[Bocchi the Rock! ] Music theory that can be learned with "What's wrong" [Piano arrangement]
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- Опубліковано 18 жов 2024
- TV anime "Bocchi the rock!" ED3 "What's wrong" (TV size) is played at a slightly slower tempo on the piano, while explaining the chord progression, scale, modulation method, song development, etc.
★The original artist
• TVアニメ「ぼっち・ざ・ろっく！」エンディン...
What's wrong?
Song: Band of Unity
Words & music: Yuho Kitazawa
Arranged by Ritsuro Mitsui
●About Pop Punk Progression
• 【定番コード進行】ポップパンク進行の発展パタ...
●Two Five One and Canon Progression
• 【定番コード進行】カノン進行の派生型使用楽曲...
#bocchi_the_rock! #chord_progression #What_is_wrong_with #piano
![[Lycorice Recoil] Music Theory You Can Learn with "Hana no Tou" [Piano Arrangement]](http://i.ytimg.com/vi/SsNvUTaQ1Bk/mqdefault.jpg)
![[Lycorice Recoil] Music Theory You Can Learn with "Hana no Tou" [Piano Arrangement]](/img/tr.png)
音楽を勉強始めたばかりなので、ちゃんと出来たかどうかはわからないんですが、翻訳してみました。
Someone asked for a translation in the comments, so I made one:
Disclaimer: I'm a beginner in music theory, and haven't really studied it in JP, so I wont be sure about some technical terms.
I'll mark the points of doubt with (?). If you know music theory perhaps you can help me fix it:
The song's key is C Major.
I: tonic (C), V: dominant (G), 4: sub-dominant (F)
The intro is a bright progression that starts with I (C),
but with Fm's introduction it brings about sobe bittersweetness.
Making the IV chord of a major scale a minor is called "sub-dominant minor"
In melody A, the Mixolydian mode is used, which brings the 7th tone of the C-major scale (B) down a semi-tone.
Matching the mode shift, the Gm chord is borrowed (?).
C Mixolydian (Do Re Mi Fa So La Si-flat Do)
This Mixolydian scale is a bit more blues-zy than the usual major scale.
The first part of melody B (VIm IV I V) is a western musical progression.
It's one of the pop/punk progressions.
The second part uses sounds outside the C-major scale with the chords D, B-flat and A.
With A comes a strong progression(? (something 4 complete degrees(tones?) up, or 5 down) to the start of the chorus (D),
and it smoothly creates a hype key change(?).
Key change to D major!
Two-five-one (IIm7 -> V7, I) progression.
With the key-change in the chorus, the song is hyping up.
the Am7 -> D7 -> G part is an application of Two-Five-One.
(I don't understand why its 2-5-1 instead of 5-1-4, if the scale is D. Isnt 1 the root note of the scale?
Or perhaps it is an 'applicaiton' of 2-5-1 in the meaning that in G-scale this would be 2-5-1 and this is a common progression in music?)
- Am7 as a pseudo-IIm7 chord (I guess the `pseudo` here answers my question above)
- IIm7`s (4 complete tones up?) dominant seventh -> D7
- Dominant seventh's (4 complete tones up?) progression -> G
A is the dominant to the D that is coming back up.
Again we have the strong progression(? something 4 complete tones up, or 5 down)
We repeat the main phrase again.
There are many Chords with notes outside the D-major scale.
It's a progression that leaves a strong impression.
Classical progression (4536)
*(the term used here is "king road's progression", "king road" is a way to call something "a classic".
So not necessarily talking about classical music here, could just be something common).
Classical progression (IV -> V -> IIIm -> VIm)
Here we have a variant of the classical progression that includes dim chords.
GM7 is preparation for key change.
The Fa-sharp(F#) sound included in GM7 is used to progress to the coming F-chords from a semi-tone up,
smoothly bringing about the key change to C Major.
We are back in C Major scale.
Some progression as the intro.
A bright progression bringing us to the end of the song.
With the added 9 the song ends with a refreshing feeling.
虹夏ちゃんの好きなジャンルがメロコアとかジャパニーズパンクなはずだから
その要素が含まれながらも高校生が思いつかないような転調してくるの好きなんだよな
B♭→A→Dという転調の流れが見事です。
様々な要素を取り入れつつ、テクい転調も入れてくる作曲担当の山田(メタ的には北澤ゆうほと三井律郎)の凄さ…
ぼざろロス、ペギーズロス、北澤ゆうほ、泣ける
高校でこの作曲できるの強すぎるな()
作った人高校生なんですか！？
@@snoopy_1202ぼっちざろっく見たことある？
@@snoopy_1202 一応アニメの設定の話で、メタ的に言うとプロの大人の方々です……
この曲に限らず、結束バンドの曲はカッコいいしレベル高いですよね。
世界4位になるのも頷けます。
C→Gm→F→Fmの進行は昔イエモンの「バラ色の日々」のコードを覚えてる時に初めて遭遇して、独特な響きがものすごく好きだったのを思い出して懐かしくなりました。
関係ないコメントで申し訳ありませんがとても勉強になりました。
ありがとうございました。
ドミナントとサブドミナントのマイナーコードが挟まるとハッとさせるような響きがして曲に彩りが出ますね！
っぱゆうほよ
北さん
すごい参考になります！いつも動画投稿ありがとうございます！
面白いですぼざろ理論解説シリーズ科して欲しいですね
ありがとうございます！
要望が多い曲があったらやるかもしれません。
the peggiesのギタボの人すきだからありがたい！
わかりやすい
Does anyone has subtitles? 😅
Disclaimer: I'm a beginner in music theory, and haven't really studied it in JP, so I wont be sure about some technical terms.
I'll mark the points of doubt with (?). If you know music theory perhaps you can help me fix it:
The song's key is C Major.
I: tonic (C), V: dominant (G), 4: sub-dominant (F)
The intro is a bright progression that starts with I (C),
but with Fm's introduction it brings about sobe bittersweetness.
Making the IV chord of a major scale a minor is called "sub-dominant minor"
In melody A, the Mixolydian mode is used, which brings the 7th tone of the C-major scale (B) down a semi-tone.
Matching the mode shift, the Gm chord is borrowed (?).
C Mixolydian (Do Re Mi Fa So La Si-flat Do)
This Mixolydian scale is a bit more blues-zy than the usual major scale.
The first part of melody B (VIm IV I V) is a western musical progression.
It's one of the pop/punk progressions.
The second part uses sounds outside the C-major scale with the chords D, B-flat and A.
With A comes a strong progression(? (something 4 complete degrees(tones?) up, or 5 down) to the start of the chorus (D),
and it smoothly creates a hype key change(?).
Key change to D major!
Two-five-one (IIm7 -> V7, I) progression.
With the key-change in the chorus, the song is hyping up.
the Am7 -> D7 -> G part is an application of Two-Five-One.
(I don't understand why its 2-5-1 instead of 5-1-4, if the scale is D. Isnt 1 the root note of the scale?
Or perhaps it is an 'applicaiton' of 2-5-1 in the meaning that in G-scale this would be 2-5-1 and this is a commong progression in music?)
- Am7 as a pseudo-IIm7 chord (I guess the `pseudo` here answers my question above)
- IIm7`s (4 complete tones up?) dominant seventh -> D7
- Dominant seventh's (4 complete tones up?) progression -> G
A is the dominant to the D that is coming back up.
Again we have the strong progression(? something 4 complete tones up, or 5 down)
We repeat the main phrase again.
There are many Chords with notes outside the D-major scale.
It's a progression that leaves a strong impression.
Classical progression (4536)
*(the term used here is "king road's progression", "king road" is a way to call something "a classic".
So not necessarily talking about classical music here, could just be something common).
Classical progression (IV -> V -> IIIm -> VIm)
Here we have a variant of the classical progression that includes dim chords.
GM7 is preparation for key change.
The Fa-sharp(F#) sound included in GM7 is used to progress to the coming F-chords from a semi-tone up,
smoothly bringing about the key change to C Major.
We are back in C Major scale.
Some progression as the intro.
A bright progression bringing us to the end of the song.
With the added 9 the song ends with a refreshing feeling.