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Interesting Japanese blog applying some music theory to BABYMETAL

2018.02.05 07:39 unmei1954 Interesting Japanese blog applying some music theory to BABYMETAL

This thread is re-post of previous thread which was deleted.
There was a comment "This blogger is a racist who openly admits he hates Koreans and spread hatespeech when BM played Seoul. I suggest ignoring him. THE ONE is not a place for racist."
I was surprised and searched his article and asked him directly. I could not find any trace of racism. I think this community and THE ONE have nothing to do with racism or closed mind. I don't like to label people racist or something like that. I think we must ask the opinion open mindedly even if one seemed to be racist. It is not too late to refuse after that. So I decided to re-post it. And added some of his article related.
His article regarding to Metallica Seoul live (in Japanese)
Article Metallica Seoul live (1)
  • He flew to the concert and rushed to be in time.
  • But late to go into the venue because of messy handling of management.
  • Venue was not filled and already started BMD when he could get in.
  • He felt Korean audience were not so excited because they don't know about BM
Article Metallica Seoul live (2) Japanese
Review of Metallica live. - Korean audience were excited to the performance.
  • His question was why did they excited to Metallica and not to BM?
Article Metallica Seoul live review (1) Japanese
Review from a critical viewpoint.
To the auther himself
  • He was late so he could not communicate with otter Kitsunes in the cue line.
  • Couldn't manage to go to Myeongdong he could communicate with Korean Kitsunes if he could go.
To BM side.
  • Second song CMIYC was not good because the C&R " I wanna see big circle" to first time audience doesn't work. Better to say "Hello Seoul" with GC and "We had been respected our Metal Master METALLICA since our low teen age. Today, we really appreciate to them having us as an opening act!"
  • In Megitsune Su- said "Here Comes the Fox God" and audience were like "What is Fox God"
Article Metallica Seoul live review (2) Japanese
Criticized Amuse management
  • Almost all merch was sold out when he arrived at the venue.
  • Word selection of C&R are responsible to KOBAMETAL
  • The One fan club are poor in service conpare to "5th member of METALLICA"
His article about History of BABYMETAL written in English.
History of BABYMETAL (1)
History of BABYMETAL (2)
History of BABYMETAL (3)
Article contained in previous thread
and the translation.
♰ YOU ARE THE ONE. WE NEVER FORGET MIKIO FUJIOKA ♰
★ Babymetal of the day
Today February 3rd is the day announced to appear in Metrock Tokyo in 2015, and announced they will appear in DOWNLOAD FESTIVAL in Paris 2016 DEATH.
Before Japanese pops became J-POP the representative song of the New Music era song "Sotsugyou Shasin(Graduation Photograph)" (Yumi Arai) representative by "♪Hitogomi ni nagasarete(flown in clowded people)" and "Oribia wo kikinagara(listening to Olivia)" (Anri) by "♪Deatta hi wa kon'na hi ga(The day we met is like this)" and "Itoshi no Erie(Erie my love)" (Southern All Stars) by "♪Waratte motto beibii suteki ni in your sight (laugh lovely BABY and more In your sight", The chord progression Ⅳ → Ⅴ → Ⅲm → Ⅵm that was frequently used in those days", is also used in BABYMETAL.
Iine! (BABYMETAL, Key=C#m)
"♪ (A)Hitori kiri de" (B)Miageta (G # m)senchi (C # m)mentaru night"
That's it.
By this, from the PARA PARA-like intro, a metal progression of "♪ (C # m) tick-tuck shicau (A)kimochi to(B)maranaiyo" followed by YUI, MOA Negotiations to death metal Growl "Omae no mono wa oreno mono" is wiped out by the following new-music style girl's wavering feelings is expressed. "♪Hitori kiri de sora miageta sentimentaru naito(Sentimental Night Looking Up in the Sky alone)" and "Sotsugyou Syasin(Graduation Photograph)"'s "♪Hitogomi ni nagasarete(flown in clowded people)" or "Oribia wo kikinagara(listening to Olivia)"'s "♪Deatta hi wa kon'na hi ga(The day we met is like this)" is similar nuance isn't it?
However, "Iine!" change keys from there using minor chord rise progress.
"♪Yuko(F # m)u zu(G # m)kyun to (Am7)genjitsu touhi(B)kou"
Since human beings are born to equipped with "universal music grammar" the progress of such a rise is literally steadily up lifting. In the case of this song at Am7, a nuance of break through something is added. As the lyrics shows the feeling like I go through the clouds and jumped into the night sky that the moon illuminates brightly. and there comes the SE of "KINKIRARIIIN(sparkling bright)".
Then, the next change key to G (G major) to become
"♪(G)iine! iine! (D)Yozora de party night! (Em) iine! iine!(Bm)Kagayaite ikou (C) Torima (G) Moschu shu (D)Sukoshi zutsu nante muri"
In Roman numeral notation, Key = G,Ⅰ→Ⅴ→Ⅵm→Ⅲm→Ⅳ→Ⅰ→Ⅴ.
Did you noticed?
Though the last IV has been omitted, but this is a "canon" progression.
To the chorus of "Iine!", surprisingly contains the chord progression of "♪Shinpai nai kara ne, Kimino yuuki ga, Dareka ni todoku, ashita wa kitto aru (You don't have to worry, your courage will reach to someone, surely tomorrow will be)" from "Saigo ni Ai wa Katsu(love will win at last)" or "♪Makenaide Mou sukoshi saigo made hashiri nukete (Do not be defeated run through till the end" from "Makenaide (Do not be defeated)".
If "Doki-doki☆Morning" had sub-liminal message of the 70's folk, "Iine!" Includes 80s to early 1990s two patterns of New-music to J-POP"Graduation Photography" progression and "canon" progression are also charged in.
And, as you all know, rap part of "Yo! Yo! Atama yurase, megane hazuse, gyu-gyu-pan-pan tsmesugi ryukku wa sugusama orose" follows to SU-"Put your KITSUNE Up!" YUI, MOA "Kitsune-Da-O", and comes Growl "Meroikku janai kitsunesaaan" and it becomes a nursery rhyme "Koganemushi" Death Metal Ver.
When SU shouts "Gyaaaa" at the extreme of confusion, it returns to the first parapara-like intro.
Good grief.
Fragments of all kinds of music genre are packed in "Iine!"
"Ijime, Dame, Zettai" was not up on the net until the major debut, so "Iine" wasfirst MV after "Doki Doki☆Morning".
The reaction of American YouTuber who saw this MV is interesting.
At the part of PARA PARA he says "Ah This is K-POP", But when you come to "♪Hitorikiri de sora miageta ~ Genjitu touhikou"part or "♪Iine! Iine!"part, "Ah it's J-POP ",he admits.
But after that hip-hop tone "Yo! Yo!" Cried out as "Yeah!" And getting his groove on!, and when the death metal part from Growl to " Koganemushi", he repeatedly tore down and shrugged his shoulders like American. without words.
When It returned to Parapara he says "And we're back" and at the end it ends with a surprise "Is this one song?" "It's like a roller coaster."
The point is that the image of J-POP for Westerners is the image of "graduation photograph" IV → Ⅴ → Ⅲm → Ⅵm proceeding and "Canon" Ⅰ → Ⅴ → Ⅵ m → Ⅲ m → Ⅳ → Ⅰ → IV → Ⅴ.
Because there is this part, even if parts of para para, death metal and rap are mixed, it is received as "Fusion of J-POP and Metal".
Conversely, by fusion with metal, it can be said that BABYMETAL highlighted the essence of J-POP.
However, in fact, the origin of this chord progression is nothing else but America.
As I mentioned "Blowing in the wind" (Key = D) Bob Dylan 1963 "♪ (D) How many (G) roads must (A) a man walk (D) down (D) Before you (G) call him (D) a man" following chorus is like this. "♪ The (G) answer my (A) friend is (D) blowin' in the (B#m) wind The (G) answer is (A) blowin' in the (D) wind"
In Roman numerals, it becomes IV → Ⅴ → Ⅰ → Ⅵm → Ⅳ → Ⅴ → Ⅰ.
Instead of a simple 3 chord, it is close to the parallel minor chord familiar to the Japanese, "graduation photograph" progression by entering VIm (B#m).
Joan Baez's representative song of the same 60s civil rights movement fork, "We Shall Overcome" (1963, Key = G). "♪(G)We Shall(C) over(G)come (G)We Shall(C) over(G)come, (G)We Shall over(Em)come (Am) some(D)day. Oh deep(D) in my(G) heart (C) I (D) do (Em) believe, (G) we shall (C) over (G) come (D) some (G)day"
After Ⅰ → Ⅳ → Ⅰtwice, from chord Ⅰ → Ⅳ go into V after entering the parallel minor VIm. "♪ I do believe" part also substitutes VIm, not simple Ⅰ. This combined with the lyrics creates a heart moving melodic line.
Japanese young people absorped in the rustic "Ups and downs' of these 60's American folk after the Group Sounds boom.
In fact, the origin of the "graduation photograph" progress, the "canon" progression, and the "Sensou wo shiranai kodomo tachi(Post War Children)" progression, which seems to be unique to J - POP, lies in the American folk.
In the United States in the 1960's, parallel chord progression and easy-to-understand melody line which makes you feel ups and downs, countering modalizing 3 singing chords of blues and rock'n' roll and jazz, playing a single acoustic guitar genre named "Folk" appeared, and it seems that the simple freshness was loved by young people.
But then, in the US of the home, blues rock, hard rock, metal, alternative, hip hop, fusion, AOR, new metal, EDM became prosperous, the fork disappeared with the times. There were acoustic revival boom, such as unplugged, several times, but it was sophisticated as jazz and fashionable, and it was quite different from fork with simple chord progression & melody.
And American Fork's "gene" left the head family and was inherited to Japanese fork ~ New Music ~ J-POP.
J-POP kept the progress of "canon" progression, "graduation photograph" progression, "Post War Children" progression and It became a Japanese art just listening to that chord progression by Westerners to think "Oh, this is J-POP."
And, in 2014, our BABYMETAL resubmitted it to the Western markets.
By introducing J-POP chord progression into the methodology of New Metal, Mixture, we revived the charm of "ups and down presence" of parallel minor chord progression which the head family had forgotten. So, not only the novelty that Kawaii girls sing and dance metal, but the way middle aged people and Westerners feel that BABYMETAL feels nostalgic is quite right in light of "universal music grammar".
submitted by unmei1954 to BABYMETAL [link] [comments]


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