Translation Requests

[Maya]

Is anyone aware of any English sub of the following two-part video? I wonder what the commentator 町田樹 said in seeing Yuzu do only single jumps and one 3A without any runthrough in his first appearance on ice after the 3-months recovering period before PyeongChang.

 

 

[faeline]

Does anyone have the translations or information about this event here?

I am so curious!!

[ralucutzagy]

46 minutes ago, faeline said:

Does anyone have the translations or information about this event here?

I am so curious!!

A summer camp before PC Olympics. There was Shoma too and Kaori and Satoko IIRC and lots of other athletes.

[Dreamer]

Hello, 

Would anyone pretty please kindly translate this?

Apparently, Yuzu was called the Picasso of Ice!

Sometimes the German commentators are very complimentary!

 

 

[pekakalinh]

Hi everyone ^^ is there any English translation version for this video? I wanna translate this into Vietnamese to share with my friends but i don't understand Japanese...

Here's the link of the video: https://youtu.be/j98ek_1fc7M

[Ririka]

someone PLEASE do the translations for this, I know it’s got to do with him saying he’s really frustrated but omfg fhdkdbdndnd

[sweetwater]

10 hours ago, Ririka said:

someone PLEASE do the translations for this, I know it’s got to do with him saying he’s really frustrated but omfg fhdkdbdndnd

 

*At 4CC2017 gala, Yuzu planned to do double three turns into 3T in Notte Stellata after the delayed Axel, but could not land it cleanly since he had not practiced the layout. This is the conversation with a TV director from Fuji between his EX and the finale.

 

Yuzuru: That was a terrible EX...
Director: (Laughs) Take it easy. It was an EX... Well... (Jokingly) Then, you're going to rehearse the EX?
Yuzuru: No, I've rehearsed it! I've been rehearsing this program!
Director: Right. Haha...
Yuzuru: Gosh...
Director: Relax. You know, taking part in two events in a the day is... (T/n: Gala was scheduled after men's FS)
Yuzuru: Tough. Yeah.
Director: You've taken part in the morning practice as well, and practiced quite hard.
Yuzuru: The triple toeloop was so tricky.
Director: (Laughs)
Yuzuru: I should have done 3F instead. I should have done the jump I have practiced. (T/n: I guess he means 3F entered from double three turns here)
-----------edited---------------
Yuzuru: (Sighs) It was terrible. I can't get over it.
Director: (Laughs)
Yuzuru: Oh no. It has made the kuyashii-ness I was feeling about my FS go somewhere.
Director: It's OK.
-----------edited---------------
Yuzuru: ....It's OK. I have another chance. One more chance. In the finale.

 

*In the finale, he attempted side-by-side 3T with Patrick Chan and Shoma Uno and successfully landed it. 

[Ririka]

On 6/25/2020 at 9:57 PM, sweetwater said:

 

*At 4CC2017 gala, Yuzu planned to do double three turns into 3T in Notte Stellata after the delayed Axel, but could not land it cleanly since he had not practiced the layout. This is the conversation with a TV director from Fuji between his EX and the finale.

 

Yuzuru: That was a terrible EX...
Director: (Laughs) Take it easy. It was an EX... Well... (Jokingly) Then, you're going to rehearse the EX?
Yuzuru: No, I've rehearsed it! I've been rehearsing this program!
Director: Right. Haha...
Yuzuru: Gosh...
Director: Relax. You know, taking part in two events in a the day is... (T/n: Gala was scheduled after men's FS)
Yuzuru: Tough. Yeah.
Director: You've taken part in the morning practice as well, and practiced quite hard.
Yuzuru: The triple toeloop was so tricky.
Director: (Laughs)
Yuzuru: I should have done 3F instead. I should have done the jump I have practiced. (T/n: I guess he means 3F entered from double three turns here)
-----------edited---------------
Yuzuru: (Sighs) It was terrible. I can't get over it.
Director: (Laughs)
Yuzuru: Oh no. It has made the kuyashii-ness I was feeling about my FS go somewhere.
Director: It's OK.
-----------edited---------------
Yuzuru: ....It's OK. I have another chance. One more chance. In the finale.

 

*In the finale, he attempted side-by-side 3T with Patrick Chan and Shoma Uno and successfully landed it. 

Thank you!!!💗💗

[Echuka]

This article seems to be very interesting, but google translation is rather vague.

May anyone translate it, Yuzu part at least?

https://number.bunshun.jp/articles/-/846755

[SitTwizzle]

1 hour ago, Echuka said:

This article seems to be very interesting, but google translation is rather vague.

May anyone translate it, Yuzu part at least?

https://number.bunshun.jp/articles/-/846755

Thank you for the link!

I don't read Japanese but I found the automatic translation by deepl.com quite understandable. Like all automatic translators they tend to mix personal pronouns though.

 

Midori Ito, Shizuka Arakawa... A program arranger from the past talks about Yuzuru Hanyu: "Why does your 'SEIMEI' fit the sound so perfectly?

 

Hanyu performed "SEIMEI" for the first time in two seasons at last year's Four Continents Championships. Mr. Yano was also in charge of the arrangement, which was shortened by 30 seconds to fit the new rules.

 

 

Keiichi Yano has been working as a sound engineer (PA) and program editor for figure skating competitions for over 30 years now. He was also in charge of arranging "SEIMEI", one of Yuzuru Hanyu's most famous programs, and "Heaven and Earth", which was performed at the All-Japan Championships at the end of last year.

　Mr. Yano's first encounter with figure skating was 35 years ago. His first encounter with figure skating was 35 years ago, when he was working for Yamaha as a sound designer for the 1985 NHK Cup. Since then, he had been in charge of sound at major competitions and gained trust, and in 1988, he received his first request to edit the music for a program.

The first piece I arranged was Midori Ito's 1988-89 short program, "The Great Tango. At that time, I was asked to provide a song written by a Yamaha student, and as a sound engineer, I was in charge of recording the full orchestra. At that time, Ms. Michiko Yamada said, 'I want to hear a bang because Midori is going to do a triple axel here,' and I remember very well that I added the cymbal sound of the orchestra.

Shizuka Arakawa was next involved in program editing.

In 2003, there was an exhibition to celebrate the 5th anniversary of the Nagano Olympics, and she said, "The sound at the beginning of Turandot is so low that it's hard to hear. The beginning of the piece was a very small classical piece, and it was hard to hear in the hall.

　 Since then, Yano has been asked to edit music for top athletes such as Daisuke Takahashi, Kanako Murakami, and Shoma Uno. Like Arakawa, he received many requests for "the sound at the beginning of the song.

It is well known among the fans that the sound at the beginning of Yuzuru Hanyu's "SEIMEI" is his own breath.

For "SEIMEI," Hanyu said, "I want a trigger sound, but I want it to be like breath, not an instrumental sound. So I recorded my breath and connected it. Then I asked him if he could send me a recording on his smartphone or something so that I could start at his timing. 3 patterns were sent to me, and I was thinking, "It takes courage for me to choose... I was thinking, 'It takes courage for me to choose...', but I was relieved when Hanyu immediately sent me an e-mail saying, 'I think I'll choose the second one.

 

　(Laughs)" Here, instead of connecting the breath sounds as they were, I tried to be creative.

 

If the sound of the breath is too quiet, it might be dismissed as mere noise in a foreign game. So I put reverb on it so that people would know it was part of the music, and I tried to integrate it into the original piece.

 

　As for the beginning sound, he said that his past experience was utilized.

There used to be a mechanical 'beep' sound at the beginning of the piece. At the 1987 NHK Cup, we thought it was just a noise that had been left out, so we cut the 6mm tape and threw it away so that the music would start at the beginning. So we had an official practice, and the bit coach came in and said, 'What happened to the trigger sound?　You can't start the slide without it! He said. He said, "Oh, you need that? I picked up the tape from the trash and reattached it (laughs). It was a good lesson. That's why the beginning of "SEIMEI" had to be devised so that it wouldn't be perceived as noise.

 

Kanako Murakami: "I wanted a crisp sound.

　Other than that, she added sound effects to enhance the musicality and the storyline, as only a figure skating arranger can do.

 

For Kanako Murakami's short flamenco in 2009-10, Michiko Yamada and Mihoko Higuchi requested in detail, "I want hand clapping, foot stomping, and percussion here. We didn't have such a sound source, so we went to Ms. Murakami's flamenco class in Nagoya and had the teachers dance while playing the program music, and recorded the actual sounds.

 

As for Murakami, he added sound effects to the arrangement the following year as well.

 

In the same way, for the free "Mask of Zorro" in 2010-11, I wanted a crisp sound when he swung his sword, so I went to the rink in Nagoya to have him skate to check the timing, and then I added the sword sound from another source.

 

The idea of layering "hand claps for flamenco" and "sword sounds for fighting" was becoming popular in the skating world, thanks to Mr. Yano's editing. However, the more Yano arranged, the more his "dream" came into focus.

 

I've been listening to skaters' music for years, and I had a theory. I had a theory that if they practiced to the music on a regular basis, they would be able to jump at the right time in the game. However, when I listened to the athletes and coaches, they said, "If you make a mistake or fall, then your jump will collapse if you try to force yourself to match the music. Somewhere along the line, I thought it would be great if I could create a piece of work by going through the music, creating a story, and then realizing it as a program.

 

　No matter how elaborate the arrangement, whether the musicality of the music can be utilized depends on the harmony of the players themselves. With this ideal in mind, Mr. Yano came across Yuzuru Hanyu and the program "SEIMEI".

 

The first request I received from Hanyu was for the 2013 free skate "Romeo and Juliet. There was a little noise in the connection, and he said, 'When I'm concentrating and listening with earphones, it bothers me a lot. It was a really small noise, so I could tell how good his ears were and how seriously he was listening. And when I saw Hanyu's performance for the first time, I thought, 'Wow, he's really in tune with the sound!　I knew that listening to the sound and matching it with your body would lead to a good performance.

 

After that, the first real request that came from Hanyu was for "SEIMEI".

 

In the beginning of May 2015, he contacted me and said, "I want to make a freelance film with Yin and Yang. In his case, the request came after he had studied a lot of historical aspects and had a firm idea of what he wanted to play.

 

With other players' songs, I often end up making two or three versions. But Hanyu's request was a different level of commitment.

 

I made version 1 on May 10, and sent him 33 versions from then until June 20. If you include the ones I rejected, there were 42 versions. There is no absolute answer to this question, because it is a completely original work. Even for a single note of the dragon flute, we had to stretch it, change the pitch, and adjust the tempo. I would listen to it the next morning and say, 'Let's fix it!

 

To start with the choreography, we solidified the arrangement of the overall flow.

 

The overall flow of the piece was to start off with the taiko drumming and build it up a bit, then have a quiet part, and gradually build it up towards the end. He is a person who can harmonize with sounds very well, so I made sure to create such a slow and rapid pace.

 

　Once the choreography began in Toronto, he began to receive more detailed requests.

 

When the choreography began in Toronto, I received even more detailed requests: "For the choreo sequence, they said, 'We want to hear the drum sound at the end a little stronger, and we want to hear the rhythm. I looked for a sound that would match the drums and attached them one by one, saying, 'Turn-tatan, turn-tatan. The rhythm is not constant like computer music, but fluctuates, so I had to listen to each one and match it. When I finally finished, I was asked, "Can you shorten this choreo part by one second? So I spent three days reattaching the drum sounds to ....…

 

Small sound effects were also added to make the choreography look more impressive.

 

For the Ina Bauer part, he said, "I want some kind of metal banging sound," so I added a slightly low sound called China cymbal after processing it. Also, before the step sequence, Mr. Hanyu said, "I want some kind of gap between the steps," so I added an impressive sound like a cymbal playing backwards. Similarly, at the end of the step, I added a "cheep" sound. There were many ways to enhance the artistry of the connecting sounds.

 

　The most difficult part was in the second half, where two quadruple jumps followed each other. The most difficult part was the scene with two quadruple jumps in the second half, where the sad melody of the dragon flute is interwoven with the piano sound.

 

Originally, it was a quiet melody with only piano. As I was choreographing, Shay-Lene (Bourne), the choreographer, said, 'There is a melody on the flute that is the same as the piano, so if you could put it on top of it. But the key and tempo of the flute and the piano are different, so I couldn't simply layer them, so I used the piano as a base and created the flute notes one by one and layered them. I think it took me 10 days just for these few seconds.

 

As he slid further in, he was asked to integrate the music with the timing of Hanyu's own slides and breathing.

 

"Hanyu was very particular about the sound of the piano when he jumped the second half of the jump. He said, 'The sound between the second sound and the third one doesn't fit my body well, so can you adjust the third one a little bit earlier?' So I put the sounds back one by one, so that the rhythm of his skating and the music would be integrated.

 

　In recent years, there has been an increase in the use of pinpoint "harmony with sound" like sound effects. However, "SEIMEI" was the first time for Hanyu to take a convincing approach to unify even a single step with the music without compromise.

 

With "SEIMEI", Hanyu has realized my dream of 'harmony with music', which I have been thinking about for a long time. I was in charge of sound during his 300+ point performance at the Big Hat in Nagano in 2015, so I was really excited to see him skating in front of me.

 

The 30-second reduction was "already made in Hanyu's mind.

　At the Four Continents Championships in February 2020, "SEIMEI" will be back for the first time in two seasons. Because of the rule change, he had to make an arrangement to shorten it by 30 seconds.

 

It was January 4, 2020, when I received the call. I was busy preparing for a classical concert that was scheduled to feature Hanyu's program. In his mind, Hanyu had already completed the piece, saying, "I'll cut this part and move this part up. In the final choreo sequence, the tempo was made so fast that it could be heard by ear. I also cut the last repetition in the ending. I'm happy to have won the Four Continents Championships with this version.

 

And now a new legend has begun. This season's program, "Heaven and Earth," was commissioned. For Yano, this new program was an opportunity to reevaluate the relationship between music and skating.

 

He said, "Hanyu himself has chosen the music with historical background in mind, but for me, I listened to "Heaven and Earth" and "The New Tale of the Heike", and picked up the parts that fit musically, to make it as one piece of music. What I felt this time was that Hanyu had a very objective view of how to present himself. For example, he takes a video, watches it, and keeps making minor changes, saying, "I need to make it more like this. I think that's why he can make precise suggestions to me, saying, "I want this part to have this kind of sound. And because he listens to the music so carefully, he is able to grasp the small sounds that are the key to the musicality and express them with his hands and choreography. That's probably the reason why I'm so into the sound.

 

Through his arrangements, he transforms the music into something that fits the players perfectly, just like a custom-made suit. That's the essence of Mr. Yano's arrangement, which is not just a mere joining of songs.

 

This is the essence of Yano's arrangement. I'm in charge of the arrangements and the choice of instruments, but he has a clear idea of the direction he wants to take. I think it's much easier to create a piece when the athlete has a specific image in mind and we can talk directly, not a coach or choreographer.

 

Heaven and Earth" is filled with the feeling that a new legend is about to be carved.

 

If Hanyu is going to win the Beijing Olympics for the third time in a row, I will fully support him, and if he does, I will have nothing left to say (laughs). I hope that the approach of listening to the music of your program, thinking about what you want to express, and practicing to achieve it will become more widespread. For the children who will follow in his footsteps, I want them to pursue what they want to express themselves, rather than just doing a given piece of music or a choreographed performance. I believe that Mr. Hanyu has reminded his juniors that the most important thing is what the athlete himself wants to express.

 

 

[Echuka]

В 22.01.2021 в 15:55, SitTwizzle сказал:

Thank you for the link!

I don't read Japanese but I found the automatic translation by deepl.com quite understandable. Like all automatic translators they tend to mix personal pronouns though.

 

Midori Ito, Shizuka Arakawa... A program arranger from the past talks about Yuzuru Hanyu: "Why does your 'SEIMEI' fit the sound so perfectly?

 

Hanyu performed "SEIMEI" for the first time in two seasons at last year's Four Continents Championships. Mr. Yano was also in charge of the arrangement, which was shortened by 30 seconds to fit the new rules.

 

 

Keiichi Yano has been working as a sound engineer (PA) and program editor for figure skating competitions for over 30 years now. He was also in charge of arranging "SEIMEI", one of Yuzuru Hanyu's most famous programs, and "Heaven and Earth", which was performed at the All-Japan Championships at the end of last year.

　Mr. Yano's first encounter with figure skating was 35 years ago. His first encounter with figure skating was 35 years ago, when he was working for Yamaha as a sound designer for the 1985 NHK Cup. Since then, he had been in charge of sound at major competitions and gained trust, and in 1988, he received his first request to edit the music for a program.

The first piece I arranged was Midori Ito's 1988-89 short program, "The Great Tango. At that time, I was asked to provide a song written by a Yamaha student, and as a sound engineer, I was in charge of recording the full orchestra. At that time, Ms. Michiko Yamada said, 'I want to hear a bang because Midori is going to do a triple axel here,' and I remember very well that I added the cymbal sound of the orchestra.

Shizuka Arakawa was next involved in program editing.

In 2003, there was an exhibition to celebrate the 5th anniversary of the Nagano Olympics, and she said, "The sound at the beginning of Turandot is so low that it's hard to hear. The beginning of the piece was a very small classical piece, and it was hard to hear in the hall.

　 Since then, Yano has been asked to edit music for top athletes such as Daisuke Takahashi, Kanako Murakami, and Shoma Uno. Like Arakawa, he received many requests for "the sound at the beginning of the song.

It is well known among the fans that the sound at the beginning of Yuzuru Hanyu's "SEIMEI" is his own breath.

For "SEIMEI," Hanyu said, "I want a trigger sound, but I want it to be like breath, not an instrumental sound. So I recorded my breath and connected it. Then I asked him if he could send me a recording on his smartphone or something so that I could start at his timing. 3 patterns were sent to me, and I was thinking, "It takes courage for me to choose... I was thinking, 'It takes courage for me to choose...', but I was relieved when Hanyu immediately sent me an e-mail saying, 'I think I'll choose the second one.

 

　(Laughs)" Here, instead of connecting the breath sounds as they were, I tried to be creative.

 

If the sound of the breath is too quiet, it might be dismissed as mere noise in a foreign game. So I put reverb on it so that people would know it was part of the music, and I tried to integrate it into the original piece.

 

　As for the beginning sound, he said that his past experience was utilized.

There used to be a mechanical 'beep' sound at the beginning of the piece. At the 1987 NHK Cup, we thought it was just a noise that had been left out, so we cut the 6mm tape and threw it away so that the music would start at the beginning. So we had an official practice, and the bit coach came in and said, 'What happened to the trigger sound?　You can't start the slide without it! He said. He said, "Oh, you need that? I picked up the tape from the trash and reattached it (laughs). It was a good lesson. That's why the beginning of "SEIMEI" had to be devised so that it wouldn't be perceived as noise.

 

Kanako Murakami: "I wanted a crisp sound.

　Other than that, she added sound effects to enhance the musicality and the storyline, as only a figure skating arranger can do.

 

For Kanako Murakami's short flamenco in 2009-10, Michiko Yamada and Mihoko Higuchi requested in detail, "I want hand clapping, foot stomping, and percussion here. We didn't have such a sound source, so we went to Ms. Murakami's flamenco class in Nagoya and had the teachers dance while playing the program music, and recorded the actual sounds.

 

As for Murakami, he added sound effects to the arrangement the following year as well.

 

In the same way, for the free "Mask of Zorro" in 2010-11, I wanted a crisp sound when he swung his sword, so I went to the rink in Nagoya to have him skate to check the timing, and then I added the sword sound from another source.

 

The idea of layering "hand claps for flamenco" and "sword sounds for fighting" was becoming popular in the skating world, thanks to Mr. Yano's editing. However, the more Yano arranged, the more his "dream" came into focus.

 

I've been listening to skaters' music for years, and I had a theory. I had a theory that if they practiced to the music on a regular basis, they would be able to jump at the right time in the game. However, when I listened to the athletes and coaches, they said, "If you make a mistake or fall, then your jump will collapse if you try to force yourself to match the music. Somewhere along the line, I thought it would be great if I could create a piece of work by going through the music, creating a story, and then realizing it as a program.

 

　No matter how elaborate the arrangement, whether the musicality of the music can be utilized depends on the harmony of the players themselves. With this ideal in mind, Mr. Yano came across Yuzuru Hanyu and the program "SEIMEI".

 

The first request I received from Hanyu was for the 2013 free skate "Romeo and Juliet. There was a little noise in the connection, and he said, 'When I'm concentrating and listening with earphones, it bothers me a lot. It was a really small noise, so I could tell how good his ears were and how seriously he was listening. And when I saw Hanyu's performance for the first time, I thought, 'Wow, he's really in tune with the sound!　I knew that listening to the sound and matching it with your body would lead to a good performance.

 

After that, the first real request that came from Hanyu was for "SEIMEI".

 

In the beginning of May 2015, he contacted me and said, "I want to make a freelance film with Yin and Yang. In his case, the request came after he had studied a lot of historical aspects and had a firm idea of what he wanted to play.

 

With other players' songs, I often end up making two or three versions. But Hanyu's request was a different level of commitment.

 

I made version 1 on May 10, and sent him 33 versions from then until June 20. If you include the ones I rejected, there were 42 versions. There is no absolute answer to this question, because it is a completely original work. Even for a single note of the dragon flute, we had to stretch it, change the pitch, and adjust the tempo. I would listen to it the next morning and say, 'Let's fix it!

 

To start with the choreography, we solidified the arrangement of the overall flow.

 

The overall flow of the piece was to start off with the taiko drumming and build it up a bit, then have a quiet part, and gradually build it up towards the end. He is a person who can harmonize with sounds very well, so I made sure to create such a slow and rapid pace.

 

　Once the choreography began in Toronto, he began to receive more detailed requests.

 

When the choreography began in Toronto, I received even more detailed requests: "For the choreo sequence, they said, 'We want to hear the drum sound at the end a little stronger, and we want to hear the rhythm. I looked for a sound that would match the drums and attached them one by one, saying, 'Turn-tatan, turn-tatan. The rhythm is not constant like computer music, but fluctuates, so I had to listen to each one and match it. When I finally finished, I was asked, "Can you shorten this choreo part by one second? So I spent three days reattaching the drum sounds to ....…

 

Small sound effects were also added to make the choreography look more impressive.

 

For the Ina Bauer part, he said, "I want some kind of metal banging sound," so I added a slightly low sound called China cymbal after processing it. Also, before the step sequence, Mr. Hanyu said, "I want some kind of gap between the steps," so I added an impressive sound like a cymbal playing backwards. Similarly, at the end of the step, I added a "cheep" sound. There were many ways to enhance the artistry of the connecting sounds.

 

　The most difficult part was in the second half, where two quadruple jumps followed each other. The most difficult part was the scene with two quadruple jumps in the second half, where the sad melody of the dragon flute is interwoven with the piano sound.

 

Originally, it was a quiet melody with only piano. As I was choreographing, Shay-Lene (Bourne), the choreographer, said, 'There is a melody on the flute that is the same as the piano, so if you could put it on top of it. But the key and tempo of the flute and the piano are different, so I couldn't simply layer them, so I used the piano as a base and created the flute notes one by one and layered them. I think it took me 10 days just for these few seconds.

 

As he slid further in, he was asked to integrate the music with the timing of Hanyu's own slides and breathing.

 

"Hanyu was very particular about the sound of the piano when he jumped the second half of the jump. He said, 'The sound between the second sound and the third one doesn't fit my body well, so can you adjust the third one a little bit earlier?' So I put the sounds back one by one, so that the rhythm of his skating and the music would be integrated.

 

　In recent years, there has been an increase in the use of pinpoint "harmony with sound" like sound effects. However, "SEIMEI" was the first time for Hanyu to take a convincing approach to unify even a single step with the music without compromise.

 

With "SEIMEI", Hanyu has realized my dream of 'harmony with music', which I have been thinking about for a long time. I was in charge of sound during his 300+ point performance at the Big Hat in Nagano in 2015, so I was really excited to see him skating in front of me.

 

The 30-second reduction was "already made in Hanyu's mind.

　At the Four Continents Championships in February 2020, "SEIMEI" will be back for the first time in two seasons. Because of the rule change, he had to make an arrangement to shorten it by 30 seconds.

 

It was January 4, 2020, when I received the call. I was busy preparing for a classical concert that was scheduled to feature Hanyu's program. In his mind, Hanyu had already completed the piece, saying, "I'll cut this part and move this part up. In the final choreo sequence, the tempo was made so fast that it could be heard by ear. I also cut the last repetition in the ending. I'm happy to have won the Four Continents Championships with this version.

 

And now a new legend has begun. This season's program, "Heaven and Earth," was commissioned. For Yano, this new program was an opportunity to reevaluate the relationship between music and skating.

 

He said, "Hanyu himself has chosen the music with historical background in mind, but for me, I listened to "Heaven and Earth" and "The New Tale of the Heike", and picked up the parts that fit musically, to make it as one piece of music. What I felt this time was that Hanyu had a very objective view of how to present himself. For example, he takes a video, watches it, and keeps making minor changes, saying, "I need to make it more like this. I think that's why he can make precise suggestions to me, saying, "I want this part to have this kind of sound. And because he listens to the music so carefully, he is able to grasp the small sounds that are the key to the musicality and express them with his hands and choreography. That's probably the reason why I'm so into the sound.

 

Through his arrangements, he transforms the music into something that fits the players perfectly, just like a custom-made suit. That's the essence of Mr. Yano's arrangement, which is not just a mere joining of songs.

 

This is the essence of Yano's arrangement. I'm in charge of the arrangements and the choice of instruments, but he has a clear idea of the direction he wants to take. I think it's much easier to create a piece when the athlete has a specific image in mind and we can talk directly, not a coach or choreographer.

 

Heaven and Earth" is filled with the feeling that a new legend is about to be carved.

 

If Hanyu is going to win the Beijing Olympics for the third time in a row, I will fully support him, and if he does, I will have nothing left to say (laughs). I hope that the approach of listening to the music of your program, thinking about what you want to express, and practicing to achieve it will become more widespread. For the children who will follow in his footsteps, I want them to pursue what they want to express themselves, rather than just doing a given piece of music or a choreographed performance. I believe that Mr. Hanyu has reminded his juniors that the most important thing is what the athlete himself wants to express.

 

 

Thank you!

[SeimeiOrigin]

What are they saying about Yuzu?

Saw this video and they are talking about Yuzu but I have no idea what they are saying. Looks funny though cause the laughter is genuine.

Has anybody created a sub for this video, do you know?

please. Thank you.

[SeimeiOrigin]

This looks like a great conversation  Would love to see if there is a translation. Cheers. Thank you.

 

 

 

 

[Umebachi]

On 3/25/2021 at 3:04 AM, SeimeiOrigin said:

What are they saying about Yuzu?

Saw this video and they are talking about Yuzu but I have no idea what they are saying. Looks funny though cause the laughter is genuine.

Has anybody created a sub for this video, do you know?

please. Thank you.

 

This was a fun video to watch - it will take a bit of work to translate/sub.  But I can try later, when I have more time... 

[SeimeiOrigin]

Hi Everyone. Wondrring if you know of any Subs for this video?: Thanks