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EIGHT-JAM 2025年2月16日 ハモリがスゴい名曲特集
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00:00KONYA NO EITO JAM WA
00:07Hamori Ga Sugoi Meikyoku Tokushuu
00:14Oshiete Kureru Noha Hamori Ni Seitsuushita Kono Sankumi
00:18Dewa Sassoku Puro Ga Unatta Hontou Ni Sugoi Hamori no Meikyoku wo Dozo
00:25The song that Miu chose for the first time in a long time.
00:30It's a great harmony of two men and two women.
00:34Awesome City Club. Don't forget it.
00:41Ah, it's a great song.
00:55It's a good line even if it's just a harmony, but it's a unique line that says,
01:05Is this how the harmony of the chorus came about?
01:09I can feel the sharpness of the musician.
01:13It's a little perverted line.
01:17Now, pay attention to the harmony of the chorus.
01:25In this world
01:30Like a flower waiting for the spring breeze
01:37If there is a light called you
01:42I can make it bloom beyond the spinning sea
01:51I'll let go of the flower of love
02:04Next is Yosuke Uematsu, who is in charge of the chorus of various artists such as Ai and Yuu Sakai.
02:12I chose the chorus that suddenly becomes an instrument.
02:17Kobukuro Sakura
02:22Oh, that's great.
02:26Kobukuro-san is no exception.
02:29The greatness of this song is that the two of them harmonize, but the chorus does not harmonize at all.
02:38Mr. Kobuchi suddenly becomes an instrument.
02:41It's like magic that makes you want to imitate it.
02:48You and someone's future
02:53I'm looking at the spring breeze
02:59Every time the cherry blossoms fall
03:05Another unreachable feeling
03:11Erased by tears and smiles
03:17And then I became an adult again
03:22When everyone sings in karaoke, everyone sings the chorus without singing the cherry blossoms.
03:28I want to do it.
03:31Next is the harmony of the two female vocalists representing Japan.
03:42Ritoguri Asahi chose the song.
03:45Romantic solo version of the harmony of Sina Ringo and Utada Hikaru
04:02When harmonized, the good quality of each voice stands out, but the space between the two is very nice.
04:14From the last chorus to the last, the harmony of the two singing together is the best.
04:32I want to evolve myself forever.
04:38The more you know the answer
04:46I'm just being thrown away.
04:49It's not a thing
04:54I just want to live.
05:07The next contestant is Keisuke Yoshida, who is also the chorus director of Ritoguri, one of the members of the a cappella group INSPI.
05:18Inoue Yosui's harmony at the end of the summer
05:27The whisper of today and the voice of yesterday
05:39The harmony of the chorus is a melody line like Tamaki Koji and Inoue Yosui.
05:47It's a song that you can't hear the harmony in the sub-characters.
05:52It seems that the two lines are conscious of each other and hug each other with a singing voice.
06:06The focus is on the powerful harmony that makes you think that both are shumero.
06:13I'm just wandering in the night sky.
06:26Because I love you more than anyone else.
06:37The harmonization of the two voices is amazing.
06:41It's a world where everyone knows that the voice and the voice move side by side.
06:53It's not enough without one or the other.
06:58Everyone should think so.
07:00The arrangement itself can be done well.
07:03Ritoguri Karenga's first song, Reiwa Karaoke Hamori Teppankyoku
07:09Mrs. Green Apple, Tenryou no Uta featuring Inoue Sonoko
07:14I'm getting loose with your voice.
07:21My heart says I don't want to forget.
07:28In this song, which depicts the painful love of a man and a woman,
07:33he expresses the fine emotions of the man and the woman in his singing style.
07:40Mr. Omori and Mr. Inoue in the chorus.
07:43The super-difficult harmony is overwhelming.
07:52Let's listen to the chorus.
07:55Don't disappear forever.
08:01This feeling will never change.
08:05Forever and ever.
08:11I want you to continue.
08:17I can't take your hand.
08:24I'm being embraced by the passing moment.
08:30Where is the super-difficult part of this harmony?
08:36We'll talk about it later in the studio.
08:39Ritoguri Yumi's first song.
08:42Hamori's voice has a great synchronicity.
08:45HYAM 11 o'clock
08:49Wake up.
08:52This is it.
08:58Open the window.
09:01A gentle breeze blows through your hair.
09:08The most comfortable harmony is when the voice and the voice are in sync.
09:16In the chorus, the vocalist Shinzato and Nakasone have a great synchronicity of their voices.
09:28Pay attention to the chorus.
09:31Before it's dyed.
09:34This feeling.
09:37Let's go.
09:38So please stay by my side.
09:44I like you because you don't give it to me.
09:48I hope this feeling reaches you.
09:53I hope your wish comes true.
09:58Is it difficult?
09:59It's difficult.
10:01In fact, there is a great technique hidden in the way this voice is harmonized.
10:07That is...
10:10Hamori harmonized to 100% synchronicity and singing habits.
10:15I don't know which is the main part.
10:20In addition to singing in the same volume,
10:25Shinzato's main part and Nakasone's harmony part are harmonized.
10:30The point is to harmonize the way you sing and the way you breathe.
10:35I try to harmonize as much as possible.
10:38So please stay by my side.
10:42I try to harmonize the way I sing.
10:46So please stay by my side.
10:51The two of them have a perfect harmony.
10:56It's a perfect harmony of detailed work.
11:02I want to be beautiful.
11:04Actually, it's us.
11:07I'm glad.
11:09It's a luxury.
11:11I want to hear it.
11:13I, Karen, will sing Shinzato's main part.
11:18Yumi will sing Nakasone's harmony part.
11:22Let's see how the main part and harmony part are harmonized.
11:27Karen and Yumi will perform.
11:30I'll start with my main part.
11:33Yes, please.
11:35So please stay by my side.
11:42I love you.
11:46I hope this feeling reaches you.
11:51I hope my wish comes true.
11:56It's a perfect harmony.
12:00Yumi will sing Nakasone's harmony part.
12:03Yes, please.
12:06So please stay by my side.
12:13I love you.
12:22I hope my wish comes true.
12:28It's a perfect harmony.
12:31It's a perfect harmony.
12:34It's a perfect harmony.
12:36It's a perfect harmony.
12:37So please stay by my side.
12:44I love you.
12:48I hope this feeling reaches you.
12:53I hope my wish comes true.
12:58It's a perfect harmony.
13:00It's a perfect harmony.
13:02It's a perfect harmony.
13:04I was impressed.
13:06When I heard each of them, I realized how they sing.
13:09The main melody is lower.
13:11So please stay by my side.
13:13I realized how low the note is.
13:15I thought it would be difficult to harmonize.
13:18You ignored the melody.
13:23You ignored the melody.
13:29I listened to the melody.
13:31Didn't you listen to the melody?
13:33I memorized the melody first, then harmonize it.
13:38You listened to the melody first, then harmonize it.
13:42If you get hit on the side, you'll be taken to a more stubborn side, right?
13:49At first, I wasn't really good at harmonies.
13:53I was like, I'm not confident.
13:55But Ritoguri was there.
13:57He was the one who started it.
13:59Yoshida-san, you've been watching him for a long time, right?
14:02That's right. I've been watching Ritoguri since I was in high school.
14:07I wrote songs for him and taught him.
14:10So you practice and train, and somehow you get the skills for harmonies?
14:15Practice, training, and explosion.
14:17Explosion.
14:21Next up is a song from Mrs. Green Apple, a karaoke song.
14:27This song's super difficult harmonies are...
14:33The harmonies that change every note.
14:37This is also a song that young people sing in karaoke.
14:41You're a young person, too.
14:43I think it's a song like that.
14:46It's a song that's only for two men and two women.
14:49When you listen to it, it's pretty easy to hear.
14:52It's a song that has a lot of changes.
14:57The moment Hinoe-san's top and Omori-san's bottom change,
15:02it comes back.
15:04At the same time, it's only one note.
15:09Actually, this song has a part where the harmonies change every note.
15:34Even if I can't go back,
15:39I'm being embraced by the passing moment.
15:46You're going to perform this, too?
15:49Yes, Karen-chan and Miyu-chan.
15:52Let's see how the harmonies actually change.
15:591, 2, 3.
16:02Forever and ever.
16:08I want it to continue.
16:14Even if I can't take your hand,
16:20I'm being embraced by the passing moment.
16:27That's great.
16:30You're good.
16:40Miyu-chan, please.
16:44Forever and ever.
16:50I want it to continue.
16:56Even if I can't take your hand,
17:03I'm being embraced by the passing moment.
17:12The part where the harmonies change every note.
17:17Even if I can't take your hand,
17:23I'm being embraced by the passing moment.
17:33The harmonies change every note.
17:38Forever and ever.
17:41Even if I can't take your hand,
17:45I'm being embraced by the passing moment.
17:50You can do it well while talking.
17:52It's like a hippopotamus.
17:54While talking.
17:56This will match, right?
17:58Yes.
18:001, 2, 3.
18:02Forever and ever.
18:08I want it to continue.
18:14Even if I can't take your hand,
18:21I'm being embraced by the passing moment.
18:28That's good.
18:30That's good.
18:32Are young people singing this?
18:34Yes.
18:36I wonder what young people are doing now.
18:38I often see men and women singing at cultural festivals.
18:42That's good.
18:44A professional vocalist.
18:46A great harmony.
18:48Next is...
18:50YUNDA's song.
18:52YUNDA's perfect harmony.
18:57YUZU's rainbow.
19:04YUNDA's harmony.
19:07YUNDA's harmony.
19:24YUNDA's harmony.
19:26Everyone wants to sing in chorus parts.
19:30I felt comfortable in B melody.
19:34The part of being
19:37It was the moment when I felt the comfort of the harmony by perfectly matching the main singing style with a habit that was like a mess.
19:48Then pay attention to the B melody
20:04It's always a matter of how to face it.
20:08It exists.
20:10It's amazing.
20:12Let's do it again.
20:14I'm repainting you.
20:16There are weak bugs in everyone's heart.
20:18It's always a matter of how to face it.
20:20It exists.
20:22It's always a matter of how to face it.
20:24It's always a matter of how to face it.
20:26YOSHIDA's selection
20:28Live Kanbaizou
20:30Hamori's love hand
20:32Ayaka, Kogukuro, Wine Ring Road
20:35Even if I can't love everything
20:40With my heart as it is
20:45There's only one thing
20:51I love you
20:53Koguchi-san puts in a love-like harmony to Ayaka-san's main.
20:59Because of that, the song has more momentum.
21:01It's a famous song with a harmony that emphasizes the rawness of the live performance.
21:09Here's the harmony's love hand.
21:16It's always a matter of how to face it.
21:23It's always a matter of how to face it.
21:26It's still far away.
21:29Even if I can't see it, one step at a time.
21:33Let's just believe in that.
21:42How will the song change in Hamori's love hand?
21:47I'll explain in more detail later.
21:50Next, Uematsu's choice.
21:55Hamori's rap that emphasizes the lyrics.
21:59Night Play Idol
22:09In the second rap part, Ikura-san is adding another line of rap to his own rap.
22:16It's a wonderful Hamori arrangement that emphasizes the dark lyrics.
22:38Now, let's look at Hamori's rap that emphasizes the lyrics.
22:46Hamori's rap that emphasizes the lyrics.
22:50Hamori's rap that emphasizes the lyrics.
22:55Hamori's rap that emphasizes the lyrics.
23:12In this song, you're talking like this.
23:15You're talking like this.
23:17You're talking like this.
23:19You're talking like this.
23:21You're talking like this.
23:24Did Ikura-chan come up with this?
23:27Did Ikura-chan come up with this?
23:30Did Ikura-chan come up with this?
23:33That's because he's doing it with his own voice.
23:37Ritoguri and Karen's choice.
23:40Hamori's unique unison.
23:43King Gnu, I'm sure.
23:54King Gnu, I'm sure.
23:59In the chorus, Iguchi-san and Tsuneta-san are harmonizing in unison.
24:04The amazing thing about this song is that it's not just a normal unison.
24:15What is unison in the first place?
24:24Ah.
24:28In this way, you can sing with the same pitch as the main.
24:34In the chorus of the day,
24:37It is said that it is based on a special unison.
24:41In this way, it is said that it is based on a special unison.
24:46In this way, it is said that it is based on a special unison.
24:52The most memorable part of the song is the chorus.
24:57The most memorable part of the song is the chorus.
25:02The most memorable part of the song is the chorus.
25:14What is its special unison?
25:19A three octave unison that gives off a dreamlike floating feeling.
25:25An octave unison is, for example,
25:28if it's a C, it's a C.
25:30The octave unison is when you do the same movement with this octave.
25:37But for this Hakujitsu, it's a three octave unison in the chorus.
25:42For Iguchi's part,
25:46Tsunetsuna-san is in the octave below.
25:51I think it's only in the recording,
25:54but in the other octave,
25:56Iguchi-san is in the other octave,
26:00and it becomes a three octave unison.
26:05If it's really three octaves, it's pretty severe.
26:09If it's just a little off, it sounds pretty dirty.
26:14It's a song that's really dangerous.
26:17Is that so?
26:19Did you do this in 3rd grade?
26:23Yes, I did.
26:25Can you do such a reckless thing?
26:28The top three octaves are Mika,
26:32and the main Iguchi's part is Mayu,
26:36and the lowest octave is Uematsu-san.
26:39Tsunetsuna-san, please.
26:42At the beginning of the chorus,
26:44let's pay attention to the fantastic,
26:46floating 3rd voice of the 3 octave unison.
27:08That was cool.
27:10That was the best.
27:13With this 3 octave unison harmony,
27:16a sense of floating is born,
27:18and it becomes a more fantastic song.
27:23Next is the winding road,
27:25where the harmony's love is amazing.
27:28First, let's listen to the harmony's love one more time.
27:58Let's just believe in that.
28:07The harmony's love,
28:09where the main Iguchi repeats the same phrase.
28:12With this, the feeling of the live
28:14and the momentum of the song are increased.
28:17The three of them have their own personality,
28:21and it's their turn.
28:23When they don't interfere with the song,
28:26they shine and look alive.
28:29It's well-balanced.
28:31Can you do something like Ari-nashi?
28:34Ari-nashi.
28:36That's amazing.
28:39Let's see how much the live
28:42is different from Ari-nashi.
28:45From Nashi.
28:47Nashi.
28:56The small light of many things we know
29:01Even if it's still far away and invisible
29:06One step at a time
29:08Let's just believe in that.
29:17It's too good.
29:19You don't need it.
29:20I don't need it.
29:23I don't need it.
29:25It's a judge change.
29:27But it's getting better.
29:29It's a good cover.
29:31It's nice.
29:33It's more lively.
29:35Can you add toppings?
29:37Toppings?
29:38I'll do it.
29:41One, two, three.
29:44The small light of many things we know
29:49Even if it's still far away and invisible
29:55One step at a time
29:57Let's just believe in that.
30:09This is good.
30:11This is good.
30:13It's good.
30:14It's good.
30:15If you do that in a group,
30:17the camera will go there.
30:19When I sing with Yasu,
30:23I'm the main melody.
30:25Yasu is the harmony.
30:27The harmony is so good
30:29that the camera goes to Yasu.
30:31Really?
30:33I see.
30:34That's a good point.
30:38I'm the main melody.
30:40The main melody.
30:41There's more.
30:43A great song with a great harmony.
30:47Uematsu chose the harmony
30:49that changes up and down.
30:52What is it?
30:53Mongol 800.
30:54A song of small love.
30:59It's a hit.
31:00It's been a while.
31:01It's been a while.
31:02I used to sing it in karaoke.
31:04I used to sing it in karaoke.
31:07When you sing it in karaoke,
31:09you want to harmonize.
31:11The harmony line is far away.
31:13It becomes unison.
31:15It suddenly becomes far away.
31:17It's difficult.
31:19That's why it's so refreshing
31:21when you harmonize.
31:31Now,
31:32pay attention to the harmony line
31:34that changes up and down.
32:04The harmony line changes up and down.
32:18Next,
32:19Masaki Imai,
32:20who is in charge of the chorus,
32:22chose the chorus
32:24that is one-and-only.
32:26Yumi Matsutoya's
32:27Love in Spring.
32:31Here it comes.
32:34Love in Spring
32:41This song
32:42has a special way of harmonizing.
32:45It's a chorus arrangement
32:47where words are piled up
32:49like blocks with a chord tone.
32:52It's a one-and-only chorus
32:54that is established
32:56because of Yumin's voice.
33:00Chord tone
33:02This song's chorus
33:04is an arrangement
33:06where Yumin's voice
33:08is piled up.
33:12Now,
33:13pay attention to Yumin's
33:15one-and-only chorus.
33:32Love in Spring
33:43Yoshida's Chorus
33:45It's a super-difficult harmony
33:47where the roles change violently.
33:49Little Green Monster
33:50Up to Me
34:02Love in Spring
34:07The highlight of Little Green's
34:09upper song is
34:10the harmony where the main part
34:12changes violently.
34:14By doing so,
34:15it makes the song more
34:17exciting.
34:19I think this is a technique
34:21that Little Green can do.
34:25Details will be explained
34:27in the studio later.
34:28Love in Spring
34:32Now,
34:33pay attention to the super-difficult harmony
34:35where the roles change violently.
34:37Love in Spring
35:02Love in Spring
35:20Uematsu's Chorus
35:22Amin Matsuwa
35:24He doesn't dare to approach.
35:26Amin Matsuwa
35:28The sound doesn't change.
35:30Amin Matsuwa
35:32He doesn't dare to approach.
35:34Amin Matsuwa
35:54Amin Matsuwa
35:56It is said that harmony
35:58is beautiful when singing
36:00in harmony,
36:02but in Amin Matsuwa's A melody,
36:04the harmony doesn't match at all
36:06and continues to sing in a straight melody.
36:08On the contrary,
36:10it expresses the difference
36:12in love.
36:14I felt that it was an incredible technique.
36:16Amin Matsuwa
36:24Now,
36:26pay attention to the harmony
36:28that doesn't match at all.
36:48Now,
36:50what is the harmony
36:52that doesn't match at all?
36:54Amin Matsuwa
36:56At first,
36:58Amin Matsuwa
37:00pretended to be cute
37:02and said,
37:04Amin Matsuwa
37:06At that time,
37:08Amin Matsuwa
37:10had a lot of hair.
37:12Amin Matsuwa
37:14I didn't know
37:16Amin Matsuwa
37:18that it was possible
37:20to harmonize so much.
37:22Amin Matsuwa
37:24I thought
37:26that little vibrato
37:28was a good harmony.
37:30But he split up
37:32and sang in a straight melody.
37:34Amin Matsuwa
37:36Suddenly,
37:38Amin Matsuwa
37:40sang in a straight melody.
37:42On the contrary,
37:44it was a melody that
37:46went from one note to another.
37:48It's like drawing a picture of two people passing by each other.
37:53I see.
37:54I think it's very effective when two women are singing about the feelings of one woman.
38:03It's like expressing the feeling that there is another woman who is not honest and patient.
38:12I see.
38:13I think it's an arrangement that makes you feel like you're being shaken up suddenly.
38:21Can I go here?
38:24Can I?
38:25Oh.
38:26Kane-chan.
38:27Really?
38:28Let's get closer.
38:29Let's get closer.
38:30Let's go one by one.
38:34I'll go first.
38:37Yes, Kane-chan.
38:38She expresses the feelings of a woman by using harmonies and unisons.
38:51Let's see how each part is sung.
38:55First, Karen Ritoguri performs.
38:59One, two, three.
39:01Ittari kitari surechigai anata to watashi no koi.
39:08Itsuka doko ka de musubareru tte koto wa towa no yume.
39:16Yes.
39:18It's the main melody.
39:20Next, the lower line.
39:22Yes, please.
39:26Ittari kitari surechigai anata to watashi no koi.
39:33Itsuka doko ka de musubareru tte koto wa towa no yume.
39:41I see.
39:43Let's do it together.
39:47I'll go.
39:49One, two, three.
39:51Ittari kitari surechigai anata to watashi no koi.
39:58Itsuka doko ka de musubareru tte koto wa towa no yume.
40:06It's the dream of eternity.
40:09It's amazing.
40:11It's the feeling of pity.
40:15Next, Ritoguri's up-to-me.
40:22It's not just the lead.
40:25There's a chorus, too.
40:27It's very precise.
40:29It's amazing.
40:31There are six members.
40:33I'll show you how amazing it is.
40:37I'm glad.
40:39It's amazing.
40:46I sang while raising my hand to make it easier to understand.
41:02I don't usually watch singing programs.
41:04That's right.
41:06One, two, three.
41:09Okidari ni shiteite tobi ni reaction.
41:11Arata no mukouke introduction.
41:14Ritoguri's up-to-me.
41:21Ritoguri's up-to-me is a great song with a great harmony.
41:26It's a very difficult harmony with a strong main.
41:33I'll start.
41:35Yes.
41:37One, two, three.
41:39Ritoguri's up-to-me.
41:45Okidari ni shiteite tobi ni reaction.
41:47Arata no mukouke introduction.
41:49Ritoguri's up-to-me.
41:51Let's run.
41:53Yes.
41:55The story has already begun.
41:57Ah, I'm locked up.
41:59The cry of my heart.
42:01It's time to release.
42:03I want to connect.
42:05This miracle.
42:07The last courage.
42:09Ah, in an irreplaceable moment.
42:13Let's run.
42:21Great.
42:23Great.
42:25It's very unstable.
42:27That's right.
42:29That's right.
42:31It's strange.
42:33The part that needs to be hidden.
42:35Immediately.
42:37The highest sound.
42:39Lead.
42:41That's right.
42:43This song has a very detailed main.
42:47The distance of the microphone.
42:490.1 second.
42:51I'm talking.
42:53I'm getting closer.
42:55By the way, this is.
42:57Six people.
42:59What pitch did you sing?
43:03Let's do it again.
43:05Other than the main.
43:07How much has the role changed?
43:09Please take a look.
43:131, 2, 3.
43:15I don't want to regret it.
43:17I'm not as weak as I think.
43:21Tobi ni reaction.
43:23Arata no mukouke introduction.
43:25Run.
43:27Bokura kakeagarou.
43:29Kakedasou.
43:31Monogatari wa hajimatta.
43:33Tojikometa kokoro no sakebi.
43:37Tokihanatsu sono toki da.
43:39Tsunagetai.
43:41Kono kiseki wa.
43:43Kanaeta.
43:45The last courage.
43:47Ah, in an irreplaceable moment.
43:49Let's run.
43:53I can do it because it's a group.
43:55Really.
43:57Main.
43:59Main.
44:01Main.
44:03Main.
44:05The instrument has changed.
44:07Strings.
44:09Piano.
44:11I'm the only one.
44:13It's a miracle of six people.
44:15It's amazing.
44:23Next week.
44:25We will meet again here.
44:27This week also,
44:29Terasa Tver broadcast.
44:31Next week,
44:33A young classical star
44:35who is active in the world will appear.
44:49If these four people have a concert,
44:51it will be sold out everywhere.
44:55Did you go to school today?
44:57Everyone is sick.
44:59The school is closed.