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Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.
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https://w.atwiki.jp/sakato-japantour/pages/14.html
WELCOME TO SAKATO WISATA TOUR Who We Are Sakato Wisata Tour has been dedicated to professional and specialize in arranging travel packages for our travelers from Southeast Asia in Japan.Our management philosophy is to serve enjoyable, pleasant with the high quality travel service to our travelers.Our management concept is to serve as travel consultant to our clients, as opposed to simply taking reservations and handling tour.We have good relationts with various hospitality industry and transportations service in Japan. Our network with provides global travel management services for South East Asia businessman and leisure travelers in the Japan markets. As a partner, we can continually find ways to improve efficiencies, pleasant,enjoyable for travelers and ultimately provide cost savings to our clients. SELAMAT DATANG DI SITUS SAKATO WISATA TOUR Sakato Wisata Tour berkualifikasi tinggi sebagai biro perjalanan yang propesional dan khusus menyelenggarakan paket perjalanan tour bagi para wisatawan Asia Tenggara di Jepang.Konsep managemen kami adalah tidak hanya sekedar membuat reservasi dan penyelenggaraan tour saja, namun berusaha memberikan pelayanan wisata yang berkualitas tinggi nyaman dan menyenangkan bagi para wisatwan kami. Kami memilki hubungan yang baik dengan berbagai sektor industri jasa pelayanan seperti hotel-hotel, restaurant besar maupun kecil serta sektor angkutan transportasi di seluruh Jepang. Jaringan kami menyajikan pelayanan managemen wisata yang menyeluruh bagi para penyelenggara bisnis dan wisatawan Asia Tenggara untuk wilayah Jepang. Sebagai klien kami akan terus berusaha menemukan cara pemberian pelayanan yang lebih efisien, menyenangkan, dan nyaman bagi wiasatawan kami yang pada akhirnya dapat memberikan penghematan anggaran bagi klien-klien kami. Sakato Wisata Tour Travel
https://w.atwiki.jp/nxll/pages/14.html
(song s title is "1/2", which pronounces "ni bunno ichi", represents 0.5)(ni = 2, ichi = 1 in Japanese) せなか に 耳 を ぴっと つけて senaka ni mimi wo pitto tsukete I held you, and put my ears on your back, hugging 抱きしめた dakishimeta tight as I could 境界線 みたいな からだ が じゃま だね kyoukai-sen mitaina karada ga jama dane our physical boundaries are getting in the way of us どっか いっちゃいそう なのさ dokka icchaisou nanosa but I feel as though they re flying away だまってると ちぎれそう だから こんな 気持ち damatteru-to chigiresou dakara konna kimoti If I kept silent, all things would begin drifting away はんけい 3メートル 以内の 世界 で もっと hankei san meetoru inai-no sekai de motto I wanna hug you in more condensed way and I wanna be もっと ひっついて たい のさ dokka icchaisou nanosa always within 3 meter radius かわりばんこ で ペダル を こいで kawaribanko de pedal wo koide working the pedals, turn about each other, おじぎの ひまわり 通りこして ojigi-no himawari toorikoshite passing along the, bowing sun-flowers, ぐんぐん 風 を のみこんで gungun kaze wo nomikonde we re gonna swallow, all of the winds as if そう 飛べそう じゃん sou tobesou jan we could fly into sky はじめて かんじた 君 の 体温 hajimete kanjita kimi no taion in the first time I, felt your warmth and, 誰よりも 強く なりたい dare-yorimo tsuyoku naritai suddenly I wanna be stronger あったかい リズム attakai rythem in the warmth of this rythem 2コ の しんぞう が くっついてく niko no shinzou ga kuttuiteku two hearts are about to be united くちびる と くちびる kuchibiru to kuchibiru on my lips and on your lips め と め と 手 と 手 me to me to te to te eyes and eyes and hands and hands かみさま は 何も 禁止 なんか してない kamisama ha nani-mo kinshi nanka shite-nai our God will never forbid what we want to do 愛してる 愛してる 愛してる ai-shiteru ai-shiteru ai-shiteru Oh I love you, Oh I love you, Oh I love you あたし まだ こりてない 大人 じゃ わかんない atashi mada korite-nai otona ja wakan-nai I have no regret, and adults never understand, くるしくて せつなくて みせたくて パンク しちゃう kurushikute setsunakute misetakute puncture sichau suffocating, wistful, want you see me, nealy punctured, そっぽ みて まってる から soppo mite matteru kara so I try not to see you ポッケ の まよってる 手 で pocket(pronounce pokke) no mayotteru te de so take your hands outof your pockets ほっぺ に ふれて hoppe ni furete touch me on my cheeks 恋してる チカラ に 魔法 を かけて koi-shiteru chikara ni mahou wo kakete cast your spells on my power of love.. (間奏) (Interlude)
https://w.atwiki.jp/vocaloidenglishlyric/pages/602.html
【Tags Miku Nanou W tW】 Original Music title Waltz Of Anomalies Romaji music title Waltz Of Anomalies Music Lyrics written, Voice edited by ナノウ (Nanou) Music arranged by ナノウ (Nanou) Singer(s) 初音ミク (Hatsune Miku) Append Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson): Just because I just laugh, looking like I don t care at all, Do you think that means I ve forgotten all about that day? Even though the wounder promptly forgets, The ones who are wounded never can, And it sticks in their heads, and builds up with dark, stagnant water... If you want it, then certainly I ll dismantle myself for you; Arms, legs, hair, tongue, chest, ears, nose, fingers, Not even leaving behind my heart... But there s one thing in this world which I desired above all else For you to shatter me to ashes with a few mere words... That s the only thing I need... So now, Let us dance until the dawn, until we sleep exhausted, Even if not a part of my heart can come through to you Smiling insincere in want of love, sleepless yet wanting to dream No, there s nothing sad about it... Right? Isn t that right? "If the people of the world were divided into two kinds, If we consider the people who are needed and those who aren t, I have nigh-zero confidence that I would be the former... So I at least tried to ensure I was needed by someone." And I can t expect anything else to go very well... Yes, Over and over again, I ve rewritten my message countless times; Already so messy and absurd, I m sick of just looking at it But still I walk, dragging my heart along, For there s nothing anywhere that can substitute... Right? Isn t that right? It s such a cruel world, isn t it? Everyone seeks out happiness, Forever and ever dancing A waltz riddled with anomalies... So now, Let us dance until the dawn, until we sleep exhausted, Even if not a part of my heart can come through to you Smiling insincere in want of love, sleepless yet wanting to dream No, there s nothing sad about it... And yet why am I crying? Please, tell me... Romaji lyrics (transliterated by vgboy / vgperson): Nanimo ki ni shitenai you na kao de watashi ga tada warau kara tte Ano hi no koto o zenbu nanimokamo wasureta to demo omotteru no Kizu o tsukeru hou wa sugu ni wasurete mo Kirareta hou wa zutto wasurenai Soshite itsuka atama ni kogetsuite kuroku yodonda mizu wa tamatteku Tatoeba kimi ga nozomu nara watashi o subete kaitai shite agemashou Ude mo ashi mo kami mo shita mo mune mo mimi mo hana mo yubi mo Kokoro sae mo subete nokorazu Dakedo watashi ga kono yo de ichiban nani yori mo hoshikatta mono dake wa Kimi no tatta hitokoto de konagona ni kudakechitte hai ni natta Watashi wa sore shika iranai no Saa Odorimashou yoake made tsukarehatete nemuru made Douse kono kokoro wa kimi ni wa nani hitotsu todokanai Ai ga hoshikute aisowarai yume ga mitakute fuminshou Betsu ni nanimo kanashiku wa nai yo Nee sou desho "Moshimo kono yo ni ikiteiru ningen ni wa ni-shurui iru toshite, Hitsuyou na hito to sou janai hito ni wakerareteiru to shitara, Watashi wa zensha de aru jishin ga mou kagirinai zero ni chikai node, Semete tada hitori dake ni hitsuyou to sareru hito de arou to shita." Sore sura umaku ikanai mama Sou Kurikaeshi kurikaeshi nando mo kakinaoshite Mohaya guchagucha de mechakucha de miru no mo iyake ga sasu Sore demo kono kokoro o hikizutte aruiteiku Kawari nado doko ni mo inai yo Nee sou desho Nante zankoku na sekai deshou Daremo ga shiawase o motome Mujun darake no warutsu o Itsumademo odotteyuku Saa Odorimashou yoake made tsukarehatete nemuru made Douse kono kokoro wa kimi ni wa nani hitotsu todokanai Ai ga hoshikute aisowarai yume ga mitakute fuminshou Betsu ni nanimo kanashiku wa nai yo Nano ni naze ka namida ga deru yo Nee oshiete
https://w.atwiki.jp/oper/pages/1505.html
AKT I Obóz towarzyszy pancernych, z lewej wejście do gospody stojącej w lasku, z prawej kilka namiotów. SCENA l Przed gospodą przy stołach towarzysze kończą ucztę, luzacy usługują im nalewając w czary miód, który przynoszą z gospody. W głębi żołnierze, jedni w pancerzach, drudzy bez nich, grzeją się przy dużym ogniu nanieconym wśród drzew już w połowie opadłych z liścia. Z prawej stół, przy którym ucztuje gromadka żołnierzy, wśród nich Maciej trzyma pierwsze miejsce. Zbigniew i Stefan między kolegami przy stole z lewej strony. Wieczór. Chór Więc gdy się rozstaniem, Przed słońca świtaniem, Kto żyw, kto brat, Bierz w dłoń pełną czaszę! Strzemienne rzecz godna Wychylić je do dna. Sto lat, sto lat, Niech trwa zdrowie nasze! trącają się pucharkami. Dokoła spokojnie Ni słychu o wojnie, Znać tak tę rzecz Prowadzi sam Bóg! Kto w ziemie bogaty, Niech wraca do chaty, Kto chce, niech miecz Przekuje na pług! Zbigniew Źle mówicie bracia mili, Chociaż pokój daje Bóg, W jakiejże to rycerz chwili Oręż swój przekuwa w pług? Wszak obydwóch ludziom trzeba, Pług z orężem, z bratem brat, Bez pierwszego nie ma chleba, Drugi broni pól i chat! Toż u ściany naszej chatki Jak ważności świętej rzecz, Pod obrazem Bożej Matki, Zwiśnie pancerz, hełm i miecz! I gdziekolwiek złe nadleci, Aby w piekło zmienić raj, W dłoni tej nie pług zaświeci, Gdy powoła Bóg i kraj! Maciej i chór I gdziekolwiek złe nadleci, Aby w piekło zmienić raj, W dłoni tej/ich nie pług zaświeci, Gdy powoła Bogi kraj! Stefan Zamiast bezczynnie służyć w żołnierce, Wracamy z bratem w domowy próg, Lecz zachowamy zbroję i serce, Jak dla ojczyzny wypada sług. Rdza ich nie ujmie pod panowanie, A chcąc rycerskie afekta kryć, Zostaniem oba w bezżennym stanie, By w każdej chwili swobodnym być! Toż kiedykolwiek burza nadleci, Czy to z odległych, czy z bliskich stron, Już nas nie wstrzyma kwilenie dzieci, Trwoga krewniaków ni lament żon! Maciej i chór Już nas/ich nie wstrzyma kwilenie dzieci, Trwoga krewniaków ni lament żon! Zbigniew wesoło podając ręce Stefanowi Tęgoś wyrzekł panie bracie, To mi głowa! to mi plan! Nie ma niewiast w naszej chacie, Wiwat! semper wolny stan! By wasze pić zdrowie, Szczęśliwi mężowie, Hej, hej! daj nam Daj tu miodu dzban! Niech żyją poddani, Ja nie chcę mieć pani, Chcę zdrów żyć sam, Ja sługa, ja pan! Chór By wasze pić zdrowie, Szczęśliwi mężowie, Hej, hej! Daj nam Daj tu miodu dzban! Niech żyją poddani, Ja nie chcę mieć pani, Chcę zdrów żyć sam, Ja sługa, ja pan! Służba podaje miód. Zbigniew Aj! kiedy niewiasta, Po domu się szasta, Mnie w smak - jej źle, Ja tak - ona wspak. Bodaj to swoboda, Nikt żaru nie doda, Mam to - co chcę, Bom wolny, jak ptak! Chór Aj! kiedy niewiasta, Po domu się szasta, Mnie w smak - jej źle, Ja tak-ona wspak. Bodaj to swoboda, Nikt żaru nie doda, Mam to - co chcę, Bom wolny, jak ptak! Podczas ostatniej zwrotki jeden z luzaków, wyszedłszy z głębi, szepcze do ucha Maciejowi, który opuszcza ławę. Maciej zbliżając się do stołu z lewej Tandem panicze, czas wyruszyć w drogę, Wszystko gotowe, siadajmy na koń! patrząc w górę Wnet i zaświta, jak zmiarkować mogę... Zbigniew Tak! wkrótce słońce ukaże złotą skroń! Stefan do towarzyszy Żegnajcież nam najmilsi towarzysze, Niech od was Bóg oddala złe, Gdy przyjdzie czas rzucić chaty zacisze, Gdzie wskaże los, znajdziemy się! Wszyscy podając sobie ręce Gdzie wskaże los, znajdziemy się! I jak prędko złe nadleci, Aby w piekło zmienić raj. Oręż w dłoni tej zaświeci, Gdy powoła Bóg i kraj! Po ostatniej czarce, Zbigniew i Stefan raz jeszcze żegnają towarzyszy, którzy ich odprowadzają za scenę. Maciej także w gromadzie swoich, ściskając się z tym lub owym, wychodzi za paniczami. Po odejściu towarzyszy, luzacy i słudzy z gospody uprzątają stoły. Zmiana We dworku Zbigniewa i Stefana dość duża ale skromna komnata. W głębi wyjście na ganek, po lewej okno, przez które widać stół, krzesła, kantorek i inne sprzęty dawnego kształtu. SCENA 2 Kilka dziewcząt i kilku chłopaczków wiejskich kończą sprzątanie, inni gromadzą się koło Marty, która każdy stołek ustawia według swojego gustu, poprawiając robotę dziewcząt. Dziewczęta i chłopcy przechodząc żywo Pani Marto, mówcie szczerze, Bo ciekawość i nas bierze, Boć i nam się wiedzieć godzi, Czy panicze nasi młodzi, Paniczowie owi mili, Co w pogrzebnym dniu rodzica, Jego domek opuścili, Dzisiaj pewno wrócą tu? Marta Obietnica nie próżnica, Wierzcie, kiedy mówią starzy, Cala wioska o tem gwarzy, Że w dzisiejszym wrócą dniu! Dziewczęta i chłopcy jedni do drugich Obietnica nie próżnica, Wierzcie, kiedy mówią starzy, Cala wioska o tem gwarzy, Że w dzisiejszym wrócą dniu! Zwinęliśmy się z robotą, Domek czysty, gdyby złoto, Przystrojony i ogrzany, A wracajcież młode pany, Do ojcowskiej swej siedziby, Jest tu ziarno z czarnej skiby, W stawie ryby, w lesie grzyby, I owoców pełen sad. Marta Oj! powrócą nam panicze, Wrócą tu stolnikowicze, Z nimi uśmiech na oblicze, A do wioski dawny ład! Chór Oj! powrócą nam panicze, Wrócą tu stolnikowicze, Z nimi uśmiech na oblicze, A do wioski dawny lad! SCENA 3 Ci sami i Grześ. Grześ Wbiega zadyszany. Od miasteczka widać tuman To panowie pewno jadą, Już tu spieszy pan Okuman I lud zbiera się gromadą. Przyszykujcie chleb i sól! Marta wybiega do drugiej izby. Wszyscy Od miasteczka widać tuman To panowie pewno jadą, Już tu spieszy pan Okuman I lud zbiera się gromadą. Witać panów naszych pól! Marta wchodzi z chlebem i solą. Dziewczęta i chłopcy wybiegają. W głębi, przez drzwi szeroko otwarte widać jak z obu stron ustawiają się rzędami. SCENA 4 Stefan, Zbigniew i za nimi Maciej ukazują się w głębi. Marta z jednej strony we drzwiach podaje im chleb i sól, które przyjąwszy oddają Maciejowi. Z drugiej strony stary ekonom oddaje im na tacy klucze, których nie biorą, witając przyjaźnie ekonoma i innych wieśniaków, po czym przestępują próg i z rozrzewnieniem witają dom rodzinny. Maciej stawia tacę z chlebem i solą na stole w głębi. Kilku starych wieśniaków, Marta i ekonom wchodzą za nimi i zatrzymują się w głębi, inni stoją przed drzwiami. Stefan, Zbigniew i Maciej Cichy domku modrzewiowy, Otoczony cieniem drzew, Jak cię uczcić? brak wymowy, Bije serce, płonie krew! Cichy dworku wiekiem zgięty, Otulony w żywy plot, Witaj wspomnień skarbie święty! Witaj strzecho starych cnot! z całym uczuciem Niechże będzie pochwalony, Wieki wieków Chrystus Pan, Co nas wiódł z odległej strony, W praojcowskich progi ścian! Stefan Tu nam zabłysło życia zaranie, Matka pacierza uczyła nas. Stąd ją do nieba zabrałeś Panie, Jako anioła wolnego skaz! Zbigniew Stąd pod cienistej lipy konary, Biegliśmy słuchać o ziemi tej, Jak rozpowiadał nasz ojciec stary, O dawnych czasach, o chwale jej! Maciej Tu gdy panicze biegli z komnaty Gdzie sianożęci wabiła woń, Maciej ich uczył krzesać w palcaty, Do karabeli zaprawiać dłoń! Stefan, Zbigniew i Maciej Witaj domku modrzewiowy Otoczony cieniem drzew, Jak cię uczcić? brak wymowy, Bije serce, płonie krew! Cichy dworku wiekiem zgięty, Otulony w żywy płot, Witaj wspomnień skarbie święty! Witaj strzecho starych cnot! Niechże będzie pochwalony, Wieki wieków Chrystus Pan, Co nas wiódł z odległej strony, W praojcowskich progi ścian! Marta, ekonom i inni ludzie rozchodzą się. Dwóch parobków i Grześ znoszą rzeczy do pobocznych izb. Maciej wydaje im rozkazy. Stefan w głębi do Zbigniewa I cóż powiadasz panie bracie, Dobrze nam będzie w praojcowskiej chacie, Uprawiać czarnej ziemi łan. Wzajemnie dzielić pracy trud, Miłować nasz wieśniaczy lud, O jego byt serdecznie dbać, W radości, w troskach udział brać, I niezależny zachować stan! Zbigniew Szaleni co inaczej czynią, Bo i czego, czegóż brak? Nic nam tu nie pójdzie wspak, Maciej będzie gospodynią, Maciej będzie powiernikiem, I szafarzem i klucznikiem, I piwnicznym i podczaszym... Stefan To, to, w to mu tylko graj! Słowem w cichym domku naszym, Bez kapryśnych rządu zmian. Dokumentny będzie raj, Wiwat niezależny stan! Stefan i Zbigniew Przewybornie panie bracie Wiwat, wiwat wolny stan! Zbigniew Nie ma niewiast w naszej chacie! Stefan Ani jednej! Zbigniew Ani pół! Maciej idąc do okna Na gościńcu turkot koi, Czwórka w poręcz żwawo hasa, Jakaś pędzi tu kolasa! Zbigniew patrząc na Macieja Czego żeś tak srodze zbladł? Maciej Bo w kolasie białogłowa! Stefan ze śmiechem idąc do okna Białogłowa! otóż macie! Grześ wbiegając Z Paprzyc pani Cześnikowa! Stefan Co? stryjenka? Zbigniew w progu Jakbyś zgadł! Maciej odchodząc na lewo zasmucony Nie ma niewiast w naszej chacie! Stefan i Zbigniew Biegną naprzeciw Cześnikowej i witają ją z uczuciem. Tak! stryjenka! Maciej kiwając głową Będzie ład! Odchodzi. AKT I Obóz towarzyszy pancernych, z lewej wejście do gospody stojącej w lasku, z prawej kilka namiotów. SCENA l Przed gospodą przy stołach towarzysze kończą ucztę, luzacy usługują im nalewając w czary miód, który przynoszą z gospody. W głębi żołnierze, jedni w pancerzach, drudzy bez nich, grzeją się przy dużym ogniu nanieconym wśród drzew już w połowie opadłych z liścia. Z prawej stół, przy którym ucztuje gromadka żołnierzy, wśród nich Maciej trzyma pierwsze miejsce. Zbigniew i Stefan między kolegami przy stole z lewej strony. Wieczór. Chór Więc gdy się rozstaniem, Przed słońca świtaniem, Kto żyw, kto brat, Bierz w dłoń pełną czaszę! Strzemienne rzecz godna Wychylić je do dna. Sto lat, sto lat, Niech trwa zdrowie nasze! trącają się pucharkami. Dokoła spokojnie Ni słychu o wojnie, Znać tak tę rzecz Prowadzi sam Bóg! Kto w ziemie bogaty, Niech wraca do chaty, Kto chce, niech miecz Przekuje na pług! Zbigniew Źle mówicie bracia mili, Chociaż pokój daje Bóg, W jakiejże to rycerz chwili Oręż swój przekuwa w pług? Wszak obydwóch ludziom trzeba, Pług z orężem, z bratem brat, Bez pierwszego nie ma chleba, Drugi broni pól i chat! Toż u ściany naszej chatki Jak ważności świętej rzecz, Pod obrazem Bożej Matki, Zwiśnie pancerz, hełm i miecz! I gdziekolwiek złe nadleci, Aby w piekło zmienić raj, W dłoni tej nie pług zaświeci, Gdy powoła Bóg i kraj! Maciej i chór I gdziekolwiek złe nadleci, Aby w piekło zmienić raj, W dłoni tej/ich nie pług zaświeci, Gdy powoła Bogi kraj! Stefan Zamiast bezczynnie służyć w żołnierce, Wracamy z bratem w domowy próg, Lecz zachowamy zbroję i serce, Jak dla ojczyzny wypada sług. Rdza ich nie ujmie pod panowanie, A chcąc rycerskie afekta kryć, Zostaniem oba w bezżennym stanie, By w każdej chwili swobodnym być! Toż kiedykolwiek burza nadleci, Czy to z odległych, czy z bliskich stron, Już nas nie wstrzyma kwilenie dzieci, Trwoga krewniaków ni lament żon! Maciej i chór Już nas/ich nie wstrzyma kwilenie dzieci, Trwoga krewniaków ni lament żon! Zbigniew wesoło podając ręce Stefanowi Tęgoś wyrzekł panie bracie, To mi głowa! to mi plan! Nie ma niewiast w naszej chacie, Wiwat! semper wolny stan! By wasze pić zdrowie, Szczęśliwi mężowie, Hej, hej! daj nam Daj tu miodu dzban! Niech żyją poddani, Ja nie chcę mieć pani, Chcę zdrów żyć sam, Ja sługa, ja pan! Chór By wasze pić zdrowie, Szczęśliwi mężowie, Hej, hej! Daj nam Daj tu miodu dzban! Niech żyją poddani, Ja nie chcę mieć pani, Chcę zdrów żyć sam, Ja sługa, ja pan! Służba podaje miód. Zbigniew Aj! kiedy niewiasta, Po domu się szasta, Mnie w smak - jej źle, Ja tak - ona wspak. Bodaj to swoboda, Nikt żaru nie doda, Mam to - co chcę, Bom wolny, jak ptak! Chór Aj! kiedy niewiasta, Po domu się szasta, Mnie w smak - jej źle, Ja tak-ona wspak. Bodaj to swoboda, Nikt żaru nie doda, Mam to - co chcę, Bom wolny, jak ptak! Podczas ostatniej zwrotki jeden z luzaków, wyszedłszy z głębi, szepcze do ucha Maciejowi, który opuszcza ławę. Maciej zbliżając się do stołu z lewej Tandem panicze, czas wyruszyć w drogę, Wszystko gotowe, siadajmy na koń! patrząc w górę Wnet i zaświta, jak zmiarkować mogę... Zbigniew Tak! wkrótce słońce ukaże złotą skroń! Stefan do towarzyszy Żegnajcież nam najmilsi towarzysze, Niech od was Bóg oddala złe, Gdy przyjdzie czas rzucić chaty zacisze, Gdzie wskaże los, znajdziemy się! Wszyscy podając sobie ręce Gdzie wskaże los, znajdziemy się! I jak prędko złe nadleci, Aby w piekło zmienić raj. Oręż w dłoni tej zaświeci, Gdy powoła Bóg i kraj! Po ostatniej czarce, Zbigniew i Stefan raz jeszcze żegnają towarzyszy, którzy ich odprowadzają za scenę. Maciej także w gromadzie swoich, ściskając się z tym lub owym, wychodzi za paniczami. Po odejściu towarzyszy, luzacy i słudzy z gospody uprzątają stoły. Zmiana We dworku Zbigniewa i Stefana dość duża ale skromna komnata. W głębi wyjście na ganek, po lewej okno, przez które widać stół, krzesła, kantorek i inne sprzęty dawnego kształtu. SCENA 2 Kilka dziewcząt i kilku chłopaczków wiejskich kończą sprzątanie, inni gromadzą się koło Marty, która każdy stołek ustawia według swojego gustu, poprawiając robotę dziewcząt. Dziewczęta i chłopcy przechodząc żywo Pani Marto, mówcie szczerze, Bo ciekawość i nas bierze, Boć i nam się wiedzieć godzi, Czy panicze nasi młodzi, Paniczowie owi mili, Co w pogrzebnym dniu rodzica, Jego domek opuścili, Dzisiaj pewno wrócą tu? Marta Obietnica nie próżnica, Wierzcie, kiedy mówią starzy, Cala wioska o tem gwarzy, Że w dzisiejszym wrócą dniu! Dziewczęta i chłopcy jedni do drugich Obietnica nie próżnica, Wierzcie, kiedy mówią starzy, Cala wioska o tem gwarzy, Że w dzisiejszym wrócą dniu! Zwinęliśmy się z robotą, Domek czysty, gdyby złoto, Przystrojony i ogrzany, A wracajcież młode pany, Do ojcowskiej swej siedziby, Jest tu ziarno z czarnej skiby, W stawie ryby, w lesie grzyby, I owoców pełen sad. Marta Oj! powrócą nam panicze, Wrócą tu stolnikowicze, Z nimi uśmiech na oblicze, A do wioski dawny ład! Chór Oj! powrócą nam panicze, Wrócą tu stolnikowicze, Z nimi uśmiech na oblicze, A do wioski dawny lad! SCENA 3 Ci sami i Grześ. Grześ Wbiega zadyszany. Od miasteczka widać tuman To panowie pewno jadą, Już tu spieszy pan Okuman I lud zbiera się gromadą. Przyszykujcie chleb i sól! Marta wybiega do drugiej izby. Wszyscy Od miasteczka widać tuman To panowie pewno jadą, Już tu spieszy pan Okuman I lud zbiera się gromadą. Witać panów naszych pól! Marta wchodzi z chlebem i solą. Dziewczęta i chłopcy wybiegają. W głębi, przez drzwi szeroko otwarte widać jak z obu stron ustawiają się rzędami. SCENA 4 Stefan, Zbigniew i za nimi Maciej ukazują się w głębi. Marta z jednej strony we drzwiach podaje im chleb i sól, które przyjąwszy oddają Maciejowi. Z drugiej strony stary ekonom oddaje im na tacy klucze, których nie biorą, witając przyjaźnie ekonoma i innych wieśniaków, po czym przestępują próg i z rozrzewnieniem witają dom rodzinny. Maciej stawia tacę z chlebem i solą na stole w głębi. Kilku starych wieśniaków, Marta i ekonom wchodzą za nimi i zatrzymują się w głębi, inni stoją przed drzwiami. Stefan, Zbigniew i Maciej Cichy domku modrzewiowy, Otoczony cieniem drzew, Jak cię uczcić? brak wymowy, Bije serce, płonie krew! Cichy dworku wiekiem zgięty, Otulony w żywy plot, Witaj wspomnień skarbie święty! Witaj strzecho starych cnot! z całym uczuciem Niechże będzie pochwalony, Wieki wieków Chrystus Pan, Co nas wiódł z odległej strony, W praojcowskich progi ścian! Stefan Tu nam zabłysło życia zaranie, Matka pacierza uczyła nas. Stąd ją do nieba zabrałeś Panie, Jako anioła wolnego skaz! Zbigniew Stąd pod cienistej lipy konary, Biegliśmy słuchać o ziemi tej, Jak rozpowiadał nasz ojciec stary, O dawnych czasach, o chwale jej! Maciej Tu gdy panicze biegli z komnaty Gdzie sianożęci wabiła woń, Maciej ich uczył krzesać w palcaty, Do karabeli zaprawiać dłoń! Stefan, Zbigniew i Maciej Witaj domku modrzewiowy Otoczony cieniem drzew, Jak cię uczcić? brak wymowy, Bije serce, płonie krew! Cichy dworku wiekiem zgięty, Otulony w żywy płot, Witaj wspomnień skarbie święty! Witaj strzecho starych cnot! Niechże będzie pochwalony, Wieki wieków Chrystus Pan, Co nas wiódł z odległej strony, W praojcowskich progi ścian! Marta, ekonom i inni ludzie rozchodzą się. Dwóch parobków i Grześ znoszą rzeczy do pobocznych izb. Maciej wydaje im rozkazy. Stefan w głębi do Zbigniewa I cóż powiadasz panie bracie, Dobrze nam będzie w praojcowskiej chacie, Uprawiać czarnej ziemi łan. Wzajemnie dzielić pracy trud, Miłować nasz wieśniaczy lud, O jego byt serdecznie dbać, W radości, w troskach udział brać, I niezależny zachować stan! Zbigniew Szaleni co inaczej czynią, Bo i czego, czegóż brak? Nic nam tu nie pójdzie wspak, Maciej będzie gospodynią, Maciej będzie powiernikiem, I szafarzem i klucznikiem, I piwnicznym i podczaszym... Stefan To, to, w to mu tylko graj! Słowem w cichym domku naszym, Bez kapryśnych rządu zmian. Dokumentny będzie raj, Wiwat niezależny stan! Stefan i Zbigniew Przewybornie panie bracie Wiwat, wiwat wolny stan! Zbigniew Nie ma niewiast w naszej chacie! Stefan Ani jednej! Zbigniew Ani pół! Maciej idąc do okna Na gościńcu turkot koi, Czwórka w poręcz żwawo hasa, Jakaś pędzi tu kolasa! Zbigniew patrząc na Macieja Czego żeś tak srodze zbladł? Maciej Bo w kolasie białogłowa! Stefan ze śmiechem idąc do okna Białogłowa! otóż macie! Grześ wbiegając Z Paprzyc pani Cześnikowa! Stefan Co? stryjenka? Zbigniew w progu Jakbyś zgadł! Maciej odchodząc na lewo zasmucony Nie ma niewiast w naszej chacie! Stefan i Zbigniew Biegną naprzeciw Cześnikowej i witają ją z uczuciem. Tak! stryjenka! Maciej kiwając głową Będzie ład! Odchodzi. Moniuszko,Stanisław/Straszny dwór/I-2
https://w.atwiki.jp/vocaloidenglishlyric/pages/349.html
【Tags Hitoshizuku-P Len Rin tC tD Y】 Original Music title 夢桜 English music title Dreamy Cherry Blossoms / Dream Cherry Tree Romaji music title Yume Zakura / Yume-zakura Music Lyrics written, Voice edited by ひとしずくP (Hitoshizuku-P) Music arranged by ひとしずくP (Hitoshizuku-P) Singers 鏡音リン (Kagamine Rin), 鏡音レン (Kagamine Len) Click here for the original Japanese Lyrics English Lyrics (translated by motokokusanagi2009): When I heard trembling sounds of strings in the night full of cherry blossoms I fell for him at the moment I saw him His mere existence has colored all in me since his violin sounds surrounded me Happiness that I had imagined lost its color and was destroyed I believe my life in this way will be happy all the time But I know I have to get mature sometime I m afraid of becoming an adult I might lose my indirect grace Would I be forgiven to abandon everything to love you for the rest of my life? I ll definitely dream a different dream tomorrow A dream of a colorless world without you Many people died on the edge of devastation at that time Everything has gotten back to life as usual but I still feel pain in my heart I ve talked a lot since I met you You reminded me that the world is still hopeful If we are doomed to hurt each other in the fabricated world Bottling up my emotions, I ll let you go Unforgivable but ardent feelings towards you I m not forgiven to abandon everything to love you for the rest of my life I ll definitely be playing the violin here tomorrow In a dream of the endless world Dreamy cherry blossoms, please don t die... My empty love story lasted only for 16 nights Even though I have to give up on this love real soon Just for now...just for now...let me love my dearest If only I could love you for the rest of my life... I have to end off my unforgivable love story To kill all feelings towards you... Please let me dream a dream of a endless world that never ends Romaji lyrics (transliterated by motokokusanagi2009): ito ga furueru oto yozakura no muse kaeru naka de tatta isshun de hajimatta koi no monogatari subete irodo rare teku anata no oto ni tsutsumarete kara omoi egaiteta shiawase wa iro asete kuzure satte itta itsu made mo tsuzuku to shinjite itemo kodomo no mama de iru koto wa deki nai... otona ni natte yuku koto ga tada kowakute... bukiyō na yasashisa sae... mi ushinai sō anata dake omotte ikite iku tame ni nani mo kamo suteru koto wa yuru sareru no...? ashita wa kitto chigau yume o miru no deshō anata no inai iro aseta sekai no yume katsute zetsubō no soko ni ikuta no inochi ga kiete itta hikari me buita ima mo nokoru kizu wa mada ie nai kimi to de atte kara takusan no kotoba o narabeta yo kibō ni michita sekai o mō ichido omoi dasasete kureta nda... itsuwari darake no tsuku rareta sekai de kizu tuke atte yuku sadame dato iu nara tsunaida te o sotto hanashi owa raseru yo muku wareru koto no nai setsunaru omoi... anata dake omotte ikite iku tame ni nani mo kamo suteru koto wa yuru sare nai... ashita mo kitto mata onaji kono basho de kanadete iru yo... oawara nai sekai no yume yume zakura dōka chira nai de ite... izayoi no hakanai koi monogatari wa setsuna no yume no naka kiete yuku keredo ima dake wa...ima dake wa... omotte itai... anata dake omotte ikite yuki tai kanau koto no nai koi no monogatari o ima koko de subete o owa raseru tame ni... yume mite itai owara nai sekai no yume [Hitoshizuku-P, HitoshizukuP]
https://w.atwiki.jp/vandalize/
CROSSFIREで活動していたクラン「VANDALIZE(CF名:alize)」のHP(仮)跡地です。 合計: - 今日: - 昨日: -
https://w.atwiki.jp/vocaloidenglishlyric/pages/265.html
【Tags G Miku Tohma Toma tS Tooma】 Original Music Title 骸骨楽団とリリア Skeleton Orchestra and Lilia (Gaikotsu Gakudan to Riria) Music Lyrics written, Voice edited by トーマ(Toma) Music arranged by トーマ(Toma) Singer 初音ミク (Hatsune Miku) Click here for the Japanese Lyrics English Lyrics (translated by animeyay): The taciturn God abandoned the sound and waned, while the night sky, being a crybaby, was moved to tears. It s a song, unknown to anyone, sung only to this moonlit night, in a grey theater together with the Orion by the window. No matter how many times, I can hear this lonesome unskillful voice. The rusted instruments were an illusion in the depths of the ocean. Merely gathering those timbres I heard in my dream, I wove them together so that they would eventually bud. The song of interstellar traveling will not reach its destination. See, even though I kept singing, I was still crying alone in the music festival where I danced frantically. Are the sounds reaching your ears? Romeo, Romeo. I fell in an almost magical love with a sound, which I had finally met after years of separation, and I didn t even notice. With their words completely drained, the people of this boring country began to seek out the thing they had lost. The melted antique days completely clogged the mirrors in the ruins on Mars with the Cassiopeia in the sky in broad daylight. No matter how many times, I can hear the sound of a rain of the forlorn words, into which the sketched skeletons seem to be burying their lonely imagination. The distancing, sinking, and blurring sky, clueless about the situation, is taking me with it to that world where there is a heavy downpour. To that faraway country that has been moisturized and then bloomed, I let my thoughts fly, while my eyes are growing dull. Now I make a wish to the stars, Romeo, Romeo. Passing through the gate, and find my way out of the fog, even if everything s taken away from me, I will go meet you. I will rely on the whispering voice. The streets I m walking on and the winter in a glass bottle look like a movie scene from somewhere. On the narrow and long railroad tracks, they stain me into their colors. In the distant and quiet morning that loses its color as soon as it s touched, I found a fragment of sound. See, even though I kept singing, I was still crying alone in the music festival where I danced frantically. Are the sounds reaching your ears? Romeo, Romeo. I fell in an almost magical love with a sound, which I had finally met after years of separation, before I would fall into a slumber and become cold. When I closed my eyes and felt with my hand, I heard the beats in the depths of my chest. I m sending this endless melody to the nameless you. Romaji lyrics (transliterated by animeyay): mukuchi na kamisama ga oto o sutete katamuita nakimushi yozora namidagunda tsukiyo ni kikaseru no dare mo shiranai uta haiiro gekijou madobe no Orion to nando datte kikoeru hitorikiri no tsutanai koe sabitsuita gakki ga unabara de gensou o kanadete ta yume no naka oboeta neirotachi o tada atsumete mebuku you ni tsumuida hoshimeguri no uta ga todokanai hora utatte tatte naita hitori ukande matta ongakusai kimi wa kikoeru? Romio Romio nannen tatte aeta oto ni mahou mitai na koi o shitari ki ga tsukanai you ni kotoba o nomihoshita taikutsu na kuni no hito ga nakushita mono o sagashite ta kagami o fusaide ta toketa antiiku na hibi kasei no haikyo mahiru no Kashiopea nando datte kikoeru wasurete ita oto no ame ni e ni kaita gaikotsu wa kodoku na souzou o umeru you de tooku natte oborete kasumu sora wa shiranai mama furisosogu sekai e tsurete itte nee urunde saita tooi kuni ni haseru omoi kusunda hitomi hoshi ni negai o Romio Romio mon o kugutte kiri o nukete ubaisattatte ai ni ikou sasayaki o tayori ni aruku machinami garasubin no fuyu dokoka no eiga no you ne hosoku nagai senro no ue de sa watashi ni iro o tsukete furete sugu hagarete shimau hakanaku shizuka na asa ni mitsuketa oto no kakera hora utatte tatte naita hitori ukande matta ongakusai kimi wa kikoeru? Romio Romio nannen tatte aeta oto ni mahou mitai na koi o shitari nemuru you ni sameru mae ni me o tojite te o atete okusoko no kodou o kiita togirenai senritsu o na mo naki kimi e to
https://w.atwiki.jp/vocaloidenglishlyric/pages/484.html
【Tags Miku Owata-P tO K】 Original Music title 片想いサンバ English music title One-sided Love Samba Romaji music title Kataomoi Sanba Music Lyrics written, Voice edited by オワタP (Owata-P) Music arranged by オワタP (Owata-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain): I love you. I love you. My heart is about to burst. I love you. I love you. I can t stop these feelings. So I want you to know how I m feeling now. I love you. I love you. Get the message of mine at once. I ve been in love with you for a long time. You re unreliable though, I love you all the more for it. I love you. I m in love. But you put me behind you. I ve been in love with you for a long time. I m watching you anywhere anytime. I like you. I love you. But you re too insensible. I ll get a hustle on. I won t give up. I m gonna make you happy. I won t cry. I ll keep my chin up. I m gonna do everything I can do for you. I m sure you d say we re just friends. You re not interested in me, are you? Just get it. It pains me a lot. I can t fight back my tears any more. Get the message of mine. I can t bear one-sided love any more. Don t tease me like this. At heart you already knew it, didn t you? Anyway just pick-me-up. I ll never say "No". If only you d hold me in your arms. Even though, I like the way we re going now. Well, I m so pleased with it. I talk with you. I laugh with you. Those make me really happy. I won t tell you how I feel. I don t wanna spoil the relationship between us. I talk with you. I laugh with you. I m scared to go further. I won t go. I won t do it. I won t tell you how I feel. I don t know. I won t stop it. Stay just the way you are. I m sure you d say we re just friends. You ll never take an interest in me, will you? Just get it. I m so sad. I can t always smile. Get the message of mine. I can t bear one-sided love any more. Don t tease me like this. At heart you already knew it, didn t you? Maybe I d get tired of you by now. If you need me, just hold me back. I just wanna hear you say "I love you" Am I not doing it right? Am I getting the short end of the stick? I wonder what you re thinking now. I wanna see through you. I go out with you. And at the end, we just say "Bye- bye" Doesn t that strike you as weird? So, please snog me at once! Get the message of mine. I can t bear one-sided love any more. Don t tease me like this. At heart you already knew it, didn t you? As you are about to leave, I jump at you. And I snatch a kiss from you. You get into a flurry. And I grin at you gleefully. I love you. I love you. My heart is about to burst. I love you. I love you. I can t stop these feelings. Now I wanna share the feelings with you at once. I love you. I love you. I don t wanna forget how I m feeling now. English Lyrics (translated by motokokusanagi2009): I love you so much I love you so much That my heart is about to burst out I love you I really love you I can t stop it So, I want you to know How I m feeling about you I love you I really love you Why don t you notice my feelings? I ve been in love with you for such a long time I love you even tho you re not dependable enough I love you, I m in love with you But I m not the one in your eyes I ve been in love with you for such a long time You re in my eyes wherever and whenever I love you, I love you from the bottom of my heart But you are really insensitive I ll do my best, I m not gonna lose this love I ll make you happy I won t cry, I ll look forward I ll do anything for you You think I m just your friend No more and no less Please get wise, It s so painful I m about to cry Realize how I ve been feeling about you I m fed up with this one-sided love Don t tease me You know my feelings at heart, don t you? Just ask me out I won t let you down Hold me tight That s more than enough Actually, I like this relationship I m satisfied enough I ll have a chat with you, I ll laugh with you That makes me happy I won t declare my love to you Cuz I don t wanna break this relationship I ll have a chat with you, I ll laugh with you I can t go forward any further I won t go, I won t do I won t declare my love to you I don t know, I won t stop You can stay as you are I m just your friend And we won t go any further, right? Get wise, I m feeling sad Even I cry once in a while Realize how I ve been feeling about you I m fed up with this one-sided love Don t tease me You know my feelings at heart, don t you? I m about give up If you don t want it, please stop me I want you to say just one this "I love you." Am I approaching in a wrong way? Am I in a no-win situation? What are you thinking? I wanna take a peek at your feelings Me and you go out together And say goodbye at the end like always It s clumsy, isn t it? So, please hold me tight right now Realize how I ve been feeling about you I m fed up with this one-sided love Don t tease me You know my feelings at heart, don t you? I jumped at you as you were about to leave me And kissed on your mouth I smirked at you panicking I love you so much I love you so much That my heart is about to burst out I love you I really love you I can t stop it What I want now is An access to your heart I love you I really love you I don t wanna forget this feelings Romaji lyrics (transliterated by blacksaingrain): kimi ga sukide kimi ga sukide kono kokoro ga hajikesouda yo sukida kimi ga sukida kono kimochi wa tomerarenai yo dakara hayaku kimi ni kono kokoro wo shittehoshii yo sukida kimi ga sukida kono kimochi ni hayaku kizuite yo kimi no koto ga mukashi kara sukida yo kimi no tayorinai toko ga sukida yo kimi ga sukida yo koishiteiru yo dakedo kimi wa watashi wo mitenai yo watashi mukashi kara sukida yo kimi wo itsudemo dokodemo miteru yo kimi ga sukida yo aishiteiru yo dakedo kimi wa totemo nibui yo ganbaru yo makenai yo kimi wo shiawase ni shiteyan yo nakanai yo mae muku yo watashi ga nandemo shiteyan yo watashi no koto wa shosen otomodachi de nannimo kimi wa kangaetenai desho kizuite yo kurushii yo sorosoro watashi mo naichau yo watashi no kimochi ni kizuite yo kataomoi wa mou iyanan yo jirashitari nanka shinaide yo honto wa kizuiteirun desho iikara watashi wo sasotte yo kotowattari nanka shinai yo dakishimetekureru dake demo iinda yo dakedo ima no kankei wa sukida yo betsuni koredemo manzokushiteru yo kimi to hanasu yo kimi to warau yo sorede watashi wa shiawase nanda yo watashi kokuhaku wa shinai yo ima no kankei kowasu no iyada yo watashi hanasu yo watashi warau yo kore ijou susumu no kowai yo ikanai yo yaranai yo watashi no kimochi wa iwanai yo shiranai yo tomenai yo kimi wa konomama de iinda yo watashi no koto wa shosen otomodachi de korekara saki ni susumu toka nai desho kizuite yo kanashii yo watashi mo tamaniwa nakunda yo watashi no kimochi ni kizuite yo kataomoi wa mou iyanan yo jirashitari nanka shinaide yo honto wa kizuiteirun desho watashi mo sorosoro akichau yo iya nara hikitometemisete yo hitokoto sukida to ittehoshiinda yo watashi yarikata machigatteru ka na watashi sonna ikikatashiteru ka na kimi wa nani kangaeteiru no ka na kimi no kimochi wo nozokikondemitainda futari de asobi ni dekakeru soshite sonomama saigo wa baibai sore wa yappari nanka henda yo ne dakara hayaku daitekudasai watashi no kimochi nikizuiteyo kataomoi wamouiya nanyo jirashitari nanka shinaide yo honto wa kizuiteirun desho wakaregiwa ni tobitsuitemiru sonomama kuchibiru oshiateru awateru kimi wo niyari to mitsumetemiru kimi ga sukide kimi ga sukide kono kokoro ga hajikesouda yo sukida kimi ga sukida kono kimochi wa tomerarenai yo ima wa hayakukimi to kono kokoro wo kayowasetakute sukida kimi ga sukida kono kimochi wo wasuretakunai yo [Owata-P, OwataP, Garuna]