を聴くと心が動きます。心が洗われます。元気が出ます。そして涙が出ます。音楽には制作者の「想い」が乗っていて、それがリスナー に伝わるからです。それは「想いの波動」が音楽という媒質を使って、作曲者からリスナーに届いたからです。この「音楽の力」というものを私はずっと「凄い力だ」と 思ってきました。だからこそ、その「凄い力」をテーマにした作品を創りたかったのです。今回、その音の力をテーマにした作品が、いったんのグランドフィナーレを迎え ました。ですが、音の力はまだこの域に留まるものではないことは、皆さんもよくご存知のはずです。音に魅された魂を持つ者として、また更なる音の物語を、これからも築 き上げて行こうと思っております。 While this already may be common knowledge to the ones that played the previous games, in this world, you are able of doing anything through the powers of the [sound]. More accurately, it isn't sound, it's the [power of feelings], but the sounds and feelings have pretty much the same connection as an extension to an straight line in this world. In Ar tonelico, I wanted everyone who played it to experience by themselves the [power that music holds], and it was with those feelings that I created these games. Because of this, the world setting, the systems and even the story themselves are directly connected to the [music], and no matter from where you start playing, all of them were planned and made so you could end up understanding these [sounds]. And actually, even in the reality in which we live, the music also has the power of moving our hearts, moisten them, fill them with energy, and make us cry. Everyone who makes a piece of music puts her or his own [feelings] into it, and them that music conveys these feelings to its listeners. That is how the [waves of feelings] use the music as their medium, reaching from composers to listeners. I have always thought that this [power of the music] is an [incredible power], and this is why I've always wanted to make something in which said power was the main theme for it. Now, this franchise that had the power of the sounds as its main theme has reached its grand finale for the time being. However, this doesn't mean that the power of the sounds has found a limit, as you all should know very well by now. As one of the people that has a soul charmed by these sounds, I think I want to make and create many more stories focused on the sounds in the future. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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| Post #20 Jun 21 2013, 04:56 PM | aquagon |
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Here are the comments for the Cocona Vocal Mini-Album (none for the Musical proper, since it didn't have any comments in it besides a short description for the characters). Ar tonelico Hymmnos Musical Vocal Mini Album ~Cocona~ Comments for "leat ptrapica" 『詩は想いを紡ぐものである。さすれば願いは叶う』という、アルトネリコのテーマそのものをコンセプトにした歌です。 この歌は、ココナが旅立つと聞いた日からルカが頑張って作曲をし、そして作詞をした歌なのでうす。 そしてこの歌は、ルカのココナ達に対する想いがいっぱい詰まっています。 アルトネリコ2ゲーム本編で沢山の人とふれあい、本物の友達が出来たルカは、以後こうやって自分の想いから沢山の歌を紡ぐようになりました。 この歌はヒュムノスではありません。普通の、何の具体的な力も持たない歌です。 ですが、この具体的な力を持たない歌が、ヒュムノスミュージカルのラストでココナを助けたのです。私はそれこそが、歌の持つ本当の「力」であると 思っています。 This song was made from the same concept that makes up the theme itself of Ar tonelico, which is [Songs are things created from your feelings, which can even make your wishes true].In the musical, when Luca heard that Cocona would be departing on a journey, she made her best efforts in making this song, and writing its lyrics. And thus, this song is packed with the many feelings that she has for Cocona and Sasha. In the game Ar tonelico 2, Luca was able to connect with many people and make many true friends, and after these events, she became able to make many songs out from her own feelings. This song isn't an Hymmnos: actually, it's a normal song that doesn't carry any actual powers. However, this normal song ended up saving Cocona's life near the end of the Hymmnos Musical. To me, these are the true [powers] that a song can carry. Feelings Contained in "EXEC_HYMME_FRAY=FRANCESCA/." 天の名において、愚者を粛清します！ 天に与えられしこの声の波と 呼び覚まされ、地に轟くエネルギーの咆吼 その聖なる光の如き早く、清純な想いの束は 一瞬にして邪を葬り去るであろう 我は天の為に創られし命 その使命の為に全て賭ける儚き命 それ以外に何を望もうか 願いは唯一つ、悪しき念の速やかなる粛清！ 我の命は天からの借り家 その証としての臀（いしき）の紋は 清々しい迄の純粋な使命感を、我に焼き付ける その純粋な想いは、決して暗黒の世界を許さない 滅びよ！消滅せよ！ この世への存在を許されざる者共よ！ 我の命と共に与えられた聖なる光は 汝微動せぬ間に焼き尽くすであろう この星を浄化する使者として、愚者を粛清します！！ In the name of Heaven, I shall purge these fools! Awaken to the waves of the voice I was bestowed by the Heavens, to the energy of its roars resounding throughout the land. At the same speed as that holy light, the bundles of my pure feelings shall send these evil ones to oblivion in an instant. I am a life that was created for the sake of Heaven, and for the sake of that mission, I shall risk my fleeting life. Do I wish for anything aside from that? I have only one wish, and that is to quickly purge these evil thoughts! My life was borrowed from the Heavens, and the proof of that is the crest in the depths of my consciousness. I shall burn that pure, refreshing sense of duty into my own self. And these pure feelings shall never forgive the darkness of this world. Destroy! Annihilate! Every single existence deemed as unforgivable to this world! The divine light that was bestowed to me with my life shall burn you away before you have even time to tremble in fear. As the messenger that purifies this Planet, I shall purge these fools!! Comments for "EXEC_HYMME_FRAY=FRANCESCA/." このヒュムノスワードを謳うシュクレというキャラクターは、ヒュムノスミュージカルと、アルトネリコ3ドラマCD～Sideフィンネル～に登場した、ゲ ーム本編には登場しなりキャラです。 ですが、2つの作品で共通して使い、魅力的なキャラにする為に、ゲームで登場するキャラと同等の設定付けをしています。 シュクレはいわゆる「クラスタニアの環境で育った典型的レーヴァテイル像」の代表とも言える存在です。 アルトネリコ3内では、クラスタニアレーヴァテイルがどのような意識を持ち、どのように振る舞っているのかをあまり表現していませんでしたので、今 作で試みてみました。 とにかく自信を満ちあふれており、人間を本気で劣等種であると認識していることから、「自らが人間を粛清する為の天使である」という感じの凛とした 風格をイメージしています。 そしてそれと同時に、その任務の為には我が全てをもって遂行するという、一途で純粋な心も表現してみています。 Shukure, the character that sings this Hymmnos Word song, appeared both in the Hymmnos Musical and in the Ar tonelico 3 Drama CD ~Side Finnel~, but she didn't appear in the game proper. However, she has many common traits with the characters from the other media of the series, since we designed her in the same way we designed the characters in the games to make her more charming. Shukure is what we would say that represents the [image of an stereotypical Reyvateil that was raised in the Clustania environment]. Since we thought that we didn't represent well enough how the Clustanian Reyvateils behave, or what kind of thoughts they have, we decided to try attempting that for the Hymmnos Musical. Anyway, she is filled with a great quantity of self-confidence, and really considers the humans as a greatly inferior species, because of the personality she has, which is a dignified one that [considers herself to be an angel from Heaven that came to purge the humans]. And at the same time, the fact that she intends to accomplish that task all by herself is the way in which we earnestly tried to present to everyone her pure heart. Comments for "jUmbAdjA" この綴りを見ると、アルトネリコ3での「ヴィーベイスミーラ」を思い出す方が多 いと思います。 ヴィーベイスミーラは、アル・ルゥがこの世界の「死と再生」を祝う為の詩であ り、ムーシェリエルを使い抗体を生み出す力としましたが、今回の詩は抗 体達が互いに意思を疎通し、協力する為のコミュニケーション用の詩です。 この詩の詞はかなり記号的で、より原始的なイメージで制作をしていますが、そ れは抗体達がかなり原始的なコミュニケーションで繋がっている為です。 Just from giving a glance at the lyrics, you might be thinking that this Song looks very similar to Ar tonelico 3's [ViiBaCi_MjiiRa]. While ViiBaCi_MjiiRa was a Song that Ar Ru used to celebrate the [Death and Rebirth] of this world, and to use Moocheriel's power to mass produce Antibodies, this Song serves as the medium for the Antibodies to communicate with each other. In other words, it's a communication Song used for them to cooperate in a given task. The lyrics look pretty much like signals, and while we made it as a Song with a very primitive image, that is because the Antibodies themselves are connected through a very primitive communication system. Feelings Contained in "Let's Seek Happiness" 幸せが欲しかったら、猫に学ぼう 日だまりで寝ている猫に学ぼう 追いかけられても、ケンカをしても、その後すぐにぐーぐーぐー にゃーにゃーにゃー もうご機嫌 幸せが欲しかったら、小鳥に学ぼう 大空を飛び回る小鳥に学ぼう 思いっきり自由に飛んで、休んで歌うよちゅんちゅんちゅん ちゅんちゅんちゅん もうご機嫌 幸せが欲しかったら、お花に学ぼう 毎日くすくす育っている綺麗な花に学ぼう 燦々と輝くソルの日差しを受け、ただ大きくなるよすくすくすく 大きな綺麗な花を開いて もうご機嫌 幸せが欲しかったら、友達に学ぼう 毎日輝いている友達に学ぼう 一生懸命働いて、お腹が空いたらご飯をもぐもぐ 今日は一日頑張って もうご機嫌 If we ever wish to be happy, we will learn from the cats. We will learn from the cats that sleep on the sunny places. Even if they are chased, even if they fight, they will immediately snore snore snore, And meow, meow, meow in good mood again. If we ever wish to be happy, we will learn from the little birds. We will from the little birds that fly about on the sky. They freely fly with all their might, and rest, singing chirp chirp chirp Chirp, chirp, chirp in good mood again. If we ever wish to be happy, we will learn from the flowers. We will learn from the beautiful flowers that grow giggling everyday. Accepting the rays from the bright and shining Sol, they just grow giggling giggling giggling. The open into large and beautiful flowers in good mood again. If we ever wish to be happy, we will learn from our friends. We will learn from our friends, who shrine brightly everyday. We will work with all our strength, and once we get hungry, we will chew chew our meal. By working hard today too, we will be in good mood again. Comments for "Let's Seek Happiness" 今回のヒュムノスミュージカルでは、アルトネリコ2と3の中間のエピソードです が、3の舞台で2の物語を語っているような話しになりました。 その要素の1つが、この「さーしゃの歌」と、次の「ココナの伝承詩」です。これかは両方ともメタファルス土着の歌として設定したもので、メタファルスの 文化が良く現れている2つの歌なのです。 さーしゃの歌こちらの歌は、子供向けの童謡。メタファルスの子たちは、おでかけする時にこの歌はを母親と一緒に歌いながらおでかけするのです。 しかしそこにも「やんわりとした」形で、メタファルスの文化が息づいています。それは「幸せは自分で掴みに行くもの」という考え方です。 メタファルスは貧しい土地柄、自分から自身を動かさなければ今日の糧を得る事も出来ない環境でした。 子供の頃からこういった歌を通じて、働く事や自分から率先して周りの役に立つ事、能動的に動く事を学んでいたのです。 そして、大人になるに従って、更にシビアな歌を覚えていくようになります。それが、ココナが歌っている伝承詩です。 This Hymmnos Musical is an episode that occurs in the interlude between Ar tonelico 2 and 3, but ended becoming an story that talks about the history of 2 in the setting of 3. One of the components of that is this song, [Sasha's Song], and the other is the next song, [Cocona's folklore song]. These two songs were set as Metafalssian traditional songs, and as such, they embody very the culture of Metafalss. Sasha's song is a nursery rhyme intended for children. This song is sung by the children of Metafalss together with their mothers whenever they go out for a walk. However, even if this song was made in a [gentle] form, it also breathes the culture of Metafalss, which is basically the way of thought that says: [Happiness is something you have to attain with your own hands]. This is because of the poverty in Metafalss: it was the kind of environment in which you couldn't even get a meal for the day unless you moved to do something by yourself. From early childhood, and according to how this song says, by working and taking the initiative to be helpful to everyone, the children would learn to be work to be helpful to others. And so, once they reached adulthood, they would remembered of this with a much more severe song. And that song is the folklore song that Cocona sings. Feelings Contained in "To My Homeland" 大事な友人と仲違いをした。そんな時あなたは言った。 「だいじょうぶ。お前には"勇気"と"誠実さ"がある。なんとでもなるさ」 その言葉を胸に、明日を生きることが出来た。 作物が不作で食糧がなくなった。そんな時あなたは言った。 「だいじょうぶ。お前にはまだ"友人"がいる。なんとでもなるさ」 その言葉を胸に、明日を生きることが出来た。 病気で寝込んでしまった。そんな時あなたは言った。 「だいじょうぶ。お前にはまだ"家族"がいる。なんとでもなるさ」 その言葉を胸に、明日を生きることが出来た。 家も畑も、みんな焼けてしまった。そんな時あなたは言った。 「だいじょうぶ。お前にはまだ"元気"と"力"がある。なんとでもなるさ」 その言葉を胸に、明日を生きることが出来た。 世界の終焉が訪れた。そんな時あなたは言った。 「だいじょうぶ。我々にはまだ、満ちあふれる"愛"がある。なんとでもなるさ」 その言葉を胸に、明日を生きることが出来た。 私達には素晴らしい資源が眠っているのさ。 だからだいじょうぶ。なんとでもあるさ。 I broke up with a precious friend, and then you said: "It's all right. You are "courageous" and "honest", no matter what may happen." With these words in my heart, I could go on living to the next day. I couldn't produce any crops, becoming unable to have any food, and then you said: "It's all right. You still have "friends", no matter what may happen." With these words in my heart, I could go on living to the next day. I had to stay in bed due to an illness, and then you said: "It's all right. You still have a "family", no matter what may happen." With these words in my heart, I could go on living to the next day. Everyone burned off my fields and house, and then you said: "It's all right. You still have "energy" and "strength", no matter what may happen." With these words in my heart, I could go on living to the next day. The end of the world had come, and then you said: "It's all right. We still have our overflowing "love", no matter what may happen." With these words in my heart, I could go on living to the next day. These are our wonderful sleeping resources. That is why everything will be all right, no matter what may happen. Comments for To "My Homeland" この歌は、メタファルスの人々なら誰でも知っている、昔から伝わる伝承詩です。 我々からすれば、かなり悲観的な歌に見えますが、実際メタファルスの人々の中では肯定的な歌として捉えられています。 メタファルスの人々は、何か辛い事にぶち当たったり自分を奮い起こす時に、この歌を歌います。 ヒュムノスミュージカルでココナが歌った時も、やはり「怖くて震えている自分を落ち着かせる為」に歌っています。 もっともココナの場合は、クロアに教えてもらったことも、この歌を歌う理由の一つではありますが。 This song is one that everyone in Metafalss knows, and it's a folkloric song that has been handed down over there since a long time ago. If we had to comment something about it, we would say that it looks like a very pessimistic song, but actually, this song serves as medium for the people of Metafalss to affirm themselves. Whenever the people of Metafalss gets struck by any kind of disgraces, they sing this song to muster up their courage. In the Hymmnos Musical, even Cocona sings this to [calm herself down, since she is trembling in fear in that moment]. Also, in Cocona's case, this song was taught to her by Croix, so that is yet other reason for her to sing it. Feelings Contained in "EXEC_FLIP_METAMORPHOSE/." シロハネたちよ、我を纏い給へ！ 汝、我の従えし神の使い也 選ばれし民のみ持て得る力によって 我、汝と融合せしめんことを！ 御魂に宿るこの力は、我が永遠の契約の証 その力の源は、大いなる神に与えられた愛 咲けや！ 我がこの無垢の傀儡を使い そして我らを守護せよ、その想いの限界まで 龍となりて、脆き肉体は鱗に覆われ 小さき身体は場を覆わんとする程に、高く高く 地に食い込むかぎ爪は、大地と融合するかの如し 絶対的なフィールドを形成するのだ！ 護るべき契約を全うする為に、 そして愛する者への忠誠を体現する為に 一生涯という対価を以て契約するシロハネの力で この小さな世界を護らん 例え先に命の炎が燃え尽きようとも そのまま石となりて、永劫の護りとなる Oh white wings, please enshroud me! I am the envoy of the God I worship. And through the power that only the chosen ones have, I shall fuse with you! The power that dwells in my honorable soul is the proof of my eternal pact, the source of this power is the love that our great God has given us. Ah, bloom! Use me as your pure puppet, and protect us, until the bound of these feelings is reached. I shall become a dragon, and cover my frail body with scales. My small body shall become as large as this place, higher and higher, with claws large enough to pierce the earth, to fuse with the land itself, so I can completely give the form I desire to the fields! To fulfill the pact I must protect, to embody the loyalty I have to those I love, I swear to give the value of my lifetime in exchange for the power of the white wings and protect this small world. And even if the flame of my life ends burning out, I shall turn into stone, and into an eternal protector. Comments for EXEC_FLIP_METAMORPHOSE/. このヒュムノスは、アルトネリコ3でフィンネルが紡いだ詩「EXEC_FLIP_FUSIONSPHERE/.」に次ぐ、FLIP系ヒュムノスワードの2つ目です。 FLIP系ヒュムノスワードは、設定はしたもののあまりその設定をお披露目する場が無かった為、今回ヒュムノスミュージカルという場を使い表現してみま した。 この詩は、最も典型的なFLIP系詩魔法の効果を持つ詩です。それは簡単言えば変身で す。 シュクレこの詩を謳い、背中に白い天使のような羽根を12枚紡ぎ、その翼でココナを覆い護ったのです。 FLIP系ヒュムノスワードも、普通のHYMME系と同じく「謳い手の心の中の表現」である事には変わりありません。 この壮麗な天使の羽根は、シュクレの中での純粋すぎるプライドと使命感を表現したものとなっています。 This Hymmnos continues where we left off with the Song Finnel crafted during Ar tonelico 3: [EXEC_FLIP_FUSIONSPHERE/.], and it's the second FLIP-type Hymmnos Word. Given that FLIP-type Hymmnos Words have already been set in the game's world, but haven't gotten an actual debut yet, we decided to attempt showing how they are used in this Hymmnos Musical. This Song has one of the most representative effects of the FLIP-type Song Magics, which can be simply described as performing a metamorphosis. When she Shukure sang this Song, she created a total of twelve white, angel-like wings on her back, and used them to cover and protect Cocona. Despite these effects, it doesn't change at all the fact that even the FLIP-type Hymmnos Words are similar to the normal HYMME-type Songs in that they [express whatever the singer has within her heart]. These magnificent angel wings are what represent the extremely pure pride and sense of duty that Shukure has. Feelings Contained in "METHOD_HYMME_GRANZERO=SPEAR/." ある平和な村が一夜にして焼かれた。 突然襲いかかってきたそれは、"魔王"による災いだった。 フレリア神も、ジャザも、そしてラプランカですらも、その魔王を食い止めることは出来なかった。 そして少女はただ一人佇んでいた。その焼け野原に。 村に到着した騎士隊により、少女は発見された。 少女は騎士達から事の起こりを厳しい口調で何度も聞かれる。 だが少女は、その騎士達に対してただとまどいを露わにするのみであった。 そんな中、身よりもない、自分が誰だかも分からない、そんな少女を匿ってくれた、ただ一人の騎士がいた。 騎士は少女に優しく手を差し伸べ、思い出すまで共にいると言ってくれた。 少女はただそれが嬉しかった。 だが、騎士はまだ知らなかったのだ。この少女にこそ"魔王"が潜んでいるということに。 騎士と少女は、王国の大きな街で幸せに過ごしていた。 そんなある日、騎士隊は遠征に向かい、少女もそれに同行した。 だがその遠征中に、相手国の謀略にはまり、騎士隊は絶対絶命の危機に瀕する。 次々と騎士隊がやられていく中、少女と騎士は善戦していた。 だが、それも一度の間でのことであった。間もなく、騎士は敵兵の攻撃により大けがをする。 そして、その事が少女の心の中に大きな炎を灯すことになるのだ。 少女は、自らに潜む"魔王"を呼び出してしまった。それは少女自らですら知らなかった事実。 少女は魔王と化し、その圧倒的な力によって敵兵をいとも簡単になぎ払う。 絶対絶命の騎士隊は、魔王と化した少女によって、九死に一生を得たのである。 だが、少女に対する目は厳しいものであった。 それは、過去に一晩で村を焼き払った魔王そのものだったからだ。 騎士隊は少女を亡き者にすべく、少女に剣を向けた。 その時、一人だけそれに相対して剣を向けていた者がいた。それは少女を匿った騎士だった。 騎士は深い傷を負ってはいたが、少女の為に善戦した。 だが、幾人かの騎士を退けたところで取り押さえされ、鎮められてしまった。 少女は、味方であった一個小隊を全滅させてしまった。ただ一人の騎士を除いて。 少女は騎士を抱え、誰にも見つからない山奥へと隠れた。 そして、毎日騎士の為に傷の手当てをし、食量を見つけ、看護したのだ。 少女はただ願った。この騎士が、この残りの一生を幸せに過ごせることを。 そして自らは、騎士の元を去り、しかし影から騎士を護っていこと。 だが、騎士はそれを許さなかった。騎士は少女が出て行くのに気づき、決して行かせなかった。 それは騎士にとって、少女は掛け替えのない存在だったからだ。 騎士にとって、少女のいない世界に幸せなど無かったからだ。 少女は想いを改め、誓った。 この力を、ずっと、ずっと、騎士の為に。 そして騎士と少女自身の幸せの為に、使いこなし、心配し、そして成長させていこうと。 There once was a peaceful village, which was completely razed in one night. This was a disaster, a surprise attack from the "Demon Lord". Not even Goddess Frelia, not even Jaza, not even Rhaplanca could do anything to stop the Demon Lord. Thus, a little girl stood completely alone among the burned fields. She was then discovered by a knight squad that just arrived to the ruined village. The girl heard many times about the disaster that just had happened from the severe voices of the knights. However, the girl only showed bewilderment to them. And among them, since she didn't know anything, even who herself was, she was adopted by one of the knights. This knight gently extended his hand to the girl, telling her he would be at her side until she regained her memory. Just this act made the girl very happy. However, the knight still didn't know anything. That this girl had the "Demon Lord" dormant within herself. The knight and the girl thus spent many happy days together in the largest city of the kingdom. A certain day, his knight squad was ordered to be sent in an expedition, and even the girl offered to go with him. However, during that expedition, because of the schemes that the enemy country had planned, the knight squad found themselves cornered in a life-or-death situation. One by one, the knights fell defeated, but the knight and the girl still continued fighting the best they could. However, that was just temporary. Before long, they would be overwhelmed by the constant attacks from their enemies. And then, this fact ignited a large flame within the heart of the girl. The girl then called the "Demon Lord" that slept within herself. This was a fact that not even the girl herself knew. The girl transformed into the Demon Lord, and with its overwhelming power, it very easily dispatched all of the enemy soldiers. Because of this transformation, the knight squad narrowly escaped from certain death. However, the eyes that gazed at the girl know looked at her coldly, because the Demon Lord itself was what had burned that village in a single night in the past. And then, there was only one person who opposed the ones that had drawn their swords against the girl. This was the knight who had adopted her. He sustained very deep wounds, but he still fought the best he could for the girl. Still, this great number of people ended defeating him, and thus he was arrested and imprisoned. The girl them completely annihilated the platoon that once were her allies, except for the knight, and broke him out from jail. She embraced him, and hid him in the depths of the mountains, where no one could find him. And then, she treated his wounds everyday, searched for food, and nursed him back to health. The girl just wished for this: that she could spend the rest of her days in happiness with the knight. And then, she wanted to leave the knight's side, and continue protecting him from the shadows. However, the knight didn't want to allow this. Whenever the girl left him, he got worried about her, and he didn't her want to go at any cost. This was because the girl had become an irreplaceable person to him. To him, he would never be happy in a world where the girl didn't exist. So the girl sorted out her feelings, and pledged this: "I'll use this power always, always, for the knight's sake." And, so both the knight and the girl herself could be happy, it's said that they never used each other, but they cared for each other, and thus, they matured together. Comments for "METHOD_HYMME_GRANZERO=SPEAR/." 今回のヒュムノスミュージカルの目玉とも言える曲でしょう。 ココナがクロアにダイブしてもらって紡いだ、現在ココナが持つ唯一の詩魔法です。 そして、ココナのクロアへの想いがとても強く感じられる詩でもあります。それは、"正の感情と負の感情両方の"です。 ココナはクロアの家に養子として入れってからも、ココナはクロアに迷感を掛けているのではないかと、ずっと気にしていました。 その想いはサテライトガールとなりクロアの役に立つという形で昇華されたわけですが、それでもやはり潜在的には残ります。 その後のI.P.D.の発症もあり、ココナの中でクロアは、2度も自分を助けてくれた、かけがえのない存在となっていきます。 この曲の「詩の想い」には、そんなココナのクロアに対する感謝と、自らの決意が見え隠れしています。 The Song that is also called the centerpiece of this Hymmnos Musical. This was crafted by Cocona when she allowed Croix to Dive into her, and so far, it's the only Song Magic that she has. And this is also the Song in which the feelings that Cocona has for him are felt the strongest. These are "both her negative and positive emotions". While Cocona was brought to Croix's house as an adopted child, she was always worried about if she was causing trouble for him. We could say that these feelings were sublimated in the way of her taking the Satellite Girl position for Croix, but still a great part of them remained latent in her mind. And even after that, from when she had her IPD Outbreak, and when Croix had to go into her mind, since she was saved by him twice already, Croix has become an irreplaceable person to her. In the [Feelings Contained in this Song], you should be able to see the gratitude that Cocona has for Croix, and how her determination appears and disappears. Comments for "yart yor, en" エンディング曲のテーマは、ヒュムノスミュージカルの物語のテーマである「境遇の違う人との分かち合い」です。 ココナとシュクレは、正反対の境遇で育ってきた二人です。価値観も全く違います。 そんな二人ども、協力し、一つの偉業を成し遂げる事で、お互いを讃え、お互いを認め合う事が出来ました。 この歌には、誰もが真剣に相手と向き合えば、分かち合えない事など無い、という想いを込めてめいます。 このヒュムノスミュージカルと楽曲たちが、もし皆さんのこれからの人生の中で「あと少しの勇気」を一押しする事が出来るのなら、これほど嬉しい事は ありません。 願わくば、このCDが少しでも皆さんの元気の源とならんこと...。 最後までご清聴いただき、ありがとうございました。 The theme of this ending song is pretty much the same as the theme the Hymmnos Musical's story has: [how people from diferent environments can understand each other]. Cocona and Shukure are two people that were raised in completely different environments, and as such, their values are totally different from each other. Despite this, they both managed by cooperating to fulfill a common enterprise, they became able to praise each other, and recognize each other as a worthy person. The feelings that this song has are the following: that if everyone earnestly tries to do so, it's impossible that they won't manage to understand each other. If this Hymmnos Musical and its Songs managed to give you all [a little of courage] for your daily lives, and improves them somehow, you have no idea of how happy that will make me. I pray that this CD will become a source of energy for you all, no matter how lightly it does... Thank you very much for your kind attention up to the very end. |
Hymmnos Researcher
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[hymmnos]Was ki ga rete omnis zash en crudea...[/hymmnos] [arciela]onaarr tyys ceefbb.[/arciela] Ochis meya, baprou, zaebaralia sos... chia zosph pheile simalea... WEL OLRY SIO, LE FEL HORY NEO FEL ORY, ARY SE WEL. LEE WEL NEL FORY, ARIA SIE ESTIA WEL SE FEL ESTY. | |
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