Music Artist In Japanese – In my mission to better understand Japanese music, I had to explore the Japanese side of the Internet, which includes blogs and YouTube videos. While searching, I will come across words like “B Melo” and “Sabi” with letters like “AABAC”.
Some terms are quite simple as they are borrowed English words, other words have me scratching my head so I decided to dig deeper for myself and yours.
Music Artist In Japanese
If you’re looking for other Japanese music-related articles, check out my J-Music Resources page. And if you want to learn how to create Japanese-inspired music, check out my course, The Complete Music Theory Course!
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Before diving in, a good place to start is with a song split. In most music, you can split a song into 3 parts. Each part usually ends when the chorus ends. In Japanese, they will use the word “prohibit” (番) to refer to each section. In a very basic song, it goes like this:
If there are other sections, the numbers will continue, i.e. 4番, 5番, etc. I address this a bit more in the verses section below.
This term is quite self-explanatory. The beginning of the song is the introduction. A song may begin with an instrumental with catchy riffs, or it may have a few words before entering an interlude supported by a verse/melody.
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Atama means “head” in Japanese, so “Atama Sabi” is the chorus or hook that starts the song. So if a song starts with a chorus, you can refer to that section using that word. The song should have a later segment.
You will notice that in Western music, verses usually rhyme with each other. If there was one section that stood out, it was usually the bridge. But in Japanese music, there can be several sections that function as verses, but have few distinct sounds or progressions. Instead of calling them verses, you’ll see the word “メロ” used. It’s spelled “Mero”, but in Japanese the L and R are very similar, so it’s best read as derived from the word “Melo”.
Therefore, if the melody changes between verses and the section is not a refrain/sabi, then this term is used. In the first section (1番) of the song, you will usually see Aメロ and Bメロ back to back. In Western music, this is called the verse and pre-chorus. If in the second section (2番) of a song a new melody is introduced, that part of the song is called Cメロ. Cry Baby by Official HIGE Dandyism would be a great example. And finally, during the third section (3番), the bridge will serve as the next verse and introduce a new melody. It is called Dメロ, or Cメロ if it has not been used before.
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In Japanese, the chorus is known as “sabi”. “Pure” is how they pronounce “pre” so “pre-chorus”. Although pre-chorus and melody B can sometimes be used simultaneously, I would say that melody B is about the same length as melody A (usually 16 bars), while pre-chorus is shorter ( 4-8 measures) than the pre A. -The chorus is also built and grows in the choir.
If you dare to dig into the Japanese side of the internet, you will see that Sabi is used to refer to the chorus. Google would translate it as “rust” because the word is written in katakana which is used for borrowed/foreign words, but that made no sense to me. It took a lot of research to find real explanations, but I finally found a logical answer to where the word came from and what it means on the no-sword.jp website.
They write “In the days when AABA was still the most popular musical form, the B part was often in the subdominant. So Ernst would write ‘SAB/’ (for ‘subdominant’) in the B section of the score to give players a wider head. Japanese composers thought this slash is a capital I, and read it
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In today’s world where Japan has very complex song structures, as you will see below, sabi is used to represent the most repetitive or memorable part of a song, which is usually the chorus or chorus, but it can also be a repeated verse. Post-chorus. I say, it’s best to think of it as the “hook” of the song, the part that gets stuck in your head the most.
So what is the difference between a chorus and a chorus? Although the words are commonly used interchangeably, a chorus refers to a part of a song that is repeated, such as the lyrics of a hymn. You will notice that in Japanese songs, not all choruses are repeated. Words may change, or they may be played slightly differently. If it’s a perfect match, stop it.
The post-chorus looks like part of the chorus, but has a chilling feel to it and may not always be present after every chorus. If it were an instrument, it would be more of an interlude, so you can think of it as an optional extension to the chorus, but it doesn’t have the same part or hook as the main chorus.
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You can think of an interval as a small instrumental section between parts. It’s not as long or noticeable as an instrumental bridge. It is often found after the first chorus/sabi and before the second verse. I’ve found that in most cases the interlude consists of bits that were in the intro (if there was one). As you will see below in the effective line/stereo example, although there is a large instrumental section, I can split it into an instrumental and an interlude, as the song’s intro is brought back after the solo.
An instrumental is a part that has no voice, but is longer than an interval. This usually happens between the second and third chorus. If done in the form of a bridge, the term “INSTRUMENTAL メンタル間奏” may be used instead. All solos will be considered part of the instrumental, but not all instruments have solos.
The bridge may be called a borrowed word, or oosabi, meaning large choir. As we mentioned above, sabi can mean chorus, but it also refers to any catchy section or part that stands out. So the bridge or oosabi is a piece that stands out more than usual. This usually creates a lot of tension that builds up to the final chorus. They can also use C or D Melo to refer to this passage.
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Explanatory. Rasuto Sabi is the last chorus of the song. It may be a repeat of the initial chorus, or it may be slightly different with different lyrics, instrumentation, and energy.
Like the introduction, it’s pretty self-explanatory. Some songs may end strongly on the chorus, but in most cases an instrumental is played as the intro, but at the very end to let you know the song is over.
Essentially translates to “single party”. Usually the solo will feature an instrumental bridge during the beat, and most of the time it will feature electric guitar. However, solos can be on any instrument, such as saxophone, piano, or drums. As long as the tool has a moment to stand out and shine, it is considered unique.
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A phrase does not refer to a specific part of a song. Rather, it is used to refer to a clause, any clause, depending on the context. The intro can be a phrase, part of the chorus can be a phrase, the solo can be a phrase. If you’re unsure of the name of a part of a song, you can just say “the phrase after the first verse”.
Ochisabi is basically a construct. It can be a crescendo (increase in volume) with instruments, vocals and especially percussion. This usually leads to the final chorus (rasuto sabi). Sometimes he can take the place of D Melo if an Oosabi is not present. (A perfect example would be at 2:50 in this song).
The word for it literally uses the Japanese word for “speak”. By adding ‘ri’ at the end, the word translates to narrator.
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Once you start paying a little more attention to song structures, even what seems like a simple song can be more complex than you think. Below are examples of common structural patterns:
Below I’ve picked a few songs at random from my recorded songs with longer or more unusual structures, just so you can get an idea of how the songs flow together and how the parts will be named in the context. I’ve done my best to research the terms above, but don’t take my word for it. While some songs were very easy to say and I could make a good impression, the artist might consider this as something else. There’s no real way to see it and know for sure until it’s official.