#this is my attempt at making a singable english version

[tcelujhita]

My translation of "Die Schatten werden länger" from the musical Elisabeth

Time we finally speak together Time we both confess our tether You know me. Yeah, you know me Remember when, you were just a child My promise made as I smiled I’d not miss a day with you

Oh, You I have always followed My one friend whom I may call on When by my fears I am hollowed I came, since you’re in need!

The shadows here grow longer Yet everyone lingers blind and still We sing the piper’s song or Our strings just jerk of their own free will The shadows here grow longer! It is five to twelve! Our time is almost nil

Time we see the world is rotten To stop this course so misbegotten But I'm forced to wait, forgotten With my hands still in shackles

Nothing's worse than to acknowledge how disaster makes its progress while you’re stuck but must bear witness It makes me sick to death!

The shadows here grow longer While the tunes we hear grow cold and shrill The chance of doom grows stronger And all want to die on their own hill The shadows here grow longer! It is five to twelve! Why wait for blood to spill?

What holds you back now? It’s time for self-defense Seize what is yours You have to strike back! Strike back?

The shadows here grow longer What must be done can't be done too late The chance of doom grows stronger Stop this disaster they’ll create The shadows here grow longer! Kaiser Rudolf will dare to meet his fate

[passionate-reply]

Have you and Telex met somewhere before? If not, you may want to make their acquaintance. This delightfully irreverent Belgian electro-disco trio came in next to last at 1980′s Eurovision Song Contest. And then they did an album featuring English lyrics by Sparks’ Ron and Russel Mael! Find out all about what makes this record tick, in this week’s installment of Great Albums. Full transcript below the break...

Welcome to Passionate Reply, and welcome to Great Albums! It’s time to break outside the Anglosphere, and take a look at one of the finest synth-pop acts to come from Belgium: the irreverent post-disco trio of Telex. Telex were, in fact, so European that they were sent to that most European of institutions, the Eurovision Song Contest, in the year 1980, in what was perhaps their finest hour in the spotlight.

Music: “Eurovision”

While many contemporary listeners may find “Eurovision” amusing, it actually didn’t go over well in the contest itself, and Telex managed to place second to last on behalf of the Belgian people, losing even the (arguably) more illustrious last place to Finland. It was one of the earliest true “joke entries,” so perhaps the masses weren’t ready for this approach yet. Despite its generally upbeat sound, I think the lyrics of “Eurovision” come across as really quite harsh--and the song’s availability in both English and French meant that plenty of people understood them. Mocking the financial instability of Italy and, apparently, anyone dumb enough to tune into Eurovision, there’s really a rather condescending, perhaps even cruel, sensibility about it. A conspicuous reference to the Berlin Wall, a symbol of some of Europe’s deepest divisions and greatest political turmoil, gives it an extra nudge towards feeling rather contextually inappropriate. Telex’s “Eurovision” might just be the most cynical or anti-European song ever entered...at least up until Hatari of Iceland gave us the thunderous industrial anthem “Hatrið Mun Sigra,” in 2019.

Telex’s follow-up to this “incident” is, in my opinion, where their career starts to really get interesting. While it isn’t that heavily advertised, 1981’s Sex was actually something of a collaboration album, featuring English-language lyrics on all tracks which were contributed by Ron and Russell Mael of Sparks. Given the recent resurgence of interest in Sparks spurred by Edgar Wright’s documentary on them, I figure now is as good a time as ever to revisit this somewhat lesser-known work in the Sparks catalogue--or, at least, with one foot in the Sparks catalogue.

In my opinion, Sex takes the better aspects of both of these groups and combines them into something that feels like more than the sum of its parts. Telex’s soft, yet sprightly synth arrangements have as much fun and flair as those of fellow Sparks collaborator Giorgio Moroder, and feel more substantive and organic than Sparks’ many attempts to play with various genres in which they remained outsider dilettantes. Likewise, the Mael brothers’ lyricism is a major improvement to the often clunky English offered by previous efforts by the Belgians. Recontextualized amidst a sea of dreamy Euro-pop, and delivered by Telex’s suave yet unassuming vocalist Michel Moers, the same style of lyricism that often makes Sparks feel crass and overwrought to me becomes transmuted into something I’m much more amenable to. Much like Devo, I’ve often found the “smartest guys in the room” vibe of Sparks a bit off-putting, but Sex has a certain subtlety or ambiguity about it, that keeps me coming back and pondering it.

Music: “Dummy”

The feel-good, squelching bass grooves of “Dummy” recall the most affable work of the seminal Yellow Magic Orchestra, and a falsetto hook that’s to die for marks it as one of the more pop-oriented tracks on the album. Had it stopped at “Dummy, hey, I’m talking to you,” it would be not only less interesting musically, but also conceptually; the overt questioning, “now who’s the dumb one?”, rescues it from simply being mean. I like to think it calls to mind the archetype of the fool who is constantly vocally doubting the intelligence of others, in an attempt to cover for their own insecurities. While it’s a comparatively simple track, lyrically, it establishes some of the album’s most important themes, portraying traditional “intelligence” as mutable, and perhaps questionable. Despite its appeal, “Dummy” was actually not included on the original tracklisting of the album, but rather debuted as the B-side to the single “Brainwash,” before receiving this promotion in later revisions of the LP. In this rare case, I actually think the later edition is superior, and it’s the one I’d recommend.

Music: “Brainwash”

Besides just sharing opposite sides of the same single, there’s also a strong thematic connection between “Dummy” and the slower-paced, narrative-driven “Brainwash.” Arguably the most high-concept track to be had on Sex, “Brainwash” tells the tale of an intellectual who willingly forfeits his intelligence for the sake of falling in love. That, in and of itself, is a take on the love song that I’ve never heard before. We all know the trope that being in love makes one stupid--our word “infatuation” is basically Latin for “being made stupid.” But “Brainwash” suggests that, given the choice, we might well be better off as fools rushing in. What good is a life full of knowledge if it is one without passion, and deeper humanity? The narrator of “Brainwash” seems fully cognizant of what they abandon, and makes an informed decision to do so. But what complicates things even further is the development that the object of the narrator’s affections seems desperate to make them regain their prior book smarts--perhaps a commentary on how society frames this issue, and its willingness to prioritize the prestige of education over genuine human happiness. The single “Haven’t We Met Somewhere Before?” explores a related, but also distinct tension between knowledge and happiness.

Music: “Haven’t We Met Somewhere Before?”

Moreso than anything else on the album, “Haven’t We Met Somewhere Before?” is really sort of harrowing. Moers’s falsetto feels less like a fun disco aftershock and more like a cry of pain, and the stilted melody and more brash synthesiser stabs establish an air of unease--though still not so strong that it feels out of place alongside lighter tracks like “Brainwash.” Its lyrical narrative is plainly a tragic one, with a narrator who thinks he’s encountered his wife, but can’t quite piece it together, or get the response that he’s looking for. It’s evocative of the very real agony a sufferer of dementia and their loved ones might face, losing their memories, and, with them, their connection to the people around them. But perhaps the most eerie thing about the track is that it never does dip into more maudlin territory, even if it feels like it ought to. In the full context of the album, and particularly the sentiment expressed by “Brainwash,” we’re forced to question just how unfortunate the tale expressed in this song is. Perhaps “Haven’t We Met Somewhere Before?” is also suggesting that love is more powerful than knowledge, in its own way. Perhaps the characters it presents have transcended the need for knowledge of their shared history, because their bond is deeper and more primal than that? Similarly subversive questions about love are also posed by “Exercise Is Good For You.”

Music: “Exercise Is Good For You”

With a pleasingly abrasive, textured synth line and a rather singable refrain, “Exercise Is Good For You” is the one track cut from the later version of the album that I do find myself missing. This track’s narrator has devoted themselves to exercising--perhaps over-exercising--in the wake of a bad break-up. At first blush, it may seem a bit absurd, but this is a real-life coping mechanism, and one that can potentially be quite dangerous, particularly as it’s often combined with eating disorders. The potential for peril is compounded by the notion that, well, “exercise is good for you,” and that in a world where too few of us partake, anyone who does must be doing the best for their health. While it doesn’t deal with the realm of knowledge, I do think “Exercise Is Good For You” works in a similar space as tracks like “Brainwash” and “Haven’t We Met Somewhere Before?” do, offering an ambiguous narrative that asks us to question something we habitually value--in this case, by portraying the apparent virtue of physical fitness in a darker and less healthy light.

Earlier, I referred to this album simply as Sex, but for the UK market, it was re-christened Birds & Bees. There is obviously something quite transgressive and irreverent about naming a pop album “Sex”! We like to think of pop music as trading chiefly in themes of love and romance, so the title Sex functions as a bit of a “low blow,” suggesting that we ought to think more cynically about “what’s really going on below.” Despite this, there’s really not a lot of terribly bawdy tracks to be had on either version of the album, which may come as some surprise if you’re familiar with their early track “Pakmoväst.” I think the fact that the album title was changed, and seemingly “censored” with the very knowing title Birds & Bees, only adds to its transgressiveness, and lends it a certain allure of the forbidden.

You won’t find birds or bees on the cover of the album, however, but rather a butterfly, feeding off the nectar of two large flowers. It’s certainly an image that can be read as evocative of sensuality, with yonic visual overtones. Perhaps more overtly offensive to the eye is its queasy, dull yellow colour scheme, which is actually much more stuck in the 70s than the rather sharp and with-it electro-disco stylings of the music.

Historically, the butterfly is often used as a symbol of innocence, particularly with respect to the carnal knowledge of sex. In François Gérard’s depiction of the mythological heroine Psyche, a butterfly hovers above the subject, as she receives her first kiss from her lover, Cupid, a god of lust and sexual desire. The suggestion of youthful innocence is only heightened when the title Birds & Bees is applied. We might also consider the similarity between the idea of naivete or innocence as a virtue, and the apparent thrust of tracks like “Brainwash,” which also challenge the utility and benefit of knowledge about the world.

Telex would go on to release three more LPs after this one, and while they never quite surpassed a cult following, they keep up with the times quite respectably, incorporating sampling and digital synth textures without losing their signature levity and playfulness. I think they’re well worth a listen if you’re interested so far.

Music: “Raised By Snakes”

My favourite track on this album is one that’s exclusive to the later release, and never appeared anywhere else: “Mata Hari,” which was not only added to the album, but given the prominent position as its opening track. Mata Hari was actually a real person, a courtesan famous for her exotic dances inspired by her time in the Dutch East Indies. But she became caught up in the political storm of the First World War, and the French government convicted her of spying for the Germans--even though many believed she was framed. After her execution for the alleged crime, her severed head was embalmed and displayed in a Parisian museum, for all to gawk at...until it mysteriously went missing, possibly stolen by an “admirer.” It’s a strange and tragic tale, for sure, and one suitably treated with a sense of mystery and uncertainty by the song. An undoubtedly complex and controversial figure, Mata Hari can be seen as a symbol of European disunity, not unlike the Berlin Wall, as well as a representation of sensuality used for devious and destructive ends. I think this track enriches the album’s themes while also feeling somewhat separate, with its more pensive mood and third-person lyricism. That’s everything for today--thanks, as always, for listening!

Music: “Mata Hari”

[guardianoftime]

“Datte Atashi no Hero” Adapted English Lyrics

So I recently got into Boku no Hero Academia and I love it. I particularly love this ED theme from season 2, which only increased exponentially when I found out it was written for my OTP.

There’s only 1 full English cover of this song and a few handfuls of TV sized versions, but all of them took the stance of the song being Ochako to Deku. SO, in light of the actual intent, I decided to write these adapted lyrics for it instead.

I’d normally prefer to try and have some audio to go with these lyrics when I post them, but I don’t have the money rn to commission for this one, plus it would take a lot of time and I want to share it now. I was originally just going to do these quick and share them for fun, but I decided my fellow BakuDeku shippers deserve nothing less than perfection, especially on this song. I have more things to say about this song but I’ll put them below the lyrics. Please enjoy!

Verse 1: You've never been one to simply give up, just the thought's unthinkable Although I'm sure, despite that fact, you have days where you struggle too

Verse 2: Just once in a lifetime we're faced with hardships that we just can't beat If it's too much, if you feel you're all alone, I want to face it with you!

Pre-Chorus: Though we may have just one life, my lives with you can be limitless I had nothing in this life but then you gave it meaning--now I'm strong!

Chorus: Again! Again! Again I'll say it, you're amazing don't you know? So keep standing your ground and fight, you give me courage to do what's right Hurray! Hurray! Now every piece 'n' part of me calls out to you! When I'm looking in your fierce eyes, I feel my courage come to life Let's run towards our future, show me the best finale!

Verse 3: Is this fine? Going on like this, can we journey just for now? Although I'm sure, because it's us, it will be hard and frustrating too

Verse 4: Just once in a thousand years are those born with foresight and hindsight We're not like them, but despite that and all the odds, we want to get through this wall!

Pre-Chorus: You're brash, rude and impulsive, and the world crowns you the king of fools But who am I to talk since I'm the fool always by your foolish side

Chorus: Forward! Forward! Keep pressing forward on this journey of life If you need a break it's okay, we'll run forever on this way Hurray! Hurray! I'm singing loudly a cheer that's just for you! Let's show the world what we're made of with the miracle we create It's exciting what future waits, so let's run towards it!

[Instrumental]

Bridge: With our many tales of failure, and our past selves we couldn't love, Just by embracing them, we are strong!

Pre-Chorus: Not yet, not yet, I haven't felt your power, but I can see it now So let's overcome this great wall, laugh with me on the other side

Outro: Again! Again! Again I'll say it, you're amazing don't you know? So keep standing your ground and fight, you give me courage to do what's right Hurray! Hurray! Now every piece 'n' part of me calls out to you! When I'm looking in your fierce eyes, I feel my courage come to life As I look in your eyes I feel my courage come alive Let's run towards our future, show me the best finale

After all, you're still my hero!

To the absolute best of my ability, I can guarantee these are singable with the official instrumental. Anyone’s free to use my lyrics if they’d like to attempt to sing them, I only ask to be shown the result!

This song gave me so much trouble X_X. There were a LOT of parts where the written lyrics would have a certain number of syllables, but the way it was sung would result in a syllable count that was lower than the written Japanese suggested, so I had to constantly be revising lines and accommodating for those parts in the song. Definitely a tough challenge. It tested some of my aural comprehension for Japanese too.

Because these are adapted lyrics there are many parts that differ from the translation. Wherever possible I tried to stick as close to the translation as I possibly could. I even got some help from the dude who translated it to ensure I was understanding things right.

Though in some parts I also tweaked the wording to make things more obvious. Like, the pre-chorus talking about fools. In Japanese it’s obvious but somewhat vague that he’s talking about Bakugou, so in this adaptation I just tweaked those lines to make it even more obvious and it worked out well imo.

As far as the title and last line of this song go, while I was writing these I saw at least 5 different titles for it from different places. I compromised between the one the translation I was following used and one of the ones I saw which had this be “Still My Hero”. So this adaptation would be “After All, You’re Still My Hero”.

[akashiayakashi]

Home TV Size | Rough Translation

Another translation practice! This time from A3′s Spring ED. I had a much harder time with this one lol. I didn’t even attempt to make it singable bc it didn’t fit,,, anyway, I tried my best and I’m not tagging again since I’m not confident in my skills yet. This isn’t a line by line literal translation btw. I had changed the order of some sentiments to make it easier to understand in English.

I got the lyrics from Spotify btw! That’s the only reason I could really translate OTL;;

Kanji

何気ない場所で笑う幸せ その形を僕らまだ知らない きっといつかのどこかで巡り会えたなら 僕らは家族になれる

明日が見えない　 自分が見えない　 現実なんてこんなもんさ　 素直に伝えなくちゃ　 分からない事がある

嬉しい時　 悲しい時　 その全部を分かち合える人がいる もしも見つけられたら　 その手をギュっと離すな　 僕らはまだそれを知らない　 一人じゃないそんな毎日を　 ただいまとおかえりがさく　 大事な場所いつか分かるかな

Romaji

nanigenai basho de warau shiawase sono katachi wo bokura mada shiranai kitto itsuka no doko ka de meguriaeta nara bokura wa kazoku ni nareru

ashita ga mienai jibun ga mienai genjitsu nante konna monsa sunao ni tsutaenakucha wakaranai koto ga aru

ureshii toki kanashii toki sono zenbu wo wakachiaeru hito ga iru moshimo mitsukeraretara sono te wo GYU tto hanasuna bokura wa mada sore wo shiranai hitori ja nai sonna mainichi wo tadaima to okaeri ga saku daiji na basho itsuka wakaru kana

English Translation

I've never known what it's like to have a place you can laugh freely in Surely if I could meet you somewhere We will become a family

I can't see tomorrow I can't see myself That's just the reality I'll tell you honestly There are things I don't know

The happy times The sad times All of these, there is someone who I can share those with If I find someone like that I will hold on to them tightly That's something we still don't know An important place where I'm not alone, where everyday I'll hear the "welcome back" to my "I'm home" I will know it someday

TN: The last line in the full version is “きっと分かるかな“ which means “Surely, I’ll know it.“ c:

I really fell in love with this song after hearing it ahhh it just really showcases the spirit of ‘home’ and ‘family’ that the Spring Troupe represents. I had wished that each troupe could do a version of this song but I love Orange Heart so I’m happy with how things worked out.

[datfatflydude-blog]

Dat Fat Fly Dude

The Complete Definition Of The Music

Music is likely one of the neatest thing that we now have received in our life. This is likely one of the greatest option to express your ideas, feelings, actions and recollections. Music has many varieties like sad music, romantic music, rock music, enjoyable music etc. The perfect music that I feel is the fun music, as a result of a fun music will always helps to overcome from problems, sad conditions and can allow you to to stay life fortunately. Subsequently we at all times have a really feel of music in our life.

A greatest music manufacturing comprised of professional singers, musicians, producers, songwriters and other professionals. In spite of everything this mixture we enjoy the feel of music. Music manufacturing houses play one of many important function in making music and producing in such a fashion that folks might get pleasure from it. Music manufacturing firms offer a number of services like organic music, audio branding campaigns, commercials, radio business manufacturing/jingles, TV title music, TELEVISION sound results, web site music/sounds, corporate movies, creation of 3 feature-length films, making memorable wedding ceremony and family DVDs, digital video and plenty of extra companies.

Today there a variety of music production companies who are providing finest music in form of audio, video, digital music, music for movie and TV commercials, industrial ads and many more. To get the perfect it's best to choose one of the best music company by conserving in thoughts all the services offered by the company, cost of companies, whether or not the company has good testimonials or not, who're firm's major clients and so on.

Music can easily make or break a certain scene's feelings or moods, so don't be shocked if you happen to discover some royalty free music that works properly together with your displays and productions. However how can music immediately affect your productions and different displays?

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Nevertheless, music might be pretty expensive - particularly if it is advisable to have the rights. Good thing, although, as a result of there are some royalty free music which enables you to use varied types of music without the necessity to pay for royalties to both the composer or the musician. That is particularly useful for these creating productions in a price range, or for class projects, perhaps.

There are many benefits of music which are royalty free. One is that it helps you to save money. Since you do not have to purchase the rights or hire somebody to exclusively compose music for you, you really datfatflydude spend much less. One other thing to contemplate is that there's virtually no waiting time. Due to the Web connection, you'll be able to simply select and obtain music to make use of right away.

Because you will get it manner sooner than composed music, you may choose them whilst you truly make your venture. That means, you've gotten a big selection of decisions and you may simply change for those who assume that the music isn't precisely fitted to that exact scene. Bear in mind, music can both make or break your whole message.

While you've bought access to numerous music without the necessity to pay, it helps you be extra inventive along with your productions. You possibly can simply preview how it might look like and sound like. You can attempt to view it with out music, then alternate one for one more - without waiting for a composer to complete your required music. This fashion, you actually save each time and money - all because you've acquired free music right there in entrance of you.

Discovering the best music may be difficult, so the provision of such is an enormous benefit whenever you do your presentations and movies. Loads of times, a few of such music may be underneath explicit licenses, however everything boils down to at least one level - you wouldn't have to pay cash to use it. It is best to read via the fine print earlier than using your downloaded music.

Not only do these sounds set the mood, however it might also considerably relay a specific emotion to your viewers. As the power of those sounds tremendously have an effect on your personal venture, it might probably also affect how the viewers see it. You might have a sad scene, however once you've placed on a funny musical rating, people would then have that sure enjoyable mood and think about the whole scene in another way than they did without royalty free music.

Okay, so it isn't rocket science. It is not opera. It's probably not music that anyone will hearken to a thousand years from now. However still, I prefer it.

I've appreciated funny music since I first started listening to music. Throughout my grade college years within the 60's there have been a bunch of nice data. Considered one of my earliest reminiscences is of Alan Sherman's "Hey Muddah Howdy Faddah," which was actually based mostly on Ponchielli's "Dance of the Hours" from La Gioconda, so possibly humorous music is stylish after all.

I also beloved "Itsy Bitsy Teenie Weenie Yellow Polka-dot Bikini" by Brian Hyland, "Alley Oop" by The Hollywood Argyles, that includes Kim Fowler (a revered songwriter who wrote plenty of 'critical' songs), and complete albums of songs by Ray Stevens, who made a career out of humorous music. The 60's seemed to be a golden age for funny music. The songs had been all singable, so even after you bought the joke, they have been nonetheless enjoyable to take heed to.

Different many years had their novelty tunes as well, from the Itty Bitty Fishy song back within the 30's, to "Do not Worry Be Joyful" by Bobby McFerrin (a revered Jazz vocalist,) to "The Man Song" by Sean Morey. And lest we overlook, there is the infamous "Grandma Obtained Run Over By A Reindeer" by Dr. Elmo, which has had wonderful endurance over the last few many years.

After I started writing and performing music, I at all times gravitated towards funny songs, and located that they worked amazingly properly in my shows. You possibly can do a great version of "Freebird" and the audiences would smile politely. In the event you made up a humorous music on the spot about something happening in the information, it seemed that they might flock to the stage and ask where they may get a duplicate of that 'music about John Bobbitt.

So I appear to have made a career out of funny music of my very own, which, by the best way, you'll be able to check out on my website. However that wasn't sufficient for me. I believed that since there are such a lot of individuals on the market performing and recording nice funny music, they wanted a spot of their very own. And thus, Picklehead Music was born, and has grown into a many-headed, comedy-music monster. Who is aware of the place it'll all finish? Hopefully continuing to lighten up folks's lives and to have them neglect their troubles long enough to take heed to a song like "Lots Of Things Rhyme With Duck," complete with quacking.

An incredible gift to music entered into the world on 23 February 1685 in Halle, Germany. A life of nice musical interest; one stuffed with an unbelievable expertise that might become a beacon to many all through the European continent and span centuries previous its lifetime. It is a life that might turn out to be centered around a fantastic mystery of how the musical talent would blossom right into a acknowledged and celebrated reward; a life that would alter the musical panorama and the religious worship realm in a brief 24 days, and a life that will turn into so influential that it will dictate musical compositions for many years afterwards.

A musical life that to start with would discover itself struggling to exist; a life that will probably be perpetually identified in George Frideric Handel.

It's by way of Handel that we credit score many nice musical accomplishments; accomplishments within the mixture of homophonic and polyphonic textures, by means of the creation of his own distinctive works by means of the process of combining German, Italian, French, and English musical traditions into his highly successful English Oratorios. And most significantly through the lasting results of Handel's single best gift to the world, and the world of music: The Messiah. But how does the work of this single musician leave such a robust impression on the music that now we have right now? What may presumably make the music of Handel one thing that might be hailed as electric, memorable, distinctive, and even leading edge?

And most importantly how might one particular person alter the musical idiom by way of a single twenty-4 day creation of a setting of Christ's life? Via these questions I'll discover Handel's impression on music in a means that shed's gentle onto the importance of Handel as a musician, a trainer, and inventor and as a non secular preserver. It is with Handel that we credit score a substantial amount of musical development.

Adversity in Handel's life was something that he encountered early on in life. At an early age Handel discovered himself faced with a father that didn't support a profession in music, in reality his father was a person that drastically hated music; noting that it was a pastime that served the sole goal of casting a light on the weak point of character discovered inside an individual. It was his father that wished he would strive to obtain a profession as a lawyer, a place that would come with a substantial amount of security in position and financial stability. This was something that Handel himself would have to come to terms with, because he himself was born with "signs of a fierce ambition, born of an consciousness of his superiority as a musician, and with a willpower to maintain his independence.

This determination to advance his musical ability grew to become a task that took quite a lot of onerous work and convincing; although it was Handel's mom that offered access to a clavichord hidden in the household's attic. The hours spent hiding from his father in the attic, protecting the strings of the clavichord with fabric to dampen the sound, allowed young George the time to observe his musical improvement and finally the knowledge of learn how to play both the clavichord and the organ.

This early examine is almost certainly what saved the musical profession for Handel, as a result of it was during the time stuck in the attic that a young Duke passing by heard young George enjoying within the attic and was so moved by what he heard, that he stopped to hear. After listening to younger George play the organ, the Duke pleaded with George's father to allow him to travel to Berlin and start to take music lessons.

The younger Handel began taking lessons on the age of eight, and was simply able to conquer learning the violin, composition and principle techniques, harpsichord, and reinforce the organ taking part in abilities. By the age of 11, there appeared little that any music instructor might train George; it was at this level that George's father started angry and again expressed his want for George to cease taking part in within the music, and to return home and do as he wished.

Handel on the request of his father did actually return residence, solely to reach at his father's deathbed. This was a darkish interval of struggle for the younger Handel, compelled to honor his father's needs, George decided that it was best to maintain to his research in regulation; although during this same time he continued to additionally sharpen the musical skills that he knew he possessed.

It was during this time that Handel started to write down cantatas for the assorted churches that he was serving in as an organist. It was the service in music that known as out to Handel, and by the point he reached the age of eighteen, Handel had realized that it was actually his destiny to grow to be an incredible musician noting that he was destined to enhance his musical skills and his information of music.

Leaving his delivery city of Halle lead him on a sequence of travels that will form the musical aspect of the outlook that Handel would finally have on music. The varied travels and cities that Handel was to visit would begin to influence each aspect of music that Handel would come to know and admire, and it was his first destination in Hamburg that may lead Handel on the path of musical greatness.

It was throughout his time in Hamburg that Handel was really launched to opera, and it took no time earlier than Handel was given a place within the orchestra on second violin. The time at the Opera home playing violin was a period that will bring the beginning of what folks would come to see as a person that was described as a "giant and very portly man", one that was stuffed with a brief temper and one which had a normal appearance about him that was "somewhat heavy and sour.

The persona of Handel can be something that many really would see as a double edged sword, in one side he was a intelligent man that had a superb sense of humor, one which present a remarkable sense of integrity, reliability, and absolute honesty in all facets of his life; however on the same time Handel was an individual that possessed a short fuse, and hot temper. He was a person that was short tempered and vocal about is opinions of life in general, and especially music.

This personality could be a defining a part of Handel's musical career, as it was shortly after he began working in Hamburg on the Opera house, that George was given the chance to display his super talent at the harpsichord; although it was additionally this expertise that brought about young George (now roughly age 22) to vocally disagree with composer Johann Mattheson on a composition Mattheson had written.

It was this quick fuse of Handel's that nearly ended his career, and life; although this spunk Handel exhibited also gave him the chance to catch the attention of a younger prince, Prince Ferdinando de' Medici, which might develop into impressed with the music Handel was performing. This lead to Handel being asked to leave his dwelling, now Hamburg, and make the journey to Italy where he would once more be positioned in a situation of being surrounded by new composers and types of music.

The move to Italy was an thrilling time for Handel, as Handel was at some extent of the place his major motivation for traveling to new areas was that of gaining expertise, and in the case of the opportunity to go to Italy, the objective was to learn as much as he may from the composers of Italy, and their wonderful operas. It was in Italy that Handel made important strides in his musical career and general growth.

For when Handel made it to Italy he was exposed to the world's best forms of music consisting of compositions of the likes of Opera, Cantatas, oratorios, chamber cantatas, concertos, and sonatas. This was a period that Handel began the task of refining his knowledge and really defining the compositional abilities he had been using up to now.

[guardianoftime]

--Credits--

Lyrics: Kirvee (shoutout and big thanks to @talesofsymphoniac for help with writing for rhythm and flow and being my biggest supporter through the whole process, as well as minoath for checking my lyrics for meaning and accuracy to the best of our abilities) Vocals: Nickolas Forsten Mixing: Michael Fewkes Song: “Calling” originally done by fhana for Tales of Zestiria the X ED1

Download the uncompressed version here!

(Lyrics are beneath the cut and wall of text below)

This is something I’ve been sitting on for longer than I really wanted to be, because I was looking for someone to sing it.

I’d been wanting to try my hand at lyric adaptation for a while and Calling was the 2nd song I ever attempted to do that with. It’s also, of the songs I’ve adapted so far, the one I’m most proud of for how the lyrics came out. I am so supremely proud of these lyrics and that’s why I’m really excited to finally be able to show it to more than a select few people! So please enjoy it!

A bit of background:

I approached this the same way I usually approach a translation, except in this case the goal was to make a translation fit into singable English rather than just be a straight translation. For this song, in addition to my own translations in some spots, I primarily followed @minoath‘s translation and she helped me through the process to make sure I was getting the proper meanings across even while rewording or rearranging some parts.

While the first season of Zesty’s anime was airing, Mino made a post that talked about Calling and Anemone no Hana being answers to one another lyrically and from Sorey and Mikleo’s perspective respectively. While adapting the lyrics, this is the same angle I decided to take with Calling and it’s why I was specifically seeking a male singer for it.

The lyrics were already more-or-less clearly Sorey’s perspective, but while adapting I reworked and added some parts as needed to make lines fit or flow better while keeping it in that perspective. For that reason, you can think of these lyrics as being Sorey at the end of the game, either addressing Mikleo directly or thinking about Mikleo and everyone else as he enters his sleep with Maotelus.

The biggest of those changes happened in the Outro where I changed the original lyrics’ reference to God and made it about Maomao instead. It may not follow the translation quite as well, yeah, but it flows so much better and there was no nice and neat way to accurately adapt that part of the song.

I’ve talked enough now, so please enjoy this English cover of a wonderful song!

--Lyrics--

Verse 1: On this journey of no return When I close my eyes midway through it now I want to sleep in this brief time of peace While holding on to our wishes some way somehow

Bridge 1: The world we dreamed of so long together Is illuminated now in light With the overflowing passion we share Look at what our hope conceived

Chorus: For our tomorrow's sake let's rest our wings for now So we can smile and laugh here in this moment together Don't you think when this long journey's at its end We'll be able to grasp fragments of our calling with certainty Let's just sleep right here for now and paint our dreams, don't you waver

Verse 2: If we bridge the gap between them Will the whole world smile bright and not condemn We don't yet know if it'll be alright But that's something we can keep believing, right?

Bridge 2: Sometimes our world is full of miracles That appear beyond our wildest dreams One day soon that dazzling beautiful light Will rain down upon us too

Chorus 2: Someday I'm certain we’ll Fulfill this purest oath made with the land When everything is healed it will be okay For the sake of gaining that tomorrow now We have shed our blood and sweat and tears We have walked through countless frays You can't see it yet but I won't be led astray

Bridge 3: I believe our calling now wasn't fate or destiny It's a dream we're reaching for working endlessly Our hands carve it with pain together

Outro: For our tomorrow's sake let's rest our wings for now So we can smile and laugh here in this moment together To restore his blessing to the whole world now Please live on, nurture, and grow your soul as you live on day to day And then let's just sleep right here again tonight and remember

Let's go there together

Want to use these lyrics to sing your own version? You’re more than welcome to as long as it’s not for profit! If you do, please send me a link! I’d love to check it out!