約 4,762,997 件
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【登録タグ R river 初音ミク 曲】 作詞：river 作曲：river 編曲：river 唄：初音ミク 曲紹介 river氏の51作目。 もう一人の自分と、なんてものを作ってみました。（作者コメ転載） 歌詞 ほら ふわり揺れるでしょ 僕の中のキミ ねえ そっと見えるでしょ 夢が帰る場所 少しの言葉と手のひらで キミを繋ぐ relation key 今のこころ開けるから そのまま眠って ほら ずっと 星が願うよに 少しの想いと反射して 道を照らす direction key おもて裏もない世界 澄ます靴が歩きだす 寂しかったその声の 意味を探す affection key 嘘ほんともそのままに 振り向けたら僕と帰るの 揺れるみたい 少しの記憶とふれる手に やさしく imagination key 生まれた頃知る世界 光越しに見つめあう 透きとおった手のひらで キミを繋ぐ relation key 今のこころ開けるから おかえり僕の key コメント 名前 コメント
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relations / 星井美希・萩原雪歩・菊地真 概要 DE RE PR MA Level 1 4 6 8 Icons 84 248 302 381 BPM 142 TIME ? Artist 星井美希・萩原雪歩・菊地真 Version グルーヴィーチューン 動画 攻略 名前 コメント ※攻略の際は、文頭に[DE] [RE] [PR] [MA] のいずれかを置くと、どの譜面に関する情報かが分かりやすいです。 コメント(感想など) 名前 コメント ↑攻略と無関係の曲に対するコメントはこちらでお願いします。あまりにもかけ離れた内容は削除される場合があります。
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【登録タグ CD CDR orangeCD オレPCD シグナルPCD 花束PCD】 #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 前作 本作 次作 Prism feat.鏡音リン Relations DigiStyling シグナルP 花束P orange オレP 即売 同人 発売 2010年5月9日 2010年5月9日 価格 ￥1,000 ￥1,260 サークル twinkledisc 作詞：Dios/シグナルP(Tr.1,11,14),Chisato(Tr.2,9),orange(Tr.3,10),nosuke(Tr.4),Shino(Tr.7),もっちりオヤジ(Tr.5,8),オレP(Tr.12),Miharu(Tr.13),花束P(Tr.15) 作曲：Dios/シグナルP,花束P(Tr.15) ジャケットイラスト：田村ヒロ CD紹介 Dios/シグナルP通算5枚目となるVOCALOID-CD。フルアルバムとしては『DioSignal』以来１年ぶりの新作となる。 THE VOC@LOiD M@STER 12（ボーマス12）で頒布される。 これまでリリースしてきたCDアルバム『SIGNALOID ALBUM』『SIGNALOID SOUNDS』『DioSignal』の廃盤にあわせ、これら３作からベスト盤チックに抜粋して収録したアルバム。 全15曲収録。15曲目「エキストラ」は、花束Pの楽曲のアレンジバージョンとなる。 当CD製作に当たり、「DSDリマスタリング」を経て更に高音質になっているとのこと。詳細はブログにて。 上記ブログ記事で、クロスフェード音源を試聴することが出来る。 なお、このCDの９曲目にて、シグナルPのGUMIが初お披露目される。 曲目 Transmit（リン） Time&Space（リン） サンドリヨン（ミク＆KAITO） CHU！して！（リン） 革命（ルカ） Repeated Regret（リン） ラビリンス（リン） TABOO（ミク） 桜舞う日2010（GUMI） アドレサンス（リン＆レン） Overcome（レン） Step and Go!（リン） ライバル（リン） リンリンシグナル（リン＆レン） エキストラ（リン） リンク Dios/シグナルPブログ 田村ヒロブログ とらのあな D-STAGE コメント とらのあなで買いました!!買って良かったと感激しました!!シグナルPのＣＤ持ってないひとはぜひ買うべきですo(^o^)o1260円だしお得♪ -- リサ (2010-05-13 08 01 22) 私もこのCDとらのあなで買った！収録曲と田村ヒロさんのジャケットイラストがやばくてｗｗ -- こんにちは (2012-03-31 01 04 02) ↑うっそーーーーーーーーーーーー！！！、この曲に入ってる「アドレサンス」欲しい！ -- 良太 (2014-07-28 22 52 45) 名前 コメント
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このページはこちらに移転しました Яevelation 作詞/AkuC 「She all knew it. He was not going to know it. They who pass each other do not cross anymore….」 Her song echoes in an emptiness of the darkness. The song lengthens both hands and flies in the sky. Do not close its eyes. I am not God. But I can pray for you. But I can believe you. Even if, as for me, I do not see you. The heavenly revelation is not revealed with having been frozen hard. The person cannot but believe one s course. I am born to thinking with you.
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IN/overview ISU components. Interpretation. Interpretation overview What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement. IN/Music Movement http //youtu.be/Uio9PKFlEAY 2.1.2. ISU components. Interpretation. Musical movement Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical. (1 50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing. (3 07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical. (4 20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing. (5 24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement. (5 46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element. (6 13) While preparing for his second technical element, he again disconnects with the music. (6 25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success. (8 57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music. (10 47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1 04 for the skater on the left, and just 9 seconds for the skater on the right. This is a pair skating example, where almost all the short program movements are connected to the music. (14 34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style. This pair is not at the level of the previous and are disconnected for a significantly more time than the first team. (17 52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected. IN/Expressive nuance movement http //youtu.be/oLk0a-BDY5g Expressve/nuance movement relates to the detailed finesse of the skater or the team. It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them. (1 27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music. (2 18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion. (2 46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight. (3 32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance. Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music. (4 37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements? (7 29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen. (9 32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected. (9 51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline. (15 02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements. IN/Effortless movement http //youtu.be/lLl44YmUhdg Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music. During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music. (3 16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance. IN/Conclusion http //youtu.be/Cex942xblXE The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
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REVELATION REVELATION アーティスト RAISE A SUILEN 発売日 2023年11月1日 レーベル ブシロード デイリー最高順位 2位(2023年11月1日) 週間最高順位 2位(2023年11月7日) 月間最高順位 3位(2023年11月) 初動売上 6859 累計売上 11688 収録内容 曲名 タイアップ 視聴 1 Apocalypse BanG Dream! 2 TWIN TALE 3 STRAY CERBERUS 4 BERSER-KEY 5 POLARIS ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 11/7 2 新 6859 6859 2 11/14 7 ↓ 1611 8470 3 11/21 9 ↓ 531 9001 4 11/28 8 364 9365 2023年11月 3 新 9365 9365 5 12/5 ↓ 262 9627 6 12/12 14 ↑ 438 10065 7 12/19 ↓ 367 10432 8 12/26 ↓ 263 10695 9 24/1/2 13 246 10941 2023年12月 25 ↓ 1576 10941 10 1/9 8 ↑ 328 11269 11 1/16 7 ↑ 419 11688 関連CD 迷跡波
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Area Station Address area code Program DJ note Osaka FM802 Tenjinbashi 2chome Kita 2-6 Kita-ku,Osaka 530-8580 My fav Tokyo Inter-FM TV Tokyo Tennousu Studio 7F Higashi-Sinagawa 1-3-3 Shinagawa-ku, Tokyo 104-0002 Evening Session Yuriko Okamura She interviewed Adam.
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Budget [予算] Teacher training [教師教育] Supervision and guidance [監督指導] Literacy aids [読み書き能力援助] Backup classes [予備教室] Aids and grants [援助と奨学金] School equipment and material [学校の備品と用具] Renewal and maintenance [建て替えとメンテナンス] Student accommodation [学生宿泊施設] Correspondence courses [通信教育] Teaching of local languages [現地語教育] Classes for the exceptionally gifted [例外的天才の為の教育] Salaries [給料] Building [建設] Legislation [立法] Establish the freedom of teachers [教師の自由の制定]No control[自由な教育] Inspection and monitoring of school programs[学校教育の検査と監視] School programs censored on "delicate" questions[学校教育は"デリケート"質問に対して検閲] Indoctrination [洗脳教育] Set maximum school age [学齢の上限設定] Set duration of school vacations [学校休暇期間の設定]
https://w.atwiki.jp/rulersofnationswiki/pages/63.html
Name(名前) Plural(複数) Gdp(国内総生産) Gdp 2015(2015年国内総生産) Gdp 2030(2030年国内総生産) Gdp 2050(2050年国内総生産) National deficit(国内赤字) Debt(借金) Unemproyment(失業) Population(人口) Growth(成長) Birth rate(出生率) Government type(政府体制)Republic [共和国] Federal republic [連邦共和国] People s Republic [人民共和国] Islamic Republic [イスラム共和国] Monarchy [君主制] Federal Monarchy [連邦君主制] Parliamentary Monarchy [議会制君主制] Islamic Monarchy [イスラム君主制] Federation [連邦] Emirate [首長国] Principality [公国] Unitarian [ユニテリアン] Dependency [属国] Member of the commonwealth [国家構成地域] Palestinian autonomy [パレスチナ自治区] Sovereign state [独立国] Regime type(政権体制) 項目 訳 religious 宗教 parliamentary 国会 presidential 大統領制 semi-presidential 半大統領制 democratic 民主制 authoritarian 独裁 military totalitarian 軍事的全体主義 Title of the head of state(国家元首) 項目 訳 President 大統領 Prime Minister 首相 King 王 Prince 王子 Sultan スルタン Emir アラビア王族・首長 Chancellor 首相(ドイツ等) Governor 知事 Head of government 政府長 Administrator 統治者 Pope (ローマ)教皇 Guide to the Revolution 革命指揮者 Emperor 皇帝 Grand Duke 大公 Supreme leader 最高指導者 Magistrate 行政官 Captain Regent 摂政長? Bailiff 土地管理人? Pres of Council 委員会長 Supreme Guide 最高指導者 Leader of Defense Council 防衛会議長 Leader of Council of state 国策会議長 Pres of Palestinian Authority パレスチナ自治政府長 Main Minister 主大臣 Pres of Regional Council 州議会長 Pres of Territorial Assembly 領土会議長 Pres of General Council 総協議会長 Tltle of the chief executive(行政長) 同上 2ページ目のBrowseにて国旗の変更が可能
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Legislation [立法] Forbid entrance to the territory [領内への入国禁止] Authorize entrance to the territory [領内への入国許可] Forbid exits from the territory [領内からの出国禁止] Authorize exits from the territory [領内からの出国許可] Establish the integration policy [同化政策の制定]Restrictive and monitored [監視と制限] Moderated and balanced [バランスのとれた緩和] Opened [自由] Establish aid for immigrants going home [帰宅移民援助制度の制定]No aid [援助なし] Basic subsidy [基本的な補助金] Highly incentive increased subsidy [高額な補助金] Conduct an operation to regularize the situation of illegal immigrants [不法入国者の状況調査指示]For all illegal immigrants [すべての不法移民] For illegal immigrants having lived on the territory for more than 5 years [５年以上滞在の不法移民] For a selection of illegal immigrants based on criteria of integration [不法移民] Launch a massive operation to accompany illegal immigrants to the frontiers [不法入国者の国境送還の為の大規模作戦の着手] Regulate tourist visas [観光ビザの規制]No visas [ビザなし] Visas mandatory [ビザ必須]