the50person

:thumbup: Thanks for the hard work! :D

No problem!

As of now, we will not receive any notifs if someone quotes or tags us or whatnot, this forum is still new, so I think the admins will still refine some features. Right now you've got to literally check the threads.

You're too kind! It's shameless of me to propose it, but what if someone subs it into a vid?

I laughed so hard at the ending omg

Thank @PomeloPooh for setting me off! xD And also thank you for liking my post. And also good analysis for RJ1 and chopin ballade! Especially Ballade because it shows the genius of Jeff and Yuzu, there's basically no 'narrative' for that kind of music, no drama, and everything is open for their interpretation, and well they did an amazing job of it! Like srsly, trust Jeff and Yuzu to exhaust EVERY. SINGLE. NOTE. Yuzu ain't a 'I-will-match-every-damn-note'-ist for nothing. (idk what to call it in English but in Chinese it's 合乐狂魔)

Nope, I only wrote today, the first post before dinner and the second one after dinner. It'll be interesting to do that for the others. Maybe when time permits.

I don't know if this is the right place for feedback, but it seems like we can't click on the " marks of someone's quoted post and be directed straight to it like last time on GS. Also, we aren't notified if we are quoted, though that might be due to this board working differently from GS. But thank you so much for maintaining this forum! :yay:

I totally agree. I also feel very protective of Yuzu, but he can handle a little bit of mud throwing and criticism. And he understands what media tries to do and doesnt let that affect his relationship with anyone in skating community i.e Shoma. In the same note, What a matured man our Yuzuru is! I never fail to feel amazed at his maturity! He is very steady and able to keep his calm/cool regardless of what the media and politics throw to him. Then again, circumstances gave birth to his current abilities, and an originally great person was further ground and polished to become the most precious stone of the pile.

Thank @PomeloPooh for setting me off! xD And also thank you for liking my post.

Thank you for thinking so highly of my posts. >< I really think it's not of very high quality hahahahah I know nothing about music analysis. (Heck, I don't know and can't tell the difference between genres of music) It's just a fan spazzing and somehow the whole thing went like an uncontrolled freight train and gave birth to this monster. :rotfl:

Do you have a blog somewhere? I would love to read it :love: But yeah, the structure of H&L is outside the norm for figure skating. It's like you're listening to all these pop songs and then all of a sudden, bam, a classical composer. Well, I'm the50-person on tumblr, I actually posted the first analysis post here (http://the50-person.tumblr.com/post/160 ... i-was-just), but I have yet to make the second one more tumblr-presentable. :grin: The thing about tumblr is that I can't (or at least, am too much of a tech idiot) change the font colours to highlight the RISE, PLATEAU and FALL, so I'll prolly bold it and put it up tomorrow.

Wow your analysis is so detailed :love: I haven't watched the whole video along with the musical cues you've pointed out, but this will be great food for thought when I have some free time later. Thanks so much for your effort! :clap: You're welcome! I hope I didn't spazz too much LOL I lost control towards the end HAHAHAH

Thank you! :grin: Agree with your first paragraph. Nah, your musical knowledge will be better than mine, I didn't even learn music theory so I'm sure that somewhere someone is rolling their eyes at me butchering the program with my own version of 'music analysis' :chicken:

Good question... ---------- Romeo and Juliet 1.0 ( ): 1) Dramatic and impactful intro that culminates in the first intro and only quad in the program. He successfully grabs the attention of the audience. 2) 1:17 Music calms down for him to enter the spin, but still containing enough dramatic singing for him to utilise with his hands and highlight his spins. 3) 1:32 Calm. He (or the choreographer) deliberately places a jump here to highlight contrast between the loudness (I don't mean that in the sound sense) of the jump and the silence of the music. Step sequence. The music gradually builds up through the step sequence. 4) 2:30 Music continues to build up and then Yuzu does his famous RJ1.0 fall. 2:51 Music remains softer than the intro but contains suspense, and this fits in very well with the current situation (he has fallen, will he land the 3A3T?) and hence his emoting does not clash with the mood that the music calls for. He throws out the 3A3T. 5) Music builds and builds from 3A3T onwards all the way to the terrific yell before the choreographic sequence. 6) DRAMA. Famous choreographic sequence, ultimately climaxing at the biellman spin. 7) Music suddenly drops into an undercurrent and he does the chest-stabbing before ending the program. ---------- Chopin Ballade No.1 ( ) 1) Quiet beginning. He strategically holds still so that he can draw the curiosity and attention of the audience via silence and stillness as opposed to using motion. 2) He begins moving and music slowly builds, in an unhurried manner, slightly languid even. 3) 1:10 music suddenly gets a bit louder, he does the spread-eagle, music gets even louder, 4S, music quietens again as he does transitions out. 4) Music builds once again, higher and higher, louder and louder, Yuzu gains speed and intensity, culminating in 4T3T. 5) Music softens slightly, then gets louder again as he matches the music and beat to do the spin. Music quietens again as he goes through the spin positions/variations (sorry not a tech expert). 6) Music is like 2), he does his transitions. 7) 2:26 There is a slight pause in music between 6) and 2:26. Music is louder once again, he does the 3A from counter entry. He enters spin. 8) 2:37 Music gets increasingly intense, his spins are also intense and fast. 9) 2:47 Music culminates, he exits spin and begins his sequence. 10) 2:54 A slight pause but it is very suspenseful, and Yuzu himself is stretched taut like an arrow on a bowstring, ready to shoot out. 11) 2:55 He does his sequence, the notes of the music run quickly and are full of intensity. It gets faster. He enters final spin. 12) Final spin, the notes of the music run more heavily and are less light as they were during the sequence, giving the effect of a dramatic ending. Yuzu punctuates final note with the ending pose. ----------- One of the reasons for choosing a piece might be due to the possibility of separating the music into identifiable sections. For example, in a long program: an intro > gradual buildup > chorus/plateau for step sequence that gradually quietens down for the mid-program pause > interlude for a couple of 2nd half jumps > gradual buildup > DRAMA > end Another might be that they have sufficient highs and lows that can be used with elements to punctuate and highlight the performance. I don't know much about music so forgive any incorrect terms, but dramatic/lyrical (?) music run like stories, except they are written in the language of music notes. Yuzu and his team make cuts from different songs/tunes/soundtracks to make his program music and make it such that it has a narrative that suits his purpose. A interesting read about how stories are plotted emotionally: https://www.theatlantic.com/technology/ ... er/490733/ Skating a program is literally a skater up on stage to showcase the story they want to tell to the judges and audience. As the article says, Rags to Riches (rise, in FS case, rising slowly throughout) is popular, Cinderalla (rise then fall then rise, in FS case, high-low-high like RJ1.0) too. And Oedipus (fall then rise then fall, in FS case, low-high-low). And if you listen, you'll realise much program music take structures like that (do note the structures mentioned are basic skeletal ones, they have smaller peaks and smaller lows in between like the two programs above). Some structures popular in writing may not work in FS since the 'stories' are told through different mediums and what works in one may not work in the other. (posting it here besides the music thread because I realise my post is not exactly about what music suits Yuzu/wondering what he will skate to, but more a discussion.) Another development of the discussion over at the Music Thread which I will leave here too for convenience sake: Wow that's some amazing analysis! The analogy to literature narrative structure makes a lot of sense. For something to grab your attention and keep it for 4.5 minutes the first time you hear it, these patterns are needed. Might be why music like h&l are considered risky - when I listen to it later I recognize clear climax and low points, but the first time I heard it with the program the impression was a bit undifferentiated (tho for me it's undifferentiated beauty!). Thank you! I agree with you for Hope and Legacy, the structure is complicated. Hope and Legacy ( and https://www.youtube.com/watch?v=jnDv873q5zs) 1) PLATEAU > RISE. Music begins. Gentle running along 3 notes with its various variations. There is a slight increase in volume as he lands the 4Lo at 0:57 (he probably timed it as such). 2) PLATEAU. Music continues running as such, like a neverending stream, as if the 4Lo, the pebble which caused a ripple, never existed and never disturbed the ebb and flow at all. 3) RISE > FALL.1:09 Heavier piano notes (chords I think) begin. dun-dun-Dun-DUn-DUN as he sets up for the 4S, outright chords at 1:18 immediately before the 4S, before giving way as he leaves the ice to rotate, as if the 4S released the pressure building up, then he poses right before spin. 4) PLATEAU (the music is separable into layers with each spin). Higher notes play as he enters camel spin Strings enter midspin and he goes into donut spin Piano re-enters and he does sit spin As piano and string interweave he shifts and does biellman spin. (aka any change of instruments = position/variation change) 5) PLATEAU > RISE. 1:44 Strings, he begins step sequence. First phase of step sequence. 6) RISE (HIGH PEAK). 1:56 A peak in the step sequence that attracts attention and during which he paused slightly. Interesting cos he tends to rest during the lower emotional arcs of music but in H&L he does it at peaks where its more emotional and his body (he puts his two palms facing him before opening them up and at point 10 where he grasps something) is narrating an enjoyment of music. It being a break also means those one or two seconds are drawn to his upper body, which he uses to narrate that and conduct the audience's emotions to feel whatever he is conveying. 7) FALL > PLATEAU. (whatever goes up comes down) 1:57 Lighter strings. Second phase of step sequence. 8) RISE. 2:06 Strings pause, piano melody re-enters. Third phase of step sequence. Another short pose, very very short but this serves more as a border to mark out the boundaries between the 2nd phase and 3rd phase. Heavier piano, chords introduced. Music builds. Strings re-enter. 9) RISE > FALL (during 3F).Music builds and builds and builds, minute pause in music before shifting to piano and he does 3F during this. Lands 3F, strings play once more. 10) RISE (HIGH PEAK) > RISE. Strings, music is emotional, he pauses. Longest pause ever in the program 2:49 - 2:52, also please look back at 6) for more explanation. He just feels the music. 11) RISE. Heavy strings, music rises and suspense builds and heavy strings go heavier and heavier with each note before giving way into strings melody (ironically as effect as climax despite being more subtle than the buildup) as the 4S3T is unleashed. This is a huge climax and even the rotations match the notes. 12) RISE > FALL.3:20 Strings become heavier again + heavier piano chords, music rises and suspense builds rinse repeat 11), then music ceases suddenly and bam! 4T. 13) PLATEAU. 3:37 Quiet music, 3A2T. 14) RISE. 3:50 - 4:04. Strings, music becomes more emotional, music builds up quickly, 3A1Lo3S. 15) FALL. Music quietens and he does his spin. 16) RISE, RISE, RISE. 4:21 Intense music for the choreographic sequence. 17) RISE (HIGH PEAK). 4:33 - 4:35, in true Yuzu style, hydroblade at important point. 18) RISE (or you can say PLATEAU but at a higher emotional level than previous ones). 4:36 - 4:44. Continuation of choreographic sequence. Music builds. 19) RISE > RISE (HIGH PEAK) 4:45 - 4:50, in true Yuzu style, ina bauer at important point. 20) RISE. Setup of 3Lz, the landing of the 3Lz is a highlight, 4:55 emotional music and at the same time he does camel spin. 21) FALL. 5:04, simple piano, he changes position while matching the drop in music. 22) CLOSURE. Final note gives a sense of finality and closure that exudes a dignified air befitting the theme of Legacy. Tbh the ending is pretty warhorsey cos it's !intense! !dramatic! !RISE! and the old-fashioned happy ending 'I'll quiet down' closure. It's the front half that messes some people up, especially those who want things like RJ1.0 where the FALL is in the middle while H&L is rise-fall-rise-fall-rise-fall etc in the first half. But we forget that this is about Hanyu Yuzuru, who's life was exactly as such. He rose up quickly through novice, had a terrible first junior year, rose up to win everything in second junior year and debuted as senior at the ripe old age of 15, had a mediocre first senior season (cos mens field was deep in JP in those times) whereas he watched Kana shine in her debut season, had a huge FALL for 311, rose up to win bronze at first Worlds. This is the first half of the program. Then he rose to break SP WRs, rose to win Olys, fell non-stop for 14-15 season, rose for 15-16 season, fell for 16 Worlds FS, rose for 16-17 season, but whatever falls he had during his dominant years, those were, in the end, growing points for him so they were not counted as FALLs but as RISEs. Each one has served him well, like how his popping has actually made him more flexible in layout and resulted in a couple of firsts. With each season, his legend and legacy grows and evolves just like the RISEs in the second half of the program that just keep increasing with intensity without bounds. For this is a skater who knows no limits. He actually has many breaks, but the breaks are very very short each time. It is interesting, because this program requires one to be the wind through the forest, the calm river and the dappled sunlight through the trees, and such small pauses make the breaks less noticeable and create the feeling of continuity. The structure of Hope and Legacy is complicated and has many highs and lows, just like that of Hanyu Yuzuru's life, and just like how it is a worthy representation of it in spirit. A great person will endure great tribulations. (Someone please translate, my translation abilities have not reached such a level yet.) 故天将降大任于斯人也，必先苦其心志，劳其筋骨，饿其体肤，空乏其身，行拂乱其所为，所以动心忍性，曾益其所不能. Something along the lines of 'When God wants to bestow a huge mission/responsibility/ etc upon someone, He will first temper your will and spirit, put you into physical trials, cause you to experience hunger, make you experience poverty, allow you to taste the bitterness of not having everything go smoothly, such that you may strengthen your heart and determination, and have renewed conviction and benefit and grow.'

Wow that's some amazing analysis! The analogy to literature narrative structure makes a lot of sense. For something to grab your attention and keep it for 4.5 minutes the first time you hear it, these patterns are needed. Might be why music like h&l are considered risky - when I listen to it later I recognize clear climax and low points, but the first time I heard it with the program the impression was a bit undifferentiated (tho for me it's undifferentiated beauty!). Thank you! :grin: I agree with you for Hope and Legacy, the structure is complicated. Hope and Legacy ( and https://www.youtube.com/watch?v=jnDv873q5zs) 1) PLATEAU > RISE. Music begins. Gentle running along 3 notes with its various variations. There is a slight increase in volume as he lands the 4Lo at 0:57 (he probably timed it as such). 2) PLATEAU. Music continues running as such, like a neverending stream, as if the 4Lo, the pebble which caused a ripple, never existed and never disturbed the ebb and flow at all. 3) RISE > FALL.1:09 Heavier piano notes (chords I think) begin. dun-dun-Dun-DUn-DUN as he sets up for the 4S, outright chords at 1:18 immediately before the 4S, before giving way as he leaves the ice to rotate, as if the 4S released the pressure building up, then he poses right before spin. 4) PLATEAU (the music is separable into layers with each spin). Higher notes play as he enters camel spin Strings enter midspin and he goes into donut spin Piano re-enters and he does sit spin As piano and string interweave he shifts and does biellman spin. (aka any change of instruments = position/variation change) 5) PLATEAU > RISE. 1:44 Strings, he begins step sequence. First phase of step sequence. 6) RISE (HIGH PEAK). 1:56 A peak in the step sequence that attracts attention and during which he paused slightly. Interesting cos he tends to rest during the lower emotional arcs of music but in H&L he does it at peaks where its more emotional and his body (he puts his two palms facing him before opening them up and at point 10 where he grasps something) is narrating an enjoyment of music. It being a break also means those one or two seconds are drawn to his upper body, which he uses to narrate that and conduct the audience's emotions to feel whatever he is conveying. 7) FALL > PLATEAU. (whatever goes up comes down) 1:57 Lighter strings. Second phase of step sequence. 8) RISE. 2:06 Strings pause, piano melody re-enters. Third phase of step sequence. Another short pose, very very short but this serves more as a border to mark out the boundaries between the 2nd phase and 3rd phase. Heavier piano, chords introduced. Music builds. Strings re-enter. 9) RISE > FALL (during 3F).Music builds and builds and builds, minute pause in music before shifting to piano and he does 3F during this. Lands 3F, strings play once more. 10) RISE (HIGH PEAK) > RISE. Strings, music is emotional, he pauses. Longest pause ever in the program 2:49 - 2:52, also please look back at 6) for more explanation. He just feels the music. 11) RISE. Heavy strings, music rises and suspense builds and heavy strings go heavier and heavier with each note before giving way into strings melody (ironically as effect as climax despite being more subtle than the buildup) as the 4S3T is unleashed. This is a huge climax and even the rotations match the notes. 12) RISE > FALL.3:20 Strings become heavier again + heavier piano chords, music rises and suspense builds rinse repeat 11), then music ceases suddenly and bam! 4T. 13) PLATEAU. 3:37 Quiet music, 3A2T. 14) RISE. 3:50 - 4:04. Strings, music becomes more emotional, music builds up quickly, 3A1Lo3S. 15) FALL. Music quietens and he does his spin. 16) RISE, RISE, RISE. 4:21 Intense music for the choreographic sequence. 17) RISE (HIGH PEAK). 4:33 - 4:35, in true Yuzu style, hydroblade at important point. 18) RISE (or you can say PLATEAU but at a higher emotional level than previous ones). 4:36 - 4:44. Continuation of choreographic sequence. Music builds. 19) RISE > RISE (HIGH PEAK) 4:45 - 4:50, in true Yuzu style, ina bauer at important point. 20) RISE. Setup of 3Lz, the landing of the 3Lz is a highlight, 4:55 emotional music and at the same time he does camel spin. 21) FALL. 5:04, simple piano, he changes position while matching the drop in music. 22) CLOSURE. Final note gives a sense of finality and closure that exudes a dignified air befitting the theme of Legacy. Tbh the ending is pretty warhorsey cos it's !intense! !dramatic! !RISE! and the old-fashioned happy ending 'I'll quiet down' closure. It's the front half that messes some people up, especially those who want things like RJ1.0 where the FALL is in the middle while H&L is rise-fall-rise-fall-rise-fall etc in the first half. But we forget that this is about Hanyu Yuzuru, who's life was exactly as such. He rose up quickly through novice, had a terrible first junior year, rose up to win everything in second junior year and debuted as senior at the ripe old age of 15, had a mediocre first senior season (cos mens field was deep in JP in those times) whereas he watched Kana shine in her debut season, had a huge FALL for 311, rose up to win bronze at first Worlds. This is the first half of the program. Then he rose to break SP WRs, rose to win Olys, fell non-stop for 14-15 season, rose for 15-16 season, fell for 16 Worlds FS, rose for 16-17 season, but whatever falls he had during his dominant years, those were, in the end, growing points for him so they were not counted as FALLs but as RISEs. Each one has served him well, like how his popping has actually made him more flexible in layout and resulted in a couple of firsts. With each season, his legend and legacy grows and evolves just like the RISEs in the second half of the program that just keep increasing with intensity without bounds. For this is a skater who knows no limits. He actually has many breaks, but the breaks are very very short each time. It is interesting, because this program requires one to be the wind through the forest, the calm river and the dappled sunlight through the trees, and such small pauses make the breaks less noticeable and create the feeling of continuity. The structure of Hope and Legacy is complicated and has many highs and lows, just like that of Hanyu Yuzuru's life, and just like how it is a worthy representation of it in spirit. A great person will endure great tribulations. (Someone please translate, my translation abilities have not reached such a level yet.) 故天将降大任于斯人也，必先苦其心志，劳其筋骨，饿其体肤，空乏其身，行拂乱其所为，所以动心忍性，曾益其所不能. Something along the lines of 'When God wants to bestow a huge mission/responsibility/ etc upon someone, He will first temper your will and spirit, put you into physical trials, cause you to experience hunger, make you experience poverty, allow you to taste the bitterness of not having everything go smoothly, such that you may strengthen your heart and determination, and have renewed conviction and benefit and grow.'

Good question... ---------- whole post While we can't get the Like button, this will have to do. LOL thank you xD I hope someone with more knowledge of musical structure will add on though.

LOL your avatar helps in the shade throwing xD

Good question... ---------- Romeo and Juliet 1.0 ( ): 1) Dramatic and impactful intro that culminates in the first intro and only quad in the program. He successfully grabs the attention of the audience. 2) 1:17 Music calms down for him to enter the spin, but still containing enough dramatic singing for him to utilise with his hands and highlight his spins. 3) 1:32 Calm. He (or the choreographer) deliberately places a jump here to highlight contrast between the loudness (I don't mean that in the sound sense) of the jump and the silence of the music. Step sequence. The music gradually builds up through the step sequence. 4) 2:30 Music continues to build up and then Yuzu does his famous RJ1.0 fall. 2:51 Music remains softer than the intro but contains suspense, and this fits in very well with the current situation (he has fallen, will he land the 3A3T?) and hence his emoting does not clash with the mood that the music calls for. He throws out the 3A3T. 5) Music builds and builds from 3A3T onwards all the way to the terrific yell before the choreographic sequence. 6) DRAMA. Famous choreographic sequence, ultimately climaxing at the biellman spin. 7) Music suddenly drops into an undercurrent and he does the chest-stabbing before ending the program. ---------- Chopin Ballade No.1 ( ) 1) Quiet beginning. He strategically holds still so that he can draw the curiosity and attention of the audience via silence and stillness as opposed to using motion. 2) He begins moving and music slowly builds, in an unhurried manner, slightly languid even. 3) 1:10 music suddenly gets a bit louder, he does the spread-eagle, music gets even louder, 4S, music quietens again as he does transitions out. 4) Music builds once again, higher and higher, louder and louder, Yuzu gains speed and intensity, culminating in 4T3T. 5) Music softens slightly, then gets louder again as he matches the music and beat to do the spin. Music quietens again as he goes through the spin positions/variations (sorry not a tech expert). 6) Music is like 2), he does his transitions. 7) 2:26 There is a slight pause in music between 6) and 2:26. Music is louder once again, he does the 3A from counter entry. He enters spin. 8) 2:37 Music gets increasingly intense, his spins are also intense and fast. 9) 2:47 Music culminates, he exits spin and begins his sequence. 10) 2:54 A slight pause but it is very suspenseful, and Yuzu himself is stretched taut like an arrow on a bowstring, ready to shoot out. 11) 2:55 He does his sequence, the notes of the music run quickly and are full of intensity. It gets faster. He enters final spin. 12) Final spin, the notes of the music run more heavily and are less light as they were during the sequence, giving the effect of a dramatic ending. Yuzu punctuates final note with the ending pose. ----------- One of the reasons for choosing a piece might be due to the possibility of separating the music into identifiable sections. For example, in a long program: an intro > gradual buildup > chorus/plateau for step sequence that gradually quietens down for the mid-program pause > interlude for a couple of 2nd half jumps > gradual buildup > DRAMA > end Another might be that they have sufficient highs and lows that can be used with elements to punctuate and highlight the performance. I don't know much about music so forgive any incorrect terms, but dramatic/lyrical (?) music run like stories, except they are written in the language of music notes. Yuzu and his team make cuts from different songs/tunes/soundtracks to make his program music and make it such that it has a narrative that suits his purpose. A interesting read about how stories are plotted emotionally: https://www.theatlantic.com/technology/ ... er/490733/ Skating a program is literally a skater up on stage to showcase the story they want to tell to the judges and audience. As the article says, Rags to Riches (rise, in FS case, rising slowly throughout) is popular, Cinderalla (rise then fall then rise, in FS case, high-low-high like RJ1.0) too. And Oedipus (fall then rise then fall, in FS case, low-high-low). And if you listen, you'll realise much program music take structures like that (do note the structures mentioned are basic skeletal ones, they have smaller peaks and smaller lows in between like the two programs above). Some structures popular in writing may not work in FS since the 'stories' are told through different mediums and what works in one may not work in the other. (posting it here besides the music thread because I realise my post is not exactly about what music suits Yuzu/wondering what he will skate to, but more a discussion.)

Good question... ---------- Romeo and Juliet 1.0 ( ):1) Dramatic and impactful intro that culminates in the first intro and only quad in the program. He successfully grabs the attention of the audience. 2) 1:17 Music calms down for him to enter the spin, but still containing enough dramatic singing for him to utilise with his hands and highlight his spins. 3) 1:32 Calm. He (or the choreographer) deliberately places a jump here to highlight contrast between the loudness (I don't mean that in the sound sense) of the jump and the silence of the music. Step sequence. The music gradually builds up through the step sequence. 4) 2:30 Music continues to build up and then Yuzu does his famous RJ1.0 fall. 2:51 Music remains softer than the intro but contains suspense, and this fits in very well with the current situation (he has fallen, will he land the 3A3T?) and hence his emoting does not clash with the mood that the music calls for. He throws out the 3A3T. 5) Music builds and builds from 3A3T onwards all the way to the terrific yell before the choreographic sequence. 6) DRAMA. Famous choreographic sequence, ultimately climaxing at the biellman spin. 7) Music suddenly drops into an undercurrent and he does the chest-stabbing before ending the program. ---------- Chopin Ballade No.1 ( ) 1) Quiet beginning. He strategically holds still so that he can draw the curiosity and attention of the audience via silence and stillness as opposed to using motion. 2) He begins moving and music slowly builds, in an unhurried manner, slightly languid even. 3) 1:10 music suddenly gets a bit louder, he does the spread-eagle, music gets even louder, 4S, music quietens again as he does transitions out. 4) Music builds once again, higher and higher, louder and louder, Yuzu gains speed and intensity, culminating in 4T3T. 5) Music softens slightly, then gets louder again as he matches the music and beat to do the spin. Music quietens again as he goes through the spin positions/variations (sorry not a tech expert). 6) Music is like 2), he does his transitions. 7) 2:26 There is a slight pause in music between 6) and 2:26. Music is louder once again, he does the 3A from counter entry. He enters spin. 8) 2:37 Music gets increasingly intense, his spins are also intense and fast. 9) 2:47 Music culminates, he exits spin and begins his sequence. 10) 2:54 A slight pause but it is very suspenseful, and Yuzu himself is stretched taut like an arrow on a bowstring, ready to shoot out. 11) 2:55 He does his sequence, the notes of the music run quickly and are full of intensity. It gets faster. He enters final spin. 12) Final spin, the notes of the music run more heavily and are less light as they were during the sequence, giving the effect of a dramatic ending. Yuzu punctuates final note with the ending pose. ----------- One of the reasons for choosing a piece might be due to the possibility of separating the music into identifiable sections. For example, in a long program: an intro > gradual buildup > chorus/plateau for step sequence that gradually quietens down for the mid-program pause > interlude for a couple of 2nd half jumps > gradual buildup > DRAMA > end Another might be that they have sufficient highs and lows that can be used with elements to punctuate and highlight the performance. I don't know much about music so forgive any incorrect terms, but dramatic/lyrical (?) music run like stories, except they are written in the language of music notes. A interesting read about how stories are plotted emotionally: https://www.theatlantic.com/technology/ ... er/490733/ Skating a program is literally a skater up on stage to showcase the story they want to tell to the judges and audience. As the article says, Rags to Riches (rise, in FS case, rising slowly throughout) is popular, Cinderalla (rise then fall then rise, in FS case, high-low-high like RJ1.0) too. And Oedipus (fall then rise then fall, in FS case, low-high-low). And if you listen, you'll realise much program music take structures like that (do note the structures mentioned are basic skeletal ones, they have smaller peaks and smaller lows in between like the two programs above). Some structures popular in writing may not work in FS since the 'stories' are told through different mediums and what works in one may not work in the other.

I once posted part of this on the Yuzu GS FF before the thread was locked: Wagakki Band - Strong Fate Wagakki Band - Strong Fate (Live) Wagakki Band - Akatsuki no Ito (Live) Wagakki Band - Nijiro Chouchou Wagakki Band - Nikko Toshogu Shrine 400th Anniversary 遠野物語四 Toono Monogatari 4 (Live) Wagakki Band - Hangeki no Yaiba Icarus: Empire of Angels Tabitha Nauser - Unbreakable (This song really fits him imo, though more as a MAD than as his program music LOL) The Script- Superheroes

So you guys can all land quads? I landed a quad twist on my bed!!!! Haha! 1000 We can all land mental quads! And channel them to Yuzu. I mean, he said he felt our support before the 4S3T at worlds right?

HAAHAHAHAHAHAHAHAHAHAHAH :rofl: :rofl: :rofl: OMG that shit never gets old hahaha I swear this has become our inside meme :grin:

Idk if it's been mentioned, but my Chrome browser classifies it as dangerous and as having previous instances of phishing attacks. As I'm a complete techie idiot, the only thing I can do is bring this up. But thank you so much for the hard work and dedication in creating AND keeping this forum running.