Interpersonal relationships start to ebb and flow.
– Love and death truly are a huge part of music, particularly opera!
– The Agata festival sure sounds like fun though! All the inter-band relationships, crushes, interests, and then how all those spread… Too cute. Sometimes when stuff like that leaks out, it causes huge bouts of drama! However, it’s pretty common to see people within same instrument families date or flirt with the possibility! I used to date lots of flute players for some reason.
– I love Kumiko’s honesty and apathy though. She’s just very honest about her feelings, haha.
– I really also liked the way the audio transitioned from outside the rehearsal room to inside the rehearsal room. Subtle but really effective way of communicating space and the presence a band has in a building.
– The flute embouchure seen in this next cut is really nice, with the right amount of roll/lip/mouth distance to be accurately portrayed. You can tell she’s a highschool student because of her slightly slouching posture.
– Also the amount of detail in Taki-sensei’s cut-off is pretty great too. A lot of conductors have different styles of this, and as you can see, they decided to use a hand-technique because he’s not using a baton. The difference in conducting is huge with regards to technique when using a baton or just hands. Depending on Japanese schools do it, he would either stick with hand-conducting technique for the rest of the show because the students are used to it, or would switch to a baton for a competition/performance because of the showmanship. Either way, I find that the ictus is much clearer with a baton. Even his cues in the previous cut that has him at a long-distance level of detail still are spot on with the music, correlating to the long notes he wants accentuated. Really nice.
– Also, these students actually pay attention. Usually in younger groups it’s much harder to get them to actually cut off when the director does, because they really get into their parts.
– And regarding Asuka’s explanation; there’s always one of those people in every band! In my time as an ensemble member, that person was always me! I always did my research.
– And yes, Asuka is yet correct again. Different fingerings for brass players can really help out in some sections. For that particular part, you could hear how a different fingering pattern would help a player improve the agility in a faster moving low-brass part. With the chromatic notes added to the normal descending scale pattern in that section, coupled with the syncopation, you could tell someone would have more trouble with that part than normal. Add in the increased dynamic, and that someone would probably want to breathe during that phrase depending on what part came before, yeah, an alternate fingering would help.
– Notice as Kumiko walks she’s using four fingers to practice her hand motions. She does this because she has a four-valve euphonium, one with the extra key that helps play on lots of the fingering combinations that rely on fingers 1 and 3 together at the same time. Since the notes are only player with one finger opposed to two, the rest of the hand can react more agile to the rest of the section that needs to be played. And yes, lots of brass players will sometimes just practice fingerings as they walk, whether it be in the air or on their leg, arm, etc. The muscle memory is there, and the practice only helps improve accuracy. I love that they pay enough attention to the way the instruments are played that even something as simple as someone practicing alternate fingerings is not only accurate to the specific construction of the instrument, but is related to the actual dialogue suggesting alternating fingerings in the previous scene. Really cool stuff.
– However, she’s usually shown with a compensating Euphonium, which would require the left hand to be used for the fourth valve, not the right hand. So either in a later episode they would use different euphoniums or to consolidate practice to get everything in one hand because of the off-hand casual nature of just going through the motions for muscle memory. Usually people will stick to the primary three fingers and only use the pinky if absolutely necessary, because of the weaker integrity of it compared to other fingers. Maybe an inconsistency, we’ll see!
– The trombone practicing at the riverbank is funny. Cause he needs it. You can hear it. And Kumiko is right; Taki-sensei is ruthless. And then shutting Shuichi down with indifference because she’s too absorbed in her musical thoughts is great.
– Literally drawing out the relationship triangle is funny. She just wants no drama.. She’s the best. That non-committal answer when Sapphire is talking to her shortly after is great too. She’s totally absolving herself of everything.
– And then she messes up, haha. And in the worst way possible for her.
– But Reina agrees anyways! Kumiko really just wanted to be left alone. She should’ve just rejected Shuichi to appease her apathetic side.
– Daww, Goto.
– And Midori and her sister are way too similar. Cute. You go get him Hakzui!
– Poor Kumiko, having to carry that Euphonium. That stuff is heavy, and climbing up the stairs only makes it worst.
– Kousaka looks pretty cute here too. Though wearing those shoes has got to be tough, especially with all the walking they’re doing. At least they’re switching.
– And then that exchange about the feet/shoes. Haha. The sarcasm between them is funny.
– In this next scene, i’m totally with Asuka here. Don’t rely on a deity to succeed for you. Grasp your own fate with your own talent. Be good enough to earn your place. She’s so cool.
– And then a confession! Yo Hazuki! Way to go! But he still likes Kumiko. Dat heartbreak. Dat resolution of drama so fast. Dat Shuichi density. Dat tuba support. You know, that was handled swiftly, with tact, and actually in a not over-played manner. Really nicely done and not stupid like it could’ve been. It’s funny that Hazuki can also see he likes Kumiko, even to the point where they both know Kumiko does not care right now.
– And then Reina’s straightforwardness in the next scene is also just great. “You know how you have a terrible personality?” So good. It’s kinda nice how she just sees through Kumiko so easily. The manner which she refers to love is also pretty funny here as you can tell she appreciates her more realistic attitude than the show Kumiko puts on at times. She can even see through her about Shuichi too, though she doesn’t know about how it’s so one-sided, mostly from him. (get out yuri-baiters)
– It’s also funny how earlier Kumiko basically says that Kousaka’s love for music is almost too much. The lengths she goes are way more than anyone else.
– And about her goals, her ambitions, the way she wants to stand out… The trumpet really is the instrument to accomplish that, especially in a setting like this. That’s some pretty cute friendship building though. Seeing her just straight up tell Kumiko how things are was really refreshing. No BS.
– And all those sexy fingerings. Look at that spot-on animation/sound synchronization in this duet. Holy crap. (Don’t worry about transpositions here fyi, i’ll keep everything concert pitch for euphonium) The euphonium is playing D (1+2), up to F (0), down to E (2), up to F# (2+3), up to B (1+2). All spot-on fingerings.
– Kousaka’s notes are (i’ll include transposed trumpet notes here) E up to A (both 1+2, in the same harmonic series so it’s a lip leap), down to F# (2), up to G# (2+3), up to A (1+2), slur up to C# (1+2), down to A (1+2), (animation gets ahead here with the audio due to the upcoming transition), down to a G# (2+3), up to A (1+2).
– I wouldn’t believe they played that song a while ago, as the registers get high for performers their age when they would’ve first played it. Though, they are much better now, so it makes sense we’re given a better performance.
– It’s a perfect backdrop for everything to unfold without dialog here. Just really subtle emotion from the music and the visuals are just carrying the whole thing. So good.
– And then when we cut back to the duet, they even go as far as to animate the fingerings even from the vantage point this cut is from. Holy crap. You can even see their breathing and eye-contact at the end that they were signaling each other for the upcoming ritardando before the cadence. It’s one of those things that becomes autonomous as a musician the more you perform.
– Very beautiful last main scene.
Auditions. Next episode, things is probably going to get real. There’s probably going to be drama, yelling, crap-talking, fear… Just everything. This is going to be the part where the best rises to the top and the other people either accept their fates, start some crap, or rise above everything with talent. It’s going to be good.