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{{Infobox music
{{Infobox music
| name          = K-60
| name          = G7
| jpn_title    =  
| jpn_title    =  
| rom_title    = Unreleased
| rom_title    =  
| eng_title    =  
| eng_title    =  
| image        = [[File:K-60.png|300px]]
| image        = [[File:K-60.png|300px]]
Line 28: Line 28:
| also          =  
| also          =  
| last          =  
| last          =  
| release      = Unreleased
| release      = [[Dragon Ball Ongakushū|Ongakushū (1986 vinyl)]]<br>[[Dragon Ball & Dragon Ball Z Daizenshuu|Daizenshuu (1994 CD)]]
| suite        =  
| suite        = [[Strong Ambition]]
}}
}}
'''K-60''' is the [[Shunsuke Kikuchi catalogue|Kanzenshuu catalogue number]] assigned to an unreleased piece of background music (BGM) composed by [[Shunsuke Kikuchi]] for the ''[[Dragon Ball (anime)|Dragon Ball]]'' anime in 1986. The piece debuted in [[Dragon Ball Episode 5]] which was broadcast on '''26 March 1986'''.
'''G7''' is the official catalogue number of piece of background music (BGM) composed by [[Shunsuke Kikuchi]] for the ''[[Dragon Ball (anime)|Dragon Ball]]'' anime in 1986. The piece debuted in [[Dragon Ball Episode 5]] which was broadcast on '''26 March 1986'''.


==Overview==
==Overview==
K-60 is given the title "Daydreaming" on ''kenisu's Magicant'',<ref>{{Cite web|URL=https://kenisu.webs.com/dragonballbgm.htm|Website=The Suburbs of kenisu's Magicant|Title="The DragonBall BGM Daizenshuu"|Date=11 June 2008|AccessDate=30 June 2019}}</ref> the most common source for fan titles of [[Shunsuke Kikuchi|Kikuchi]]'s compositions.
The full composition is part ''a'' of the suite entitled "[[Strong Ambition]]", which is track #09 on both the ''Ongakushū'' record and disc #2 of the ''Daizenshuu''.


==Compositional Analysis==
G7 is given the title "Daydreaming" on ''The Suburbs of kenisu's Magicant'',<ref>{{Cite web|URL=https://web.archive.org/web/20201111170233/https://kenisu.webs.com/dragonballbgm.htm|Website=The Suburbs of kenisu's Magicant|Title="The DragonBall BGM Daizenshuu"|Date=11 June 2008|AccessDate=30 June 2019}}</ref> the most common source for fan titles of [[Shunsuke Kikuchi|Kikuchi]]'s compositions. The piece was assigned the [[Shunsuke Kikuchi catalogue|Kanzenshuu catalogue number]] of K-60 based on its placement in the series.
K-60's setting in F Major is highly chromatic, and the piece actually ends on E Major. The form is ABAB, where A centers on F Major, and B centers on E Major. The chord progressions are [https://en.wikipedia.org/wiki/Parallel_harmony parallel] rather than [https://piano-music-theory.com/2016/06/15/major-scale-diatonic-chords/ diatonic].


In A1, the bass pattern is F-F♯ G-F♯ F-F♯ G-F♯ F, while the top voices including flute spell the root and third of successive chromatic triads: F-A-F♯-A♯ G-B-A♯ F-A-F♯-A♯ G-B-A♯ A-G♯-G-F♯-F-F-F C-F C-F.
==Form and Analysis==
G7's setting in F Major is chromatic, and the piece actually ends on E Major. The form is ABAB, where A centers on F Major, and B centers on E Major. The chord progressions are [https://en.wikipedia.org/wiki/Parallel_harmony parallel] rather than [https://piano-music-theory.com/2016/06/15/major-scale-diatonic-chords/ diatonic].


In B1, centering on E Major, the prominent voices spell out a succession of triads. The most prominent voices play root-position chords on the beat with the root also on top (including violin), and a glockenspiel arpeggiates each chord up an octave: E Major (E-G♯-B-E), C Major (C-E-G-C), E Major, F Major (F-A-C-F), E Major, C Major, E Major, F Major.
In A1, the bass pattern is F-F♯—G-F♯—F-F♯—G-F♯—F, while the melodic voices including flute spell the root and third of successive chromatic triads: F-A-F♯-A♯—G-B-A♯—F-A-F♯-A♯—G-B-A♯—A-G♯-G-F♯-F-F-F—C-F—C-F. This pattern takes four bars (assuming the melodic voices go to 16th notes in 4).
 
In B1, centering on E Major, the prominent voices spell out a succession of major triads. The most prominent voices play root-position chords on the beat with the root also in the top voices (including violin), and a glockenspiel arpeggiates each chord up an octave: E Major (E-G♯-B-E)—C Major (C-E-G-C)—E Major—F Major (F-A-C-F), E Major—C Major—E Major—F Major. This pattern takes two bars.


A2 begins immediately after the final F Major chord of B1 and centers on F Major again. A1 is repeated exactly.
A2 begins immediately after the final F Major chord of B1 and centers on F Major again. A1 is repeated exactly.
Line 47: Line 49:
B2 repeats B1 exactly, but after the final F Major chord, the pieces ends on an E Major chord with no glockenspiel arpeggiation.
B2 repeats B1 exactly, but after the final F Major chord, the pieces ends on an E Major chord with no glockenspiel arpeggiation.


==Usage==
==Usage and Variations==
 
==Notes==
{{notelist}}


==References==
==References==
{{reflist}}
{{reflist}}
{{music}}
{{music}}
[[Category:Music]]
[[Category:Music]]

Latest revision as of 09:10, 11 March 2021

This page is incomplete.
Kanzenshuu wiki team members are aware that they must edit this page to add missing information and complete it.
« K-59
K-61 »
G7
Oolong hoped Bulma would don him, but he just got decked.
Tonality F Major
Length 0:30
BGM Data
Catalog Number K-60
Composition Shunsuke Kikuchi
Debut and Release
Debut Year 1986
First Appears Dragon Ball Episode 5
Debut Release Ongakushū (1986 vinyl)
Daizenshuu (1994 CD)
BGM Suite Strong Ambition
v · d · e

G7 is the official catalogue number of piece of background music (BGM) composed by Shunsuke Kikuchi for the Dragon Ball anime in 1986. The piece debuted in Dragon Ball Episode 5 which was broadcast on 26 March 1986.

Overview

The full composition is part a of the suite entitled "Strong Ambition", which is track #09 on both the Ongakushū record and disc #2 of the Daizenshuu.

G7 is given the title "Daydreaming" on The Suburbs of kenisu's Magicant,[1] the most common source for fan titles of Kikuchi's compositions. The piece was assigned the Kanzenshuu catalogue number of K-60 based on its placement in the series.

Form and Analysis

G7's setting in F Major is chromatic, and the piece actually ends on E Major. The form is ABAB, where A centers on F Major, and B centers on E Major. The chord progressions are parallel rather than diatonic.

In A1, the bass pattern is F-F♯—G-F♯—F-F♯—G-F♯—F, while the melodic voices including flute spell the root and third of successive chromatic triads: F-A-F♯-A♯—G-B-A♯—F-A-F♯-A♯—G-B-A♯—A-G♯-G-F♯-F-F-F—C-F—C-F. This pattern takes four bars (assuming the melodic voices go to 16th notes in 4).

In B1, centering on E Major, the prominent voices spell out a succession of major triads. The most prominent voices play root-position chords on the beat with the root also in the top voices (including violin), and a glockenspiel arpeggiates each chord up an octave: E Major (E-G♯-B-E)—C Major (C-E-G-C)—E Major—F Major (F-A-C-F), E Major—C Major—E Major—F Major. This pattern takes two bars.

A2 begins immediately after the final F Major chord of B1 and centers on F Major again. A1 is repeated exactly.

B2 repeats B1 exactly, but after the final F Major chord, the pieces ends on an E Major chord with no glockenspiel arpeggiation.

Usage and Variations

Notes

References

  1. "The DragonBall BGM Daizenshuu" (11 June 2008). The Suburbs of kenisu's Magicant. Retrieved: 30 June 2019.