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16 hours ago, rockstaryuzu said:

2. the original music fits the performance better 

 

7 hours ago, cereus said:

3. Nevertheless I found it very uncomfortable to watch because of my strong associations between those clips and the original music. It just sounded wrong because I expected to hear something different. This effect was stronger when I had more emotional connections to a specific clip.

 

This is exactly what I hoped to hear :space:

 

Remember my post about the PCS scoring of Yuzu's programs? The last months I spent a lot of time on analyzing Yuzu's different programs, focusing on the compostion and especially the interpretation of the music which includes:

 

1. Music genre and vibe

2. Tempo

3. Timing and rhythm

4. Volume

5. Range and tone sequences

6. Keys and tonality

7. Chords and harmonies

8. Timbre and set of instruments

9. Use of vocals (optional)

10. Story or message behind the piece (optional)

 

In dancing, figure skating and any other sport that uses music, the aim must be to translate the music piece 1:1 into body movements in a way that with muted sound you as a viewer are still able to reconstruct the original piece from the movements. Just like you are able to reconstruct the sound of the piece from the symbols on the music sheet. That means especially: If the original piece gets exchanged by another one - no matter how thoughtful the choice is - there must be a certain degree of mismatch that feels awkward while watching. If not, the interpretation of the original music by the performer was not precise and characteristic enough.

 

In case of this edit I realized that the skating matches the overlay piece in most parts regarding tempo and change of volume, in some cases also the on/off-beats and translation of high and low notes (not all). However, especially the vibe and character of the performance, including mimics, hand gestures and further body language, were not in tune with the overlay music.

 

And I think, this is what makes Yuzu's skating so extra special. No matter how hard you try to exchange the music, he and the original piece are one, unseparably. You need to watch 5 seconds of his skating and you already hear the sound of the original music ringing in your ears.

 

The most perfect interpretation ever was probably 4CC Chopin, because he fully met all bullets from 1 to 8, even the keys and tonality which is insanely difficult to realize in dancing. If you rewatch the skate, you will see that he translated

- all tempo changes with precise accelerations

- the length of each music note by matching it with the duration/length of the skating stroke

- the dynamics in volume by changing the power and intensity of his strokes

- the highs and lows by moving his body up and down in tune with the melody

- every keystroke of the piano with an accentuated foot or hand movement.

It's truly insane what he did there. Even a 10.00 in interpretation wouldn't do that performance justice. Should be 15.00 or 20.00.

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2 hours ago, Henni147 said:

The most perfect interpretation ever was probably 4CC Chopin, because he fully met all bullets from 1 to 8, even the keys and tonality which is insanely difficult to realize in dancing. If you rewatch the skate, you will see that he translated

- all tempo changes with precise accelerations

- the length of each music note by matching it with the duration/length of the skating stroke

- the dynamics in volume by changing the power and intensity of his strokes

- the highs and lows by moving his body up and down in tune with the melody

- every keystroke of the piano with an accentuated foot or hand movement.

It's truly insane what he did there. Even a 10.00 in interpretation wouldn't do that performance justice. Should be 15.00 or 20.00.

And that's what you get when you don't give a fiddlers tinkle about people complaining that you're 'always recycling' and instead take all the time you need to perfect a performance.  

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4 hours ago, Henni147 said:

 

 

This is exactly what I was hoping to hear : space:

 

Vous vous souvenez de mon article sur la notation PCS des programmes de Yuzu ? Les derniers mois j'ai passé beaucoup de temps à analyser les différents programmes de Yuzu, en me concentrant sur la composition et surtout l'interprétation de la musique qui comprend :

 

1. Genre musical et ambiance

2. Tempo

3. Timing et rythme

4. Volume

5. Gammes et séquences de tonalités

6. Touches et tonalité

7. Accords et harmonies

8. Timbre et ensemble d'instruments

9. Utilisation de la voix (facultatif)

10. Histoire ou message derrière la pièce (facultatif)

 

Dans la danse, le patinage artistique et tout autre sport utilisant de la musique, l'objectif doit être de traduire la pièce musicale 1:1 en mouvements corporels de manière à ce qu'avec un son étouffé, vous, en tant que spectateur, puissiez toujours reconstruire la pièce originale à partir des mouvements. . Tout comme vous êtes capable de reconstituer le son du morceau à partir des symboles de la partition. Cela signifie en particulier : si la pièce originale est échangée par une autre - peu importe à quel point le choix est réfléchi - il doit y avoir un certain degré de non-concordance qui semble gênant en regardant. Sinon, l'interprétation de la musique originale par l'interprète n'était pas assez précise et caractéristique.

 

Dans le cas de cette modification, j'ai réalisé que le patinage correspondait à la pièce de superposition dans la plupart des cas en ce qui concerne le tempo et le changement de volume, dans certains cas également les temps forts et faibles et la traduction des notes hautes et basses (pas toutes). Cependant, en particulier l'ambiance et le caractère de la performance, y compris les mimiques, les gestes de la main et le langage corporel, n'étaient pas en phase avec la musique de superposition.

 

Et je pense que c'est ce qui rend le patinage de Yuzu si spécial. Peu importe à quel point vous essayez d'échanger la musique, lui et la pièce originale ne font qu'un, inséparablement. Vous devez regarder 5 secondes de son patinage et vous entendez déjà le son de la musique originale résonner dans vos oreilles.

 

L'interprétation la plus parfaite de tous les temps était probablement 4CC Chopin, car il a parfaitement rencontré toutes les balles de 1 à 8, même les touches et la tonalité qui sont incroyablement difficiles à réaliser en dansant. Si vous revoyez le skate, vous verrez qu'il a traduit

- tous les changements de tempo avec des accélérations précises

- la longueur de chaque note de musique en la faisant correspondre à la durée/longueur du coup de patin

- la dynamique en volume en changeant la puissance et l'intensité de ses coups

- les hauts et les bas en bougeant son corps de haut en bas en accord avec la mélodie

- chaque frappe du piano avec un mouvement accentué du pied ou de la main.

C'est vraiment fou ce qu'il a fait là. Même un 10,00 en interprétation ne rendrait pas justice à cette performance. Devrait être 15h00 ou 20h00.

 

 

BRAVO for your comment : you are musi cien? To analyze music so well and ALL that musical? and I would not be surprised to learn, one day, that Yuzu in perfect pitch, because we see him in practice when he counts with his hands,  as I think? The musical movements and I saw Chopin 4 ° C, and I found one with the comments Yuzu and he talks a lot of music, and here I actually :girlsigh: 

 

 

  

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The way I really miss Yuzu’s skating but not his scores~~~ :tif:

I’m dying to know his SP and how he has evolved Tenchi, his condition and how much he has improved and what stage he is in training 4A, not to mention the custome and the placements of the jumps in his SP (and also new Tenchi layout)…. :panic: but at the same, the peace of not having to deal with ISU’s dramas for now is kinda nice too  :studsmatta:

 

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4 hours ago, rockstaryuzu said:

And that's what you get when you don't give a fiddlers tinkle about people complaining that you're 'always recycling' and instead take all the time you need to perfect a performance.  

 

Yes, exactly. It's like Yuzu said himself: Ballade No. 1 is like good wine and cheese that needs time to age.

In the pamphlet of Fantasy on Ice 2017 he mentioned that, back in 2014, Jeff and him had a clear vision of the program in mind already, but he lacked the maturity and technical skills to realize their vision at that time. And he took the time. He didn't throw away the program that had so much potential, but took all the effort to get the absolute maximum out of it and perform not one but a whole series of performances that will be remembered and rewatched for decades.

 

Imagine if he had dropped Ballade after the 14/15 season without a clean performance. What a waste of potential and big loss for the world that would have been... and how grateful we must be that he brought LGC back for SOI this year! Sure, that program deserves a larger rink, but it's a start. In Yuzu's case we must not talk about "recycling" but rather "remastering" of the program, because they get better with every year.

 

 

I have a serious suggestion for two new PCS caps:

1. If a skater uses the exact same choreography for two entirely different music pieces, the interpretation score must not be higher than 5.00 by default.

2. If one or two sections of the programs have identical choreo (like the same step sequence), the IN score must not be higher than 7.50.

 

#SorryNotSorry

 

 

2 hours ago, Yuzuwinnie said:

BRAVO for your comment : you are musi cien? To analyze music so well and ALL that musical? and I would not be surprised to learn, one day, that Yuzu in perfect pitch, because we see him in practice when he counts with his hands,  as I think? The musical movements and I saw Chopin 4 ° C, and I found one with the comments Yuzu and he talks a lot of music, and here I actually :girlsigh:   

 

OT:

Spoiler

 

I learned to play the soprano and alto flute and concert xylophone in elementary school (also reading music sheets) and played in the local chamber orchestra for 8 years. My favorite of the three is the concert xylophone with its beautifully soft and soothing sound. The instrument I used was similar to the one in the video below, but without height adjustment (I could only play while standing) and I only had a set of 3 different mallets:

 

 

We also had some performances in church where I got the rare opportunity to play the organ (that was a spiritual experience I will never forget). But I did not have enough practice time to really master that instrument. Maybe when there is time in the future, I will come back to that challenge.

 

 

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2 hours ago, Henni147 said:

In the pamphlet of Fantasy on Ice 2017 he mentioned that, back in 2014, Jeff and him had a clear vision of the program in mind already, but he lacked the maturity and technical skills to realize their vision at that time.

:jaw: that's actually kind of incredible. It implies that they're a creative partnership made in heaven. The fact that not only did they both have a clear vision of the program, but that they - and especially Yuzu - stuck to it until it was fully realized, makes me wonder what other visions they had/have for his programs, and if Yuzu is still pursuing those, too. Maybe it's not just a coincidence that Yuzu's been bringing other old programs back. 

 

That makes me so frustrated that Yuzu and Jeff aren't able to work together in person right now. I wanna see what else they make!

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On 9/20/2021 at 8:40 PM, rockstaryuzu said:

They made Yuzu look so cool. So kakkoi. 

 

Excuse me, Yuzu is cool and kakkoi :hairflip:

:laughing::laughing:

ok, the artist got his I'm a cool senpai side very well, now I'm curious how they'd portray his goofier side:peekapooh:

 

On 9/21/2021 at 4:27 PM, sweetwater said:

At least he starts the new one earlier than the last one :tumblr_inline_n18qraikFP1qid2nw: It's just a month and a half from now... :meditationf:

that's what I thought too😅

Last season we had to wait till late December, and he left us hanging and wondering even during official practices:tumblr_inline_n18qr5AMus1qid2nw: Well, of course it was also fun... I mean, what else could you do, if not laugh at the collective meltdown? Especially after you woke up in the dead of the night because your sixth sense told you Yuzuru's practice time was up, only to find out that no one in the arena had recognized the music...:tantrum::roll:

Praying for healthy Yuzu, so we can see him in Novemeber for real, happy and confident and well-trained and with a new SP:snonegai:

With Tenchi, I look forward to the little tweaks, for example I hope the hand variation from WTT was there to stay:love: ETA: I meant on his sit spin of course

I'm not thinking about layout yet

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3 hours ago, cereus said:

New voice log:

 

 

 

 

 

 

 

HELLO fanyus : I went to see on Kosé France, if there is the "skin snow" range that Yuzu talks about and no, it is new and released this month on the 16th

https://japan.topnews.cloud/new-series-clear-wellness-from-kose-snow-skin-spirit/    and there are all the Sekkisei products and I found this one

 

https://shannonchow.com/secret-skin-white-snow-kose-sekkisei-lotion/   and it is, maybe? , Yuzu's secret to have such perfect skin  :hehe:    and I also have this type of mask in another in another brand  and then, anyway, no need to use this product to have this  skin, mine is is 365/365 = ultra white and my nickname is " snow white :peek:    and I want to share with you music from my favorite group and with a sy mphonic orchestra (the conductor is French)  and I can hear the con sounds of Asia and the lea der N Sirkis LOVES Japan and, with a Japanese singer, he covered one of his duo where he sings in Japanese and syllabic and all rights were paid to the Japanese Red Cross for the 2011 disaster and I found a HANYU product, which is a high-end fabric that is sturdy (eh YES) and soft in the to touch :ohmygod:     

 

https://www.amazon.fr/HANYU-Imitation-dameublement-Robuste-Similicuir/dp/B096Z3G4G8?th=1

 

 

 

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