#he loved everything for everyone and gilda stories :D

[jumping-jackalope]

ive got a "book club" with my friend that so far had just been me sharing books with him. but they lent me a book today so now we're really rolling : )

[tutubola-moved-on]

Hi I like music and I kind of go wayyy too deep into the TPN soundtrack and I think it's about time I start throwing my thoughts out there before they spiral too much

Disclaimer!!! This is not a complete analysis at all, just a few thoughts on each of the songs. I'll probably revisit some of them in future parts if I ever do those aha anyways enjoy

(Part 1/?): 63194, Emma's Sorrow, Emma's Determination, 22194, Norman's Lament, The Promise Between Humans and Demons, Jailbreak and Isabella's Lullaby.

(manga spoilers)

I've done a lil smth smth on Main Theme 2 already and its my favourite song like ever aha this is a cry for help

here you go people

but now anyways fr

63194 (Season 1)

Wouldn't have started with this one cuz I'm still figuring it out but it was the first one that came up when I pressed shuffle

Let's just go straight to the point so we can move on. The first time we hear 63194 is in episode 2, when Norman is talking to Ray about their plan in the forest (or, as I like to call it, "boat scene"). It reaches its climax when Norman starts talking about how he'll use himself to ensure the escape plan will work.

And then it's only used again in episode 8, if I'm not mistaken, after Isabella tells them about Norman's shipment, thus foreshadowing him refusing to escape and using his "death" as a tool to help the others escape.

But alsooo the song is Emma's theme, so there's definitely some sort of meaning other than foreshadowing Norman's shipment. That's for later though cuz I'll have to think more. The beginning does sound a lot like Strauss' Metamorphosen, a piece symbolising how German culture was destroyed during WW2. Not sure what to do with that info for now.

If you'd like a little extra stuff, I also tried connecting the pieces to the Doctrine of Affections, a... thing some Baroque composers wrote that connected music keys to feelings. (I found many sources but I used this one).

63194 is in C Minor, which is described as "innocently sad" (although another source said "sweet but sad") and "lovesick." I think innocence really describes Emma, Ray, and Norman in general, as kids who never did anything wrong but were thrown into the wrong world. Innocently sad would be their conversations in boat scene. They're talking about life or death, it's not something kids should have to deal with.

But again, it's hopeful. Norman wants to create a boat made out of mud---he wants to save everyone---and he really believes it'll work. So although sad, it's also sweet. It's a light at the end of the tunnel, and also just an act of kindness. As for "lovesick," that would just describe Ray and Emma's inevitable longing for Norman after he was gone. Which brings us to...

Emma's Sorrow (エマの悲しみ) (Season 1)

The two times I remember Emma's Sorrow played was 1) When they first talked to Don and Gilda about the house and 2) During the infirmary flashback scene.

The Doctrine of Affections describes E Minor as "grief and longing." In the infirmary flashback scene that obviously not only shows how Norman longs for that time when they didn't know anything and everything was light and happy but also, once again, foreshadows Emma eventually having to grieve him.

Especially because they don't play the staccato part (short quick notes) that's in the original version. Instead, the strings are always present. In staccato, the music gets pretty,,, lowkey? because the instruments can't exactly "show off," whereas the legato (long/connected notes) really shows the true importance and impact each individual instrument has on the song. Considering how the strings (specifically the violins) in the soundtrack could symbolise Norman, it's showing how Norman is not just another guy who's in their group and planning the escape, but an actual friend they'll lose and who'll leave a significant emptiness behind. Not only brain power wise, but just.. you know he's a human being and it's gonna hurt either way.

Not only that, but the harmonies itself in Emma's Sorrow once the strings really do come in are really incomplete. Like, the piano part seems to be all over the place, but it comes together because of the strings. Norman was the one who brought Emma and Ray together, in a way, and isn't Emma and Ray clashing exactly what Shirai wanted when he sent Norman away? Yea...

And Emma's Sorrow is, of course, parallel to:

Emma's Determination (エマの決定) (Season 1)

Yea no I'm still gathering thoughts on that one. The ascending bass contrasting the descending bass in Emma's Sorrow is pretty cool, though. It plays when Don is going off about how he wants to be strong after punching Ray and Norman and it's in F# Minor, so "passionate resentment." Connect both and Don really is ready to change the world. He got slapped with this very very bad reality and naturally he's angry and he's sad and he wants to do anything in his power to save people.

But back to Norman.

(hi future me here. oh my god why am i only talking about norman this was not the route this was originally going to take im so sorry i swear there's more to this post than just norman brain rot 22194 is the last norman one)

22194 (Season 1) and Norman's Lament (ノーマンの嘆き) (Season 2)

22194 is in B Minor, so "patience" and "walking towards fate." That's pretty self explanatory considering how he, and I quote, "chose death." Yea. G Minor would be "uneasiness of the future," and once again, pretty self explanatory (The whole Lambda seizures thing and I'm The Only One Who Can Save The Humans Syndrome. Normy worries too much :/)

Comparing both is pretty fun, too. It's the same melody but in different keys and instruments and thus just give off different feelings. While 22194 is full of instruments and harmonies and is clearly structured, Norman's Lament is just. Empty. It's like it's trying to stay true to 22194, so the Norman from before, but at the end of every musical sentence it just drifts off. You can see parts of 22194 in there, but it's not the same. At all.

There's also no harmony. He wants to do everything himself, and discards all his bonds and friends for that. So sad. Stop him.

All that while 22194 is rich and beautiful and oh my god i love that song so much and it's just showing how Norman was a lot more lively and layered and human when he allowed people to come into his life (the harmonies) and listened to those people instead of just locking himself up and doing everything himself.

So in conclusion cuz I ramble a lot, 22194 is about GF Norman, who hadn't gone through all those things that turned him "evil," who trusted his friends and believed everything had a good, ethic solution. Norman's Lament is about Lambda/post-Lambda Norman, who had gone through a whole lot, and was now in a downwards spiral and had left everything behind to become God or whatever, but was also in denial that he had changed in the first place.

does this make sense no idea i'm typing this while sleep deprived and high on bread and i failed english this quarter

but that aside

The Promise Between Humans and Demons (人間と鬼の約束)(Season 2)

I love this song!!!!!! So much!!!!!!!!! I love the percussion, it's used so well. And I love the way the song builds up and adds more and more instruments until it eventually reaches a climax, like the growing tension between the humans and the demons during the war that snowballed and snowballed and eventually caused both sides to resort to the Promise.

And when the song comes down you can hear a very short "first draft" ish version of Isabella's Lullaby.

It's as if yes, all this mess went down and the demons and humans made this huge promise that completely changed the world and affected an entire society but then far far away from the Seven Walls and the Promise and oblivious of the Ratri Clan and the demons were these two tiny tiny children just singing a song and living happily. And those children---and that song---were the foundation for the entire revolution that ended with the Promise. Wow.

And it's in D Major, D Major is "Triumphant." The song itself sounds triumphant, and yes the Promise was gross but it was a nice little hello kitty band aid over the mess that was the world before it.

What was truly triumphant, though, was the kids' escape, which happened to the same melodic theme, albeit in a different key. Which leads me to...

Prison Break (脱獄) (Season 1)

Oh my God. I love this song.

It symbolises the kids breaking ties with Isabella and how many obstacles were in the way (not only was she their mom; their only mom who had cared for them for their entire lives, but she was also their enemy and did everything she could to prevent them from escaping). The second the brass comes in with the theme (around 0:53) it sounds like it's struggling to play it fully. In this case, Isabella, once the singing parts, would have lost her voice after being outwitted by the children (keep in mind the song starts playing after they've already reached the wall). After all, the song starts with a voice that seems to get more and more desperate before it's overrun by instruments, thus losing its power.

So she's trying to control them and get them back, but they won't let her. They're going to break free. So you have the melodic theme playing with significant breaks, until eventually it all goes silent. Why? Because they escaped. Isabella completely lost contact with them, they're free. And then you get the same melodic theme in The Promise Between Humans and Demons.

But the theme isn't played full. It's not played to the extent that they play it in TPBDAH, instead there's a lot of just "blank space" with no melody above it: that's where the children will write their melody---their story; a story independent from the Promise that shaped their lives thus far.

AGH.

I need a break but I'll be back

Isabella's Lullaby (イサベラの唄)

OK OK Continuing on Isabella I love how Sarah Alainn sings like she's crying. I really recommend this if you want to go deep on Isabella's Lullaby, they pretty much said everything I had to say. I don't go on youtube like ever and that might as well be one of my favourite videos LOL anyways

I also really recommend listening to the no vocal/piano solo version, the harmonies are so beautiful. And the more you listen to it the more you hear, there's always something new. The violins especially oh I love the way Takahiro Obata uses violins. Honourable mention to Nat King Ballade (ナットキングバラード) and Each Thought (それぞれの想い) (idk if thats the english name for it,,,, i've seen it as "Their Own Thoughts" too)

WELL THEN. What a ride. I'll go to sleep now. If anything is incoherent or u just wanna talk then send me askies or a dm smth idk aha i like music but i hate grammar :P

[yuseirra]

I’ve love your JSHKxTPN Crossover! Have you thought about crossing over the other characters besides the main trio in both series? E.g. Don and Gilda as Akane and Aoi (though it’s weird to see Don act like Akane 😅).

Hey anon!// thank you for liking my idea! :D For now I’m only focused on the main trio (and it already gives me enough things to imagine) but this ask made me expand a little more on the idea!

I brainstormed a little earlier, and I think Isabella might make a good clock keeper since she has her own watch & also take on the role of tsuchigomori (a little0 since she used to be everyone’s mother/caretaker/teacher.

That’d make things quite interesting since she’s Ray’s biological mom as well, so I came up with this!

thank you for the ideas!//

About Don, I feel he would work better as one of kou’s friends at school if he were to be here, and Gilda feels more like Mei to me (though the artist here would be Yvette), the pretty girl in the group’s definitely going to be Anna! but the roles here don’t exactly align 1:1, it’s more like how these kids would be if they were to be in this universe so one character could take on 1 or several roles at once, or just be themselves!! For example, Ray’s got Kou’s position in this crossover but that doesn’t necessarily mean he’s going to share the exact same traits kou has, if you know what I mean (he’s also got Teru, and a bit of Akane’s traits in this story as well) . And I’m not sure if there is going to be a Tsukasa in this crossover at all despite the fact that he’s a very crucial character in the original series either.. it’s just borrowing some concepts! ‘v’)b The main trio match up pretty well even 1 on 1 though! 

(Mixing stories are fun) Again, Ray remembers everything.. poor guy

There is a plot for this and I have thought of how this crossover would end, it might end up being really different from how jshk will be like though since that series is still ongoing and there’s so much yet untold! Thank you for giving this story a chance still!// it’s been fun and I’m happy there are people that enjoys it! :D