Girls, dance, staircase
| Girls, dance, staircase | ||||
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| Soundtrack by Kensuke Ushio and Akito Matsuda | ||||
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Publication |
April 25, 2018 |
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admission |
2017-2018 |
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| Label (s) | Lantis | |||
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Format (s) |
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Title (number) |
47 (on 2 sound carriers) |
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running time |
62 min 27 sec (CD 1) |
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| occupation |
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Kensuke Ushio, Shigeru Saito, Terushige Yoshie |
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Studio (s) |
Maruni Studio , Tokyo |
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Girls, Dance, Staircase , complete title Liz and the Blue Bird Original Soundtrack: Girls, Dance, Staircase is the official soundtrack of the Japanese animated film Liz and a Blue Bird from 2018. The soundtrack was released on April 25, 2018 for the first time on two CDs released; it was released on record on September 14th of the same year.
The soundtrack comprises a total of 47 tracks and has a total length of one hour, 43 minutes and 49 seconds. The 38 tracks on the first CD were recorded and produced entirely by Kensuke Ushio , while the nine tracks on the second CD were arranged by Akito Matsuda . Matsuda was supported by a small orchestra .
Production and Background
The film has two composers: Kensuke Ushio , who composed and recorded the film soundtrack for A Silent Voice in the past , was responsible for the minimalist background music for the scenes in the school , while Akito Matsuda , composer of the music from the sound! - Euphonium franchise, which composed background music for the fairy tale Liz and a Blue Bird shown in the film . The music was written before the animation production began. The keyframe animation was started after the music was finished so that they complement each other. The scenes with Ushio's music were particularly difficult to animate because he recorded the sound of the characters' steps as part of his music and the movements of these had to be perfectly synchronized with the music; The goal was to " bring visualization , music and the sound of the steps into a perfect balance."
In contrast to A Silent Voice , where Ushio was brought on board late, he worked with Liz and a Blue Bird on the film from the first days of production. So it was possible for him to help director Naoko Yamada to develop her own vision of the film.
"When I read the script, I thought this was a very personal story; a story that should remain hidden from everyone else. If such adolescent feelings, so very delicate like glass, were to be known to others, I think that those girls would truly become unable to build connections with others later in life. So I wanted the music to be like holding your breath, secretly watching. There's also the fantastic concert band music that Matsuda composed. I thought this music was what you should find yourself humming after watching the film, so I tried to make sure I didn't bring the melody out too much in the film music. That's why I decided to go with this unconventional method of composition. "
“When I read the script I thought this was a very personal story; A story that should remain hidden from everyone. If such feelings of growing up, as delicate as glass , were revealed to others, I think that later in life these girls will become truly unable to make connections with other people. That's why I wanted the music to be so that it takes your breath away. There is also the fantastic music for wind orchestra that Matsuda wrote. I thought this music should be the one that you hum when you saw the movie, so I tried not to bring the melody out too much in the score. That's the reason why I decided to use an unconventional way of composing this film. "
For the recordings of the film music, Yamada and Ushio visited a real school on which the location of the film is based, where Ushio recorded his own footsteps, used the existing objects in various ways and later integrated these noises into the film music. Yamada later said that she "couldn't stop laughing" while Ushio was recording. To compose the pieces, Yamada and Ushio used the décalcomanie method, in which ink is spilled on sheet music, which is then folded up and the result is processed into the later music. He described this method as a way of representing the differences between the two protagonists and their gradual drift apart. He developed part of the soundtrack in the conventional way.
"We took that and used that as the base for the soundtrack as well so that's one of the reasons why it ended up with such a nostalgic tone to it. Within the decalcomania you'll see different objects, the beaker, the piano, the desk scraping sound. For example, the footsteps are synchronized to the music. The footsteps had an actual tempo. The tempo is 99, 100, 101. These are coprime numbers. The footsteps tempo is always a coprime number but also we slightly moved the tempo because we are humans and not robot. So at the very end of this film, you saw the happy on screen situation - I cannot remember the tone but the footsteps are completely synced. Just the footsteps. So something that happened that even I didn't expect is the footsteps ended up in sync together and for them they never expected that. It felt like a genuine miracle that that happened. It was a joint moment. "
“We took that and used that as the basis for the soundtrack, which is one of the reasons it has a nostalgic tone to it. In the Décalcomanie you will see a wide variety of objects, the beaker , the piano , the scratchy sound of a desk . For example, the footsteps were synchronized with the music. The steps were at a certain pace. This is 99, 100, 1010. These numbers are prime . The pace of walking is always coprime, but we've shifted this a bit because we're humans and not robots. At the end of the movie you saw the happiness on screen - I can't remember the tone, but the steps were completely in tune. Just the steps. What I didn't expect myself is that the steps would be completely in sync. It felt like a real miracle that this happened. It was a shared moment. "
The production team hired Saito Shigeru as producer , Yôta Tsuruoka as sound director and Ōwara Masahiro as supervising director of the brass band. The band Homecomings provided the title song of the film with Songbirds , which can be heard in the credits of the film. In the credits there is a second piece with Girls, Dance, Staircase , which was composed by Ushio and has lyrics by Naoko Yamada. Yamada had a boy soprano sing the song.
Track list
| CD 1 | ||
|---|---|---|
| No. | title | length |
| 1. | wind, glass, bluebird | 05:53 |
| 2. | chairs (not used in the film) | 00:56 |
| 3. | secret, green, steps | 01:55 |
| 4th | slow, slow, | 00:50 |
| 5. | flute, girls, I | 00:37 |
| 6th | room, me, you | 01:16 |
| 7th | reminiscence (not used in the film) | 01:18 |
| 8th. | doublelead, girls, I. | 00:48 |
| 9. | doublelead, girls, II | 00:20 |
| 10. | library, with, without | 01:49 |
| 11. | flute, girls, II | 00:36 |
| 12. | lesson room (not used in the film) | 01:44 |
| 13. | aquarium, eyes | 00:37 |
| 14th | reflection, allegretto, you | 01:20 |
| 15th | décalcomanie, everything, but | 01:45 |
| 16. | linoleum, flute, oboe | 01:07 |
| 17th | off white, | 01:24 |
| 18th | glass trees (not used in the film) | 02:07 |
| 19th | doublelead, girls, III | 00:26 |
| 20th | doublelead, girls, IV | 01:01 |
| 21st | seesaw, | 00:59 |
| 22nd | décalcomanie noise (not used in the film) | 01:04 |
| 23. | doublelead, girls, V | 01:10 |
| 24. | décalcomanie, 3rd, window | 01:05 |
| 25th | doublelead, girls, VI | 00:51 |
| 26th | flare fragments (not used in the film) | 01:50 |
| 27. | décalcomanie, left, breaker | 01:39 |
| 28. | décalcomanie, right, breaker | 01:43 |
| 29 | corridor, no, | 00:56 |
| 30th | black, stand, covered | 02:17 |
| 31. | tones (not used in the film) | 01:29 |
| 32. | surround, test tubes | 00:19 |
| 33. | secret, love, steps | 02:04 |
| 34. | stereo, bright, curve | 02:02 |
| 35. | décalcomanie, surround, echo | 05:30 |
| 36. | cadence | 02:28 |
| 37. | wind, glass, girls | 04:37 |
| 38. | girls, dance, staircase | 02:35 |
| Overall length: | 62:27 | |
| CD 2 | ||
|---|---|---|
| No. | title | length |
| 1. | The beginning of the story | 01:32 |
| 2. | Repeating Days | 03:58 |
| 3. | The World of Liz and the Girls | 02:46 |
| 4th | Liz and the Bluebird Mov.1 "Ordinary Days" | 04:56 |
| 5. | Liz and the Bluebird Mov.2 "A New Family" | 05:01 |
| 6th | Liz and the Bluebird Mov.3 "A Decision of Love" | 06:27 |
| 7th | Liz and the Bluebird Mov.4 "To a Distant Sky" | 05:54 |
| 8th. | Liz and the Bluebird (Competition Arrangement Ver.) | 08:45 |
| 9. | Mizore and Ririka's Oboe Practice Song | 02:03 |
| Overall length: | 41:22 | |
success
In the week of April 25, 2018, the film soundtrack entered the Japanese album charts at number 47 and stayed in the charts for a total of eight weeks.
Individual evidence
- ↑ a b girls, dance, staircase. VGMDB.net, accessed April 7, 2019 .
- ↑ a b c d "監督 を 務 め る と な っ た と き の お 気 持 持 ち を お 聞 か せ く だ さ い". Liz and a Blue Bird Official Homepage, accessed April 7, 2019 (Japanese).
- ↑ a b c d "INTERVIEW: The Brilliant Mind Behind the Music of Liz and the Blue Bird, Kensuke Ushio". Crunchyroll , November 7, 2018, accessed April 7, 2019 .
- ↑ a b c "Liz and the Blue Bird Composer Interview: agraph (Kensuke Ushio) - The Quiet and The Hidden". ATMA & Funomena, July 4, 2018, accessed April 7, 2019 .
- ↑ "『 リ ズ と 青 い 鳥 』メ イ キ ン グ Vol.2 童話 パ ー ト「 リ ズ と 青 青 い 鳥 」音 楽 編". Kyōto Animation Youtube, April 20, 2018, accessed April 7, 2019 (Japanese).
- ↑ "『 リ ズ と 青 い 鳥 』メ イ キ ン グ Vol.8 音 楽 シ ー ン 編 集 編". Kyōto Animation Youtube, May 8, 2018, accessed April 7, 2019 (Japanese).
- ^ "Liz and the Blue Bird Composer Interview: agraph (Kensuke Ushio) - The Quiet and The Hidden (page 2)". ATMA & Funomena, November 7, 2018, accessed April 7, 2019 .
- ↑ Chart tracking: JP