Animation and music are inseparable, and animation works can gain the support of the world, and it is also inseparable from the power of music. Today, Japanese animated songs are just as widely lauded as J-POP, and the quality of the soundtrack is no less than that of a real person. How did the current animated music come into being?
“Keyboard Magazine” Autumn 2019 produced the special topic “Relationship between Animation and Music”. Please visit many people related to animation music and animation songs, listen to the testimonies of the parties, trace the tracks of the masters, analyze the scores of famous songs, and answer the animation The process and technique of forming this relationship with music
Fujisawa Keiyoshi has not received formal music education. He has mastered techniques such as orchestration through self-study and started his musical activities as a composer of popular songs. In 2013, he became famous with the soundtrack of the animation “LoveLive!”, And then successively created many famous songs in animations such as “Gemland” and “No Game, No Life: Zero”, which has become an indispensable part of the animation industry today. Soundtrack writer
Anitama I shared an interview with Fujisawa Kyungchang in the beginning and the end of last year. Although the contents of the two interviews overlap, one is an animation media and the other is a music magazine. The focus is also different. Read
After graduating from university, I thought that if I joined an animation company, I might be able to do music work, so I entered Bones and became a production. However, after entering the company, he found that he was not suitable for managing people and was more suitable for doing things by himself, so he resigned soon. After that, while writing musicals for the troupe, he submitted resumes to various writers’ offices, and eventually entered the famous SUPA LOVE in the pop music industry
In the TV anime “Fancy Dance Step Festival” episode 9 “Heartbeat! In the end caption of “Big Baths in Swimsuits”, we can see the name of Fujisawa Keichang
Fujisawa has been studying the double-row electronic piano since he was 4 years old until high school. After entering high school, he began to record his own music with a cassette recorder, guitar, and double-row electronic piano. But at the time, instead of wanting to compose, he thought that the recording itself was fun, and composing was just an entertainment. After entering college, he was also addicted to the play team, and did not have his own experience in writing music from scratch, nor did he write songs. Therefore, he feels that he may be more suitable for arranger. When submitting his resume to the writer’s office, he also reported arranger. But after entering the school, I got the job of composing
Fujisawa who became a composer, the first job to earn money from his own music, was to write a song “軽 い %%” @@ ノ イ ロ ー ゼ ”(mild neurasthenia, included in the band’s debut single released in 2006). But he also composed music before that, but it has not been published, probably because his level is not enough. And even after the publication of “軽 い ノ イ ロ ー ゼ “, he has not been for a while Received composing work. Until now, he has rarely adopted songs composed by himself, but mainly arrangers
Fujisawa participated in the bidding for composition work, while making money by copy writing accompaniment. At that time, there was a TV show where members of the Hello! Project covered old songs, and the accompaniment was collectively copied by the young people of SUPA LOVE. The show’s producers were very strict, and repeatedly called back for them to rewrite. Fujisawa started his musical career with this kind of practice-like work
The first time I participated in the soundtrack was the 2010 movie “Siro Ultraman THE MOVIE Super Battle!” Belial Galactic Empire. At that time, the studio of Kenji Kawai, a composer, was unable to operate normally, and he asked for someone to arrange for himself. Another arranger, the original male, has already participated in the Ultraman series, so it has been settled. Fujisawa participated in the bidding and was fortunate to become the second arranger of the soundtrack
To this day, Fujisawa can also say: He did not write orchestral music at that time, but he wrote string music for popular songs. He was named with a brazen mentality, thinking that he could deal with string music. Come on. In fact, he found out how difficult the job was. Kawai wrote the musical motive and simple arranger, and he began to arrange while communicating with the producers of Maruya. The producer always seemed to think that he had the experience of writing orchestral music, and it wasn’t until the final mix-up that he asked him, “Mr. Fujisawa, haven’t you actually written?”
Because the original man had a soundtrack experience, Fujisawa consulted the original again, read the orchestral book and listened to classical music to think about the differences between different instruments. In brass instruments, trumpet and trombone are also used in popular songs. He is more familiar, but what is the French Horn? He didn’t know. He listened carefully, feeling that the horn sound was low and dull, and he tried to use it like this
But the biggest headache for Fujisawa is woodwind. Until now, he felt that woodwind was difficult to use. He didn’t know how to use the big tube and clarinet to have the effect, he had to explore it all the time. If you use two oboes, it will be different
Because the schedule was very tight at the time, he didn’t have time to think about these issues, so he completed the work stubbornly. However, without this experience, he would probably not do the soundtrack now. Therefore, the theatrical version of “Siro Ultraman” is an opportunity in his life. On the one hand, he is glad that he can participate in this work, while leaving bitter memories, and his mood is very complicated. However, he still remembers that when he went to the audition himself, some of the music and pictures were very coordinated, beyond his imagination, and made him feel “ah, the soundtrack is really interesting.” Just because it was too hard, he did not want to Do it a second time
This second time I didn’t want to do it anymore, came faster than he thought. In the second year, he collaborated with former studio Kenichi Yamada and Itagaki Yusuke to play music for the TV anime “Radio Girls and Young Men” as a soundtrack composer
Fujisawa recalled that “Radio Girls and Young Men” was supervised to find Maeda Yamada, but because of the tight schedule, one could not cope and decided to write by three composers of different types. Because Fujisawa had an experience, all the songs like “Soundtrack” were stuffed to him, and he was responsible for the music in the orchestral department
And after experiencing the theatrical version of “Siro Ultraman”, Fujisawa also deliberately studied the charm of musical instruments that have never been encountered in popular songs and learned orchestral music. It’s just that the style of “Radio Girls and Young Men” is more popular, so instead of using French horns, he used double trumpet, trombone, and saxophone, which is a popular music compilation. What you learned earlier didn’t help much. Moreover, this is the first time that he composes on the music demand table and is very confused
The movie version of “Siro Ultraman” is a movie, so the script will instruct “From here to match this piece of music”, Fujisawa will also see the screen, create music for the action in front of you, the answer is In front of him, he reads and writes. But if you write music according to the music needs table, you must imagine the plot and compose yourself. Until now, Fujisawa felt that it was more difficult to compose the demand table, and he had to keep thinking about how to start the music and how to end it
After “Radio Girls and Young Men” ended, Fujisawa Keiyoshi did not participate in the soundtrack work for two years and entered the “first dark age”
He didn’t have a clear vision for his music career, but just like music, he entered the music industry indifferently. After finishing “Radio Girls and Young Men”, he finally understood that the music he wanted to make was a soundtrack
Although Fujisawa participated in many songs, he always felt that he was not so suitable for the song, and his wife told him plainly, “You are not suitable for this business.” He also understood that compared to J-POP by elite composers, the music he wrote was obviously not a level. He discussed with his firm SUPA LOVE at the time and stated that he wanted to write a soundtrack, but the work of Coke would not come so easily. Fujisawa thought that if this was the case, it would be better to work in a more stretched way, so he left SUPA LOVE and moved to Five Eighth
Because Fujisawa wrote a song for Lantis at that time, Five Eighth’s agent listened to his intention, and took his past music to Lantis to sell. Coincidentally, Lantis was doing the animation of “LoveLive!”. This work was originally intended to invite a senior composer, but because Jingji Shangyan is the first time to supervise, the voice actors are relatively young as a whole, and they hope that the soundtrack can also be fresh. After much consideration, they finally selected Fujisawa
Before he was in charge of the soundtrack, Fujisawa had received several bids for “LoveLive!”, So he thought that the music would follow the idol route. However, when meeting with the animation production team for the first time, the other party told him explicitly: “This is a sportsman’s animation.” Four characters: “movie music”. When Fujisawa saw it, the cold hair was straight. In addition, he was responsible for the soundtrack of a single work for the first time, which also made him feel anxious, and fell into the same state of mind as in “Siro Altman” and felt bad. He thought to himself that he had accumulated more experience than before and could always cope with the past; but at the same time, he felt that he might not be able to cope
How do I combine the keywords “movie music” and “sportsmanship”? Fujisawa thought of the 80s TV series “Campus ☆ War” and its movie version of “Campus War HERO”. In the second phase of the animation, he heard Nagasaki Otoki muttering: The title of “Tokyo Story” feels very snowy and very good. When he saw The Story of Tokyo himself, he suddenly realized. He and Nagasaki share a common understanding of “dawn Japanese film music”, and he feels that if they can fully digest these old music and then make a modern feel, they may be able to do very beautiful. In addition, Fujisawa also explained that the “sportsmanship” impression comes from “easy to understand.” Because if the quotation is too difficult to understand, then the speed of audience understanding will slow down
In the soundtrack of “LoveLive!”, The song “Huayang の 意” is very popular with the audience. This song was written without much effort. Supervisor Jingji explained the music to him with extra energy; and the word “sunset” in the description did not know why he thought of “The Beauty in a Chaotic Time”. In addition, he also felt that this song should be written a little bigger, and in the end it became the music we heard
Almost at the same time as “LoveLive!”, Fujisawa also composed a soundtrack for Morimi Tomihiko’s animated film “The Family with the Sky”. The flavor of this work is very different from the former. Supervisor Yoshihara Masaru and sound supervisor Akita Kazuhito said to Fujisawa, “Although the stage of the work is in Kyoto, I hope you avoid using traditional Japanese instruments such as shamisen and shakuhachi.” Among the music for him, there is also an Electrician-style music. When Fujisawa first heard it, she was very surprised; but if you think about it, although there is an atmosphere of “Kyoto Faner” over Arashiyama, Shijowa Station is a normal city. He understands what to do, and the other person’s need is to say that if the music also makes that mix and match feeling, it may be very interesting
After the meeting, Fujisawa quickly came to mind “East House” (ち ん ど ん 屋). “East House” is a street propaganda industry in Japan. People wear colorful kimonos, blowing saxophones, and walking slowly on modern shopping streets. This feeling of discord and foreignness made him feel very awkward. He recalled the awkwardness in his heart, and wrote the theme song of “The Family of Youding”
The music of “You Ding Tian Clan” does not use traditional instruments, but it also has Japanese flavor. Fujisawa said that, for example, the song “Sakura” may be very gloomy to some people. He hopes that he beautifully adds the strangeness of Japanese nursery rhymes to the music of this work. In terms of timbre, he intentionally used sounds that he would not normally use. This work will be accompanied by an English title called “The Eccentric Family” in the future. Fujisawa feels that the translation is correct. In the work, there is a story of Tanuki Yajiro turning into a pseudo-Ruishan tram, so he also pays attention to writing “unrealistic reality.” He wanted to mix beautifully organic and inorganic feelings
Interviewer Tomoko Inte said that the music of “The Skyline Family” reminds her of “Star Cowboy”. Fujisawa was very pleased to hear that, saying that the work changed his life. In high school, he turned on the TV at night, and “Tank!” Sounded at that moment. This piece of music is so handsome that it made him very curious about listening to metal music at the time. The double-layered keyboard that he plays is very suitable for jazz and Fusion, and his father likes that type of music, so he occasionally listens to it himself, but “Tank!” Gives him the ability to dig deeper Music-like thoughts. Therefore, from time to time, his own works will reveal the influence of “Star Cowboy”