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turnaroundroundround · 3 years ago

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Morimyu in Classical reference

So, as for the fact that music in Morimyu Op. 3 resembles classical music in both progression and musical technicality, it's interesting how it's possible to keep coming up with different interpretations after re-watching the musical again and again.

I've made a thread on twitter about this before, but 1) word limitations and thread will never be enough to list all that I have to say lol 2) I'd prefer to have a fuller version noted down, especially one that I can edit and keep coming back over and over again when ever I come up with something new.

Either way, I am still (lol) not a pro in music theory and music history as well. All that is written here are based on my very very basic knowledge on music as well as something that I've picked up (and discussed) with my friends after watching Op. 3.

What's the point of this?

Why is it important? Lol I always need this to keep myself from writing off-topic but anyways. Why do the music sound good (except for the fact that because it does lol), and what do they represent? Surely there must be, and there always are, other things that are implied not only through the lyrics but also the music, and the flow in general.

Apart from the lyrics and the lines, it's also quite interesting to have a close look at the music - melody and harmony itself - to see how they portray the stories.

Most importantly, the continuality. How did Morimyu manage to insert so many songs and still managing to connect them as a whole? And how did they use music to go beyond what's on the pages? That's the most important thing about musicals - beyond the pages. We don't see stage or anime doing so very often, as they mainly focus on what's already there, bringing them to life as close as possible to how we imagine things might happen.

As for musical, they have the music. They have the arias and the songs. At some point, a character starts singing, and other characters followed suit. They have their very unique way of expressing the plot, and they have the orchestra, the arias where characters get their solo song, and the duets between characters with strong relationships, and the ensemble which emphasizes the plot, and so on.

A funny thing about duets in classical opera, they're often meant to show lovers' relationship because of the harmony but can also use opposition and all to show enemies' relationship. And in SherLiam's duet it's just both of them at the same time - thoughts connected while engaging in a chase, a hide and seek game of mystery. We'll go into that later.

Back to the topic. Morimyu follows the main plot strictly, but also uses their advantage with music to add all the side details that wasn't told in the manga to create a "complete" view of the plot. It is always available for musicals to do something unexpected (like how we never expected Lestrade's puppet show to be a whole 5 mins long piece lol). And where they did that they added arias and duets, they allowed moments where characters express and developed their emotions as well as going with the plan (yes Albert yessss). Of course there's both a good and bad side to this all the while.

💛 The good thing is they went all the way to show us sides of emotions that we don't see much in the manga or stage, the sides of the story that all of them have kept hidden while focusing on their grand plan. 💛 But then it does get too emotional at some point, especially those who came for the plot and the mind games behind all of it (like me - although I won't deny that I had a lot of fun picking out all the emotions behind the music here lol).

Musicals can always go beyond what we knew. As for Morimyu, their music is heavily influenced by opera and classical music, and it's shown quite clear. There is live music playing (instead of the entire orchestra we have a violin and piano duet), and they have distinctive arias and recitatives throughout.

So thanks to that, it's also possible to use a reference from classical music to interpret their songs.

A Sonata formation - The Narrative Series of SherLiam

Yes, songs arranged and analysed with reference to a Sonata formation, especially in the way they progress through the play.

Some notes before getting into the point

1 - Sonata = a piece of music consisting of several movements - very often 3, sometimes 4. First movement-Allegro: With the quick tempo, introducing the theme of the entire Sonata Second movement-Adagio/Largo: Slow tempo, can be emotional sometimes, as well as leading more towards the final movement Third movement-Rondo Vivace: The ending, quick-paced and vigorous, leading the Sonata to a close. A Sonata always has a general theme, a topic. The theme that I chose to write about is Mystery - the Hide and Seek game between the Detective and Lord of Crime

2 - Aria and Recitative = different types of songs used in an opera Recitative: Lines within a song that happens like a real conversation, as the characters sing they are also talking to each other Aria: A solo section where everything else is a freeze frame, while one actor remains and sing their own song about their thoughts, feelings, etc. In this post we're mainly discussing the arias of Sherlock and Liam, and the duet between them. But there's also some mention of recitatives here and there.

3 - Videos used To make it easier to understand which songs I'm talking about, I also arranged them in piano. And also to have a listen at how they might connect. Just in case the videos beneath don't work (they didn't work on my phone), the three songs discussed are Nazo, Liam's solo, Kokoro no Rondo, all piano arrangements.

All of the songs noted in this section are arias and duets from Op. 3 - the Ghost of the Whitechapel. The additional "series" that Morimyu has added spreading throughout the play, Sherlock and Liam's narratives, which portrays both their emotions and the chase between the detective and the Lord of Crime.

First Movement - Allegro: Nazo(謎) song

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Starting from Lestrade's exit after his puppetshow and proceed to the scene, Sherlock's aria introduces the theme of the imaginary hide and seek game that the Lord of Crime has started. The song repeats the word (mystery) over and over again with a continuous rhythm.

Ends with Sherlock just mumbling the word Nazo (mystery) and exiting the stage - no conclusions, just like a mystery that leads into further mysteries with no answer.

♛♛♛ In regards to a Sonata formation, this is the beginning of the entire piece. Quick in tempo, written in 3/4 time and introduces the theme of the entire piece - Mystery.

Uso ka Shinjitsu ka - Lie or Truth song

Starting after Sherlock learns the truth behind Jack the Ripper, wondering if Lord of Crime is a good person after all.

Now I had a really hard time thinking whether this piece should be included or not. For one, it's not an aria. It can be viewed as a Da capo Aria, a development section of the Nazo song, repeating the theme that is introduced, coming and going rather quickly. So, for continuality.

It also does not fit into the series as a whole, being 1) a recitative. The lyrics focus entirely on Sherlock's deduction and whether he should expose the truth or not, etc. so on. 2) The lines in here, unlike the other arias, are taken directly from the manga, so it's not entirely an 'added' element to this chase. 3) Also because if we compare this to a Sonata form, this doesn't really fit anywhere

However, among Sherlock's arias, this song can also be seen as an interesting development as I have mentioned above, so I've decided to have it here, still.

There's another thing about almost all of Sherlock's arias throughout the 2 stages - they never have a conclusive end. The detective's mind is always running, mysteries after mysteries.

Most of the other characters' songs ends with some kind of closing lines, and piano continues to conclude the piece with a strong end, and then goes on to start another piece. All of their problems in the songs are concluded. They made up their minds in some ways.

But Sherlock, his songs always end with him repeating the melody, a capella, and exiting the stage. Piano waits for him to exit, then starts a new song. Or in Op. 2's Mindgame case going straight into the next conversation. We never get to know how Sherlock's songs end, because they didn't really end at those points. There's a hanging sense of waiting for a resolution, a conclusion. Sherlock never seems to have his problems solved within the songs, they just go on and on.

An idea initiates, then something happens and he is once again in the dark. And he spins around within his own mind.

Screenshot from Op. 2. Even if we look back to his aria Mindgames from Op. 2, this song doesn't really have a conclusive ending as well. He just starts singing, the music stops and he starts shooting and going on, resuming the play. It kind of has been a thing for Sherlock's arias?

Second Movement - Adagio/Largo: Liam's solo

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♛♛♛ The "second movement" - the 'slower' piece - of the series, Liam's aria lol but actually the piano part of this song isn't slow at all but ok. The other side of this hide and seek game. The "development" section of the sonata series, where we see things in a much more emotional way.

This aria is much richer in harmony and melody. Not only Liam's melody, but also the piano's part which plays a beautiful melody in harmony.

I recall an interview where the stage director mentions how the "orchestra" - piano and violin are representations for Liam and Sherlock. It kind of applies here, where his music is created mostly by piano.

There is modulation, emotions rising and elevating quickly and strongly. But the harmony is beautiful, overflowing and rich with emotions. The song repeats certain lines, emphasizing aspects within Liam's thoughts.

Unlike Sherlock's train of thoughts that circles with no destination, Liam's solo has a definite ending in harmony -> Even with all his emotions in mind, Liam still has a goal already set before him. He has a brief moment of slowing down, pausing and sung about his feeling, before resuming the story.

Leading us to the final stage - Kokoro no Rondo.

Third Movement - Rondo Vivace: Kokoro no Rondo

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Rondo formation: Rondo is a type of dance that revolves around a pattern, often ABA, ABACA, or ABACABA - where A is the ritournello ("meguri - kimi ni omou - meguru kokoro no rondo" section) that is repeated over and over with B, C parts in between. Rondo can also be combined with sonata form - this case applies to this song which begins with a key other than the tonic (Fm) before resolving to the tonic key (Fm) to put an end to the entire sonata series. For reference purposes, the last movement of Beethoven's Pathetique or the very typical Fur Elise is also written in a similar format. I also referred to Pathetique quite a lot when brainstorming this post.

♛♛♛ The "final movement" of this Sonata, the final scene of their "Hide and Seek" game. The song's tempo is vibrant and rapid, combining with the dancing sense, all the while strictly following the structure of a Rondo as mentioned above.

This is the stage where Liam and Sherlock's line interacts and reply to each other, as if in a real conversation - just like how the connection between them are now much stronger than what they had before.

In the ritournello, we have Liam and Sherlock's lines intertwining and chasing after one another, emphasizing the "Hide and Seek" element between the two of them.

The song comes to a definite ending, concluding with a strong tonic (Fm) chord. At this stage, there is no more question to be left open, for Sherlock at this point has already made up his mind to take the next step into solving the mysteries regarding the Lord of Crime.

Their imaginary game of Hide and Seek is coming to an end, as Sherlock came to a decision to take the next step - going to Durham.

That's the end of my first draft.

So far that is some of my thoughts noted down right after watching Op. 3 stream a while ago, with some edition made just now.

On the side note, at some point during my discussion with a friend, we also came up with the idea that a Suite may be a better reference. A Suite consists of 4 parts and a prelude, each of them having their specific characteristic. But we didn't go all the way analysing that idea, as 1) we couldn't find a 5th piece that can be added into the series. 2) Even if we did, the Truth or Lie song still would not really fit into the "aria" vibe of this series, as mentioned above.

But then quite interestingly, after a while, I've found another interesting fact that should have been quite obvious but I've missed for (lol) like ages.

The game of Hide and Seek between the detective and the Lord of Crime has begun ever since after Hope's case - that being said, ever since the end of Op. 1

And what is it that we have in Op. 2? "The Mind games of the Lord of Crime". The one where Sherlock went maniac rapping about all the thoughts he has and end up shooting randomly into the wall.

At first it begins like another recitative, but in the later half, the harmony starts to become more harmonious, written in 3/4 time flowing like a dance.

In that section, the melody of the piano and violin part resembles the one we have in Kokoro no Rondo, the Ritournello section, only that the melody of the violin in Op. 2 and the melody that SherLiam sung in Op. 3 are kind of reversed.

Coincidence much?

So now we have a collection of songs from both Opus, it becomes tricky. How do we connect them? And what's the story?

At this point, all these recitatives, aria and duets all in the theme of the Hide and Seek game. And they all connect to each other through harmony, progressions in harmony.

We know that the Mind games of the Lord of Crime has begun from ever since the end of Op. 1. We know that Sherlock keeps wondering about that in Op. 2, and then he wonders even further after he has been tested by the Lord of Crime. "また俺だけのメッセージなのか?" - Is this a message just for me?, as he wondered in the Truth or Lie song. We knew all of that. But Morimyu didn't let that stop them from emphasizing on this subplot even further.

They didn't let the gap between Op. 2 and Op. 3 stop them from making a smooth flow in plot either.

Correction, they didn't simply create a flow. They established a connection, all the while showing a strong progression of Sherlock's thoughts that goes on from Op. 2 straight onto Op. 3.

Very often, what makes a good plot is how their plots and sub-plots intertwine with each other. Morimyu has a main plot that follows Moriarty gang in the plan of changing society. And they have a smaller plot told from Sherlock's side of things. And they have this sub-plot told by harmony of how Sherlock is connected to Liam, or the Lord of Crime, by an invisible thread. A connection that is only expressed that clearly in Morimyu.

We have so many things going on, so many songs throughout the play. But each of those elements are all connected to something else, creating a sub-plot that enriches the main plot.

There is no loose connections. For everything that connects to the main plot, they're also linked to other elements. Each scene and every song has their own meaning not only in regards to other songs, but also to the plot as a whole.

Also, did I mention how Morimyu feels like a grand piece of music?

Opus -> What classical songs had that basically shows the order in which they are written. Morimyu - a title piece itself - has 3 Opus, 3 different parts with the same theme.

Classical music very often had all the different elements in it -> Morimyu had an overture, the song they sing just before the main theme song, just before introducing the stage. Then arias, ensembles and choruses. All of them are connected by similar harmony.

Classical music always had a big general theme, with each section having a smaller sequence connecting to each other. Subplots within a big plots. A Sonata piece has 3 movements, each having their own "sections" of development - expositions, development, recapitulation. -> Morimyu does the same to their plot and subplots, as discussed above.

Also, Opera reference

While Opus 2 used an opera reference to tell the story, I feel like Opus 3 has become an Opera itself. During Op. 2 the arias were mostly very loyal to the manga, taking their lines from the original work, like the Mind Games song. Their story progresses steadily but logically.

However starting from Op. 3, the aria became more independent. They developed and expressed even further what wasn't said in the manga. For instance, the 3 songs mentioned in the "Sonata" above. And there's also Albert's solo, and Patterson's solo and Milverton, which I haven't got the chance to discuss all.

But either way, they spring out of the original story, adding more emotions and "colours" to the characters. The aria became more original, all the while also much more expressive. We get to see new sides of the characters that we haven't seen anywhere before.

Anyways, it's probably time to go back to the main question: How Morimyu used music to go beyond what's on the pages.

-> Musicals aren't simply about music added to acting. The characters on stage don't just simply starts singing for no reason. All the songs are meant to express something, and while they do they also establish various connections to the plot's progression.

We don't get to see much of the characters' emotions in the manga. And we don't see much of the side story, the finer details behind each arc. Every time, Morimyu adds something original to enrich their plot. They express and develop what's already known to all the viewers, especially regarding the emotional and motivational side of the characters.

-> The manga shows us the entire plot, with details related, back stories that lead to the present, and all. But it doesn't give a lot of hint into how characters might feel. Surely, reading between the lines, it's up to the readers to interpret them.

But Morimyu gives us all of that, and they leave it to us to read between the music.

And even if we didn't, that's fine. Then the purpose of all of them linking together would be to create a performance where everything is connected harmoniously, allowing us to be emerged in the world of Yuumori.

-> The purpose of having a stage, primarily, is to allow the audience to engage in, experience and feel the emotions along with the characters they see on stage. The point of having a live stage, a plot, and the music, are all to let us emphasize with the characters on stage.

In Morimyu, we aren't just watching a plot between our favourite characters happening as we know it from the manga. We see a combination of mysteries unveiling slowly, the stories on the side of each characters as they slowly progress forward, as well as emphasising with their emotions in the story.

That's what I really like about Morimyu.

So, WHAT'S THE POINT OF THIS?

So I had to scroll back to the top (lol) to quote this and make sure I haven't gone too far from the main theme.

Regarding musical Yuumori, there's always so many things I'd like to talk about. And if I start going on about it then it only gets harder to focus on one single topic.

Since the topic here is Morimyu and their music, especially in classical reference, I've tried to keep everything I've discussed relevant. But whenever I start on something, there would always be something that comes to mind. Like how other songs might also have certain connections, or how they used stage directions and lightings, etc. I really want to look more into stage directions in Morimyu as well, but that would have to wait...

Anyways, I tried to keep this as simple as possible. When I sent the first version of this to my friends, I keep having the feeling that I got too technical with all the theories about harmony and structure lol

And once again, this is only some of my own interpretation of the series that I've picked up.

If something else came to mind... well. Either way, for the purpose of engaging in their wonderful music or for the purpose of watching a beautiful stage just for enjoyment, Morimyu definitely is worth watching. And to watch over and over again. I've said this for Op. 2 but I'll say this ten times as much for Op. 3. Truly magnificent.

And, that's pretty much it that I have for today, I guess.

Thanks a lot to all my friends who gave me lots of inspiration and motivation to complete this ヽ(・∀・)ﾉ Lots of love to @rikaaki as well ヽ(・∀・)ﾉ

#Youtube #musical moriarty the patriot #musical yuukoku no moriarty #yuukoku no moriarty #sherliam #random thoughts idk why #didn't mean for it to be this long but still just random thoughts I'd like to get down #still love this series too much although I feel like I've watched it too many times #harmony analysis I'd like to call it but there wasn't a lot of harmony analysis going on either #morimyu #morimyu and how their music is just extraordinary

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xerox-candybar · 3 years ago

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Fanfic ask game! 9, 27, and 34?

Hey there! <3 Happy New Year! It is so good to hear from you.

Thank you for giving me the opportunity to talk about myself :D sometimes writing feels a bit like screaming into the void (as a writer yourself, maybe you know the feeling?). I feel like this is doubly-true when it's fanfic -- we're publishing under a pseudonym and not getting paid.

(the original ask is here, for anyone that wants to participate - for their own work or mine)

I'm going to be answering these questions in reverse order, for aesthetic reasons.

34. What's the weirdest thing you researched for a fic?

"Debunking Santa Claus with Mathematics"

I dunno, man, I just feel like as a kid, Genos probably celebrated Christmas by doing complex math equations with his family. This is how he almost accidentally ruins Tareo's Christmas in my Wanpanmas fic.

"Can you hear a meteor before it falls on you?" is a close second. (Short answer: Yes, you can.)

27. What motivated and pushed you to write more this year?

Easy! A genuine love of writing. There is nothing in the world I would rather be doing.

This is a double-edged sword, though, because I have definitely used it as a form of escapism. Like most people, I've been at least a little traumatized by the pandemic and I sometimes forget how weird/hard life is right now. I've always struggled with social anxiety and it's like I have a much lower tolerance for human contact now. Interacting over very specific things (like fandom) is less anxiety provoking. Also, writing is a way of spending time with other people, even if you aren't actually there with them because those people are all fictional.

9. What's a scene you wrote this year that you're particularly proud of?

I'm really proud of Saitama's motivational speech to Garou in "not that guy." In the chapter, Garou thanks Saitama for teaching him so much. Saitama tells him "I didn't teach you, you taught you." This is almost exactly what he tells Genos in the latest manga chapter -- which, of course, wasn't published at the time.

I also had Saitama sticking his finger in ear, trying to remove a glob of earwax as he spoke. I hadn't read this section of the webcomic yet, but the panels directly before his final speech to Garou are just several scenes of Saitama picking his nose. That was very affirming, because I have the hardest time keeping Saitama in character, and I feel like I nailed it. (“Being gross at inappropriate times” is a weird thing to have nailed and an even weirder way to have nailed it? Anyway, that’s ONE for you, I guess…)

In the scene I wrote, Saitama gives Garou a whole speech -- which we don't normally see him doing, he's canonically not very talkative -- but he does garble every single thing he tries to quote, which is on brand. And, more importantly, the dialogue struck a nice balance between "scenes that were fun to write" and "scenes that challenged me." To Garou (and probably everyone else), Saitama sounded mixed up and nonsensical, but his ideas made sense to him - and as a writer, I needed to make that come through.

There's definitely an art to writing coherent nonsense (C.S. Lewis' The Jabberwocky is an excellent & well-known example) and I enjoyed exploring the mechanics of that.

To make things even more fun/meaningful, Saitama's speech is mostly comprised of real quotes about life & teaching that are meaningful to me, combined with more banal platitudes. ao3 actually did not have enough space in the "End Notes" section for me to cite all my sources, and it had been a long, long time since I had to edit anything for space constraints so... yeah. That brought back memories of editing playbills and lit mags and research posters…

I had a lot of fun with this scene, and I feel like it almost killed me, which is usually how I know that something is working. And even when writing becomes incredibly vexing and painful, I still cannot imagine myself doing anything else.

...Thank you, @beileil! You are wonderful and awesome and thoughtful. Thank you and everyone else for listening. <3

A snippet of the scene I mentioned is below the cut, for anyone who is interested in a teaser.

“You’re… a good teacher. What you said, it... really helped me,” Garou said. “So. Thanks.”

Garou’s gaze wandered up from the floor and briefly met Saitama’s eyes, before retreating back to some indistinct patch of carpet.

“I didn’t help you,” Saitama said plainly. “You helped you.”

Saitama drew himself into a seated position, ankles crossed. He rested his left hand on his knee, upturned towards the ceiling. He raised his right hand to the level of his eyes, palm open and facing outward; inadvertently assuming the posture of angels and saints. The evening light beamed, beatifically, off Saitama’s bald head - bathing him in an accidental halo.

Saitama jammed his index finger into his ear and twisted.

“You know, I try not to do a whole lot of teaching?” Saitama mused, wedging his finger more deeply into his ear canal. “I think that’s the trick to it.”

Garou flicked the dressings on his fingertips absentmindedly. In one swift and sudden motion, he tore away the remaining bandages.

“‘Successful students are their own teachers,’” Garou said, making his way to the trash bin beside his desk. He looked at Saitama. “In other words — have your disciples do all your dirty work.”

Garou dropped the used bandages into the waste basket, adding, “Bang was fond of that.”

“Mm, no. That’s not what I’m talking about.” Saitama said, scrutinizing the glob of earwax on his fingertip. “What’s that other saying people say sometimes? It sounds real smart.”

“Ah, let’s see.” Garou leaned against the wall, arms folded. He pondered for a moment, before reciting something in a flat and listless drawl.

“‘A master teacher does not instruct his disciples. As light can only be kindled from that which is already burning, the master must — '”

Saitama bolted from the bed.

“Woah. Woah, woah, woah. Slow down.”

Saitama slashed at the air, crossing his arms into an X-shape.

“Why are you guys lighting yourselves on fire down at the Fancy River Fist Place?!?” Saitama demanded.

Garou answered with another grandiloquent eye-roll. Truly, a monumental gesture of contempt — a lesser human would have easily thrown their back out.

Saitama, unperturbed, resumed excavating his own ear wax.

“‘The other saying people say sometimes,’” Garou grumbled. “Come on, man. How the fuck am I supposed to make sense of that? You’re not giving me much to work with.”

“You already know what I’m talking about. That’s the point,” Saitama said, wiping his index finger on the side of his shorts. “It’s that thing people tell you, when you’ve gotta move on? Like, ‘you can go to all the places, but you can’t stay here’. I think it’s in a book —“

“Oh, the Places You’ll Go — is that what you mean?” Garou arched a brow, then smoothed it out with his fingertips. I should really go back to waxing these, he thought. They’re getting out of hand.

“Yeah, kinda.” Saitama nodded knowingly. “I mean, life is a journey but teleportation isn’t a thing, so you gotta wander some. But it's fine, just remember not all who wander are there — “

“‘Not all who wander are lost’?” Garou prompted, in a tone that seamlessly blended admiration and irritation.

“Getting lost isn’t really a thing,” Saitama said, gesturing vaguely to everything and nothing at the same time. “Because wherever you go, you’re already there yet. But I can’t really help you, because I have to be here now. You get me?”

Garou rolled his eyes and then stopped; he was making himself dizzy.

“My point is — get lost once, ya can’t get lost again,” Saitama said. “But don’t be a dick about it. Everyone’s fighting their own battle and it’s gonna be uphill both ways.”

“Sensei —“ Garou froze. He touched his fingers to his lips, unable to countenance what they'd just let slip. Then he shook his head vigorously, as if his subconscious were some sort of damnable Etch-A-Sketch.

“Saitama,” Garou grumbled. “You are making zero sense.”

Meanwhile, Saitama had started pacing — as though ambling around in circles would lead him towards a reasonable conclusion.

“Good,” Saitama said. “That’s the only real kinda sense.”

#ask game #opm fanfic #garou #saitama #my writing #wilf #(work i’d like to finish)#splendiferous mutuals

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