Category
📺
TVTranscript
00:008 Jam
00:05Tonight's 8 Jam is...
00:08Top players who have received countless offers from professional musicians
00:12have gathered here for the first time.
00:14First up is...
00:15Sing!
00:21King Gnu's bassist, Kazuki Arai.
00:25He plays songs from a wide range of genres,
00:28such as Stones and Bando Yuta.
00:33Next up is guitarist, Ray.
00:38He plays songs from many artists,
00:40such as Ilya and Rhymestar.
00:44And...
00:48Yonezu Kenshi.
00:51He plays songs from songs like King Gnu.
00:56A professional soul band,
00:58Wonk's keyboardist,
01:00Ezaki Ayatake.
01:04And three people who are well-known on TV shows.
01:08For the first time,
01:13drummer, Shun Ishiwaka.
01:17What does Shun Ishiwaka think about his playing?
01:21He looks at the whole ensemble and approaches it,
01:24so even as a drummer, he is so objective and precise.
01:28Is he a true musician?
01:31Next up is Kishida, Kururi's vocal guitarist.
01:34He is very open to how the person who made the song is trying to express himself.
01:40Many professionals are praising him.
01:44They are almost the same age.
01:50He is in the same class as me.
01:53Shun Ishiwaka and Ayatake.
01:55You've known each other since you were in college.
01:57We've known each other since we were in high school.
02:02How did you know each other?
02:04I saw a video of him playing jazz piano in Fukuoka.
02:13I was in the video.
02:15When I was in college, I thought he was a real jazz drummer.
02:19You thought he was a real jazz drummer.
02:21I also knew that there was a genius jazz drummer in Sapporo.
02:26We've known each other since we were in middle school.
02:30So when I met him in the art school, I thought he was a real drummer.
02:35So you thought he was a real jazz drummer.
02:38Shun Ishiwaka is 11 years old.
02:41He appeared in the world-famous jazz trumpet player Masa Hinoteru's live performance.
02:45Recently, he also appeared in this work.
02:54The drummer of Kenshi Yonezu, Kanden.
02:58Kingroo Arai is in charge of the performance.
03:03It's completely wrong.
03:05It's completely wrong.
03:08What kind of performance will he show us?
03:17Top players who play a lot of popular artists' hit songs are gathered.
03:26Kenshi Yonezu's Earth Style.
03:29Shun Ishiwaka is a drummer who has participated in 5 Yonezu's works including this song.
03:36Among them...
03:42Kingroo Arai was shocked by this Kanden drummer.
03:49When I heard this song,
03:52there was a scene where Shun was in it.
03:54When I heard it, the phrase of the C melody was...
03:58He was doing something crazy.
04:00When I heard it, I thought it was a little strange.
04:03It's completely wrong.
04:05It's completely wrong.
04:07He was shocked by the fact that Arai Kazuki played such a strange song in Kenshi Yonezu's song.
04:26When I heard Kanden's C melody,
04:29I thought,
04:30Shun is gone.
04:31He can't be found in the world anymore.
04:35He didn't hit anything where he was supposed to be.
04:38That's too abstract.
04:43This is the C melody.
04:53It's crazy.
04:58It's cool.
05:00It's cool.
05:04What's that?
05:14Arai explains what's amazing about this drum play in the studio.
05:21When I look at the sheet music, I can see what he's doing.
05:24He's doing something like that.
05:27Basically, in music beats,
05:30there are snares in 2 and 4.
05:34It's natural that there are snares in 4 and 5.
05:39But he's only playing two bars.
05:45Can you play this?
05:48I don't remember.
05:50You remember the feeling at that time.
05:53What if I ask you to play it live?
05:55Shun can't do that.
06:01So you hit it at the moment of recording?
06:04Yes.
06:05And I think the sound check time was okay in this part.
06:13So you didn't prepare anything for this song?
06:17I don't think this part was in the demo.
06:22But it was a sound check.
06:24So Yonezu-kun chose this part.
06:27Yes, he did.
06:29So you decided to use this part?
06:32Yes, I did.
06:33It's impossible to reproduce.
06:35It's impossible.
06:36But let's try it.
06:38I want to hear it.
06:39Usually, when the drums come in the section,
06:42I'll change the metronome.
06:46The song is different, but I'll play it.
06:49Shun will change the metronome,
06:52and it will sound like electric drums in the end.
06:55That's great.
06:57Let's try it.
06:59Electric drums are difficult to reproduce.
07:03What's the difference in playing?
07:06He will play the general drums, jazz swing, and electric drums.
07:16I've never done that before.
07:19Can you do it?
07:21I'll leave it to you.
07:33Swing.
07:43Electric.
07:48Swing.
07:58That's amazing.
08:00All genres are mixed,
08:02but Shun's unique way of reproducing
08:06can be used to play drums across genres.
08:09I think that's why he's so popular.
08:14I think there are a lot of great drummers.
08:18He's from jazz,
08:21but he plays pop, rock, and funk.
08:24He plays in various genres.
08:27When he plays something that he's not good at,
08:31it's not like he's dressed up,
08:33but it's like he's dressed up for the genre.
08:35It's like he's dressed up for the atmosphere.
08:38As a player, I remember that.
08:41When Shun plays something,
08:43it's like he's dressed up.
08:46No matter what genre?
08:48Yes.
08:49I have a favorite memory of Shun.
08:52At the school festival,
08:55he played the drums of an Anison band.
08:58I went to see that performance.
09:01When I came back after the performance,
09:04I was really depressed.
09:07I was like, why am I depressed?
09:09Even though it was a great performance,
09:11I didn't listen to Anison that much.
09:13Anison should have a cool beat.
09:16I'm really sad that I couldn't follow that beat.
09:23First, I learned how to play the drums,
09:26and then I added my own color to it.
09:30Do you remember that?
09:32I just remembered it.
09:34I just remembered that I played Anison at the school festival.
09:38Ayatage remembers all the important things.
09:45He's like a big brother.
09:47He's the best friend.
09:49He's the best.
09:50I forgot about it, but I remembered it.
09:52Every time we meet, we always talk about this.
09:55You don't remember playing Anison that much, do you?
09:59I don't remember,
10:01but I don't think I had enough rock beats.
10:07I was always approaching Anison with a jazz feel,
10:10so there was something different about it.
10:13If you were to play rock or funk now,
10:16would you play Anison?
10:18How would I play Anison?
10:20The tempo is fast.
10:22The tempo is fast and the number of sounds is high,
10:24and it fits perfectly with the grid.
10:27That's how it feels.
10:29What is it?
10:31It's like this.
10:37It's not a rough, gradated sound.
10:42It's all like this.
10:46It's like this.
10:48It's a lot of feel.
10:50It's all jazz.
10:52It's jazz.
10:56I'm glad you said that.
10:59No matter what you do, there's jazz in the background.
11:08King Gnu's Hakujitsu
11:13Ayatake Ezaki arranged the piano for this song.
11:17There is a question about the performance of Ezaki
11:20to King Gnu's Kazuki Arai.
11:24How did you come up with the bass line
11:27for the piano in the intro of Hakujitsu?
11:30He did the intro of Hakujitsu.
11:34I have the image that if you throw it to Ayatake,
11:37it will come back with a good feeling.
11:41I think the piano of Hakujitsu is the best example of that.
11:45By the way, why did you arrange the intro?
11:48The bass line goes to a different place from the bass I'm playing.
11:53I was wondering what kind of system it was.
11:56I see.
11:58This is the intro of King Gnu's Hakujitsu,
12:01which Kazuki Arai says is full of Ayatake Ezaki's style.
12:19King Gnu's Hakujitsu
12:32How did you come up with this intro?
12:35Ezaki will explain it in the studio.
12:41I was relaxing at my parents' house in Fukuoka at the end of the year.
12:45I got a message from Daiki.
12:48There was a file of music.
12:51It was like drama.wav.
12:54It was just a sound source file.
12:57It said, nice to meet you.
13:00When I opened it, there was a great song.
13:09There was a demo with a basic Japanese-style arrangement.
13:14After that, Kazuki was very kind.
13:17He gave me a follow-up message.
13:20He said, I'm sorry I only sent you the sound source.
13:24I wrote the music score, so I'll send it to you.
13:27He gave me the music score.
13:29That's great.
13:34He told me to do it freely.
13:40I knew it would start with a song and a piano.
13:43I was wondering what kind of melody it would be.
13:46I thought it would be nice if the piano was like another song.
13:55It goes down to here.
13:58The piano goes up.
14:04If you look at the top of the Japanese sound of the piano,
14:08it's a beautiful staircase.
14:11It's more beautiful than the original demo.
14:22If the song goes down, the keyboard goes up.
14:28I thought about the design of two melodies overlapping.
14:34Looking at the whiteboard again,
14:37the melody line and the piano are moving in the opposite direction.
14:54What Kazuki told me was exactly what he said.
14:58I ignored the original demo and bass line.
15:03I thought this melody line was more beautiful.
15:10The head part of the piano is a staircase.
15:15I wanted to convey that the Japanese sound moves along the stairs.
15:23I put the two melodies in between.
15:27I wanted the piano to be like another song.
15:41Based on the story of Ezaki, let's listen to it again.
15:56The story of Ezaki
16:08In addition, Ezaki said that something happened during the recording.
16:15I thought this song was a ballad from the first time I heard it.
16:19It's a beautiful ballad.
16:23After the recording of the piano,
16:26he asked me to play an organ and clavinet.
16:34I was talking to Kazuki.
16:37Kazuki said,
16:39This song is a great funk.
16:42I thought it was a ballad.
16:45I thought it was a funk.
16:48I thought it was a ballad.
16:53I thought it was a ballad.
16:56I thought it was a ballad.
16:59I thought it was a ballad.
17:02Half of the band members said,
17:05This is a funk.
17:08I was told to play an organ and clavinet.
17:12I suddenly decided to play it.
17:16I tried to play it.
17:18I was very happy to hear that he was happy to play a song that sounds sad.
17:23I was very happy to hear that he was happy to hear a song that sounds sad.
17:27When I asked Daiki,
17:30He said it was a ballad.
17:33He said it was a ballad.
17:36He said it was a ballad.
17:40It's more than 7,000,000 yen!
17:43And about King Gnu's bass arrangement,
17:46Ray has a question.
17:49King Gnu is a band with a lot of information.
17:51If one gear shifts, the musical balance will collapse.
17:55How do you arrange the music?
17:59I think the music of King Gnu is like the city of Tokyo.
18:07There are a lot of tracks like Yamanote Line.
18:10If the gear shifts for a few minutes,
18:12all the tracks will stop.
18:15It's very colorful and has a lot of information.
18:18But at the same time, it's also very precise.
18:21That's the impression I got from the band.
18:26The bass has the role of being the core of all ensembles.
18:34It also adds to the color of the band as a player.
18:39It's a matter of calculation and intuition.
18:42What about you, Kazuya?
18:44Basically, what I said earlier happens.
18:48We have a different perception of music.
18:52We don't calculate much.
18:56If I tell you the answer,
18:58you'll think we're doing it naked.
19:01When it comes to bass,
19:03we try to subtract as much as possible.
19:08Subtract or play?
19:10Play.
19:11We try to subtract as much as possible.
19:16If the members say it's annoying,
19:18we reduce it.
19:21Basically, we start by subtracting too much.
19:25They usually say it's annoying.
19:30What kind of bass play did Arai say was annoying to the members?
19:46The bass is playing as if it's pulling the ensemble.
19:51It's moving.
19:52Seiji Tameda's side movements
19:55make it possible to make a sound.
19:59This is the performance with such a sound.
20:13What is a bass sound?
20:17In this song,
20:19the chord itself is...
20:25It's just a single note,
20:27but in the meantime...
20:38If you add something like this,
20:41it's a little spicy.
20:44It's definitely spicy.
20:46Rather than playing like this...
20:51Try something like this.
20:57It's really cool.
20:58Try it once.
21:00But they usually say it's annoying.
21:03If you say it's annoying, how much do you reduce?
21:05It's like a live performance.
21:08It's like a live performance.
21:11If it's a live performance...
21:17If it's a live performance...
21:23He's holding back.
21:25He's holding back.
21:27I can't say it.
21:29It's a little package.
21:31He's holding back.
21:38If it's a live performance...
21:42He's holding back.
21:44He's holding back.
21:46Next...
21:51Aya Take, who has arranged the piano
21:54with a number of Boundy songs so far.
21:57Among them...
21:59There is a song with Boundy
22:03that has an impressive exchange.
22:05That is...
22:12Boundy's Excitement
22:16Boundy's Excitement, released in 2021.
22:20About the piano arrangement of this song,
22:22Ezaki says,
22:24Playing a piano with such a lively, crisp sound
22:27doesn't fit his playing style in the first place.
22:31It's like asking a hip-hop drummer
22:33to play a rock drum.
22:41Boundy's Excitement
22:46Boundy's Excitement
22:48Boundy's Excitement
22:50Boundy's Excitement
22:52Boundy's Excitement
22:54Boundy's Excitement
22:56About the piano arrangement of this song,
22:58he explains it in the studio.
23:02Before this song,
23:04I've been playing a lot of songs with Boundy.
23:07I've been helping him a lot with the arrangement.
23:11I asked him how he wanted to do it.
23:15The answer he gave me was,
23:17he wanted me to play it rough.
23:20He said it was his weakest point.
23:22He said he couldn't do it at all.
23:24Basically, I'm not very energetic.
23:31I wanted to play it with that feeling.
23:34He told me not to do that.
23:36He told me to break the piano.
23:38And the result was...
23:44He told me it was okay if the sound was a little off.
23:49It's a memorable song that I did my best to play.
23:52That's cool.
23:54If you play Boundy's song
23:58as you like,
24:00will it change at all?
24:02Boundy's Excitement
24:08It's totally different.
24:10It's totally different.
24:12It's totally different.
24:13I'm not energetic.
24:15I'm not energetic.
24:17Let's listen to it again.
24:20Boundy's Excitement
24:28Boundy's Excitement
24:35Ezaki, who arranged Yonezu's Lady's piano,
24:41I don't know if you thought I could play a cheerful piano.
24:46Yonezu's Lady is also a cheerful piano.
24:50When I heard it,
24:52I thought it was a cheerful song.
24:56I thought it was a cheerful song.
24:58I thought it was a cheerful song.
25:00I thought it was a cheerful song.
25:02Here's Yonezu's Lady's piano performance.
25:05Yonezu's Lady's piano performance
25:18Next.
25:20Yonezu's Lady's piano performance
25:24Rei, who participated in many artists' songs, including Rhyme Star.
25:31Rei and Ishiwaka
25:34have a live session of Black Banana.
25:38Black Banana
25:43Ishiwaka asked this question about this session.
25:50I don't know what you're doing during the live session.
25:53I don't know what you're doing during the live session.
25:55What are you doing?
25:57During the live session, Rei was talking nonsense to us.
26:03She said, bass solo or sax solo.
26:07I was always desperate to follow her.
26:10She was so quick-witted.
26:15I was worried about her.
26:18I went to her and pulled the strings.
26:24I was so desperate that I wanted to follow her.
26:27But I was so nervous.
26:31I was like, what are you doing?
26:33I was like, what are you doing?
26:37I don't know.
26:39I don't know.
26:41I don't know.
26:45I was like Super Saiyan.
26:47When I meet new players, I get a lot of motivation.
26:50I think it's the same with acting.
26:52When I work with Shun-kun, I get a lot of motivation.
26:57I get excited.
26:59But it's a bit difficult to ask what I'm doing.
27:05You can't do the same thing if it's not at that time.
27:08That's right.
27:09It's at Black Banana, right?
27:11That's right.
27:12Is it possible for you to have a session like today?
27:16Yes, I can.
27:18So, Rei and Shun have a Black Banana session.
27:24Pay attention to the communication between the two.
27:34I feel like I can see what you're doing today if you do it together.
27:38Because it's clear.
27:40I can see it.
27:42It's coming.
27:47I feel like I can see what you're doing today if you do it together.
27:51Because it's clear.
27:52I can see it.
27:53It's coming.
27:54It's coming.
27:55It's coming.
27:56It's coming.
27:57It's coming.
27:58It's coming.
27:59It's coming.
28:00It's coming.
28:01It's coming.
28:02It's coming.
28:03It's coming.
28:04It's coming.
28:05It's coming.
28:06It's coming.
28:07It's coming.
28:08It's coming.
28:09It's coming.
28:10It's coming.
28:11It's coming.
28:12It's coming.
28:13It's coming.
28:14It's coming.
28:15It's coming.
28:16It's coming.
28:17It's coming.
28:18It's coming.
28:19It's coming.
28:20It's coming.
28:21It's coming.
28:22It's coming.
28:23It's coming.
28:24It's coming.
28:25It's coming.
28:26It's coming.
28:27It's coming.
28:28It's coming.
28:29It's coming.
28:30It's coming.
28:31It's coming.
28:32It's coming.
28:33It's coming.
28:34It's coming.
28:35It's coming.
28:36It's coming.
28:37It's coming.
28:38It's coming.
28:39It's coming.
28:40It's coming.
28:41It's coming.
28:42It's coming.
28:43It's coming.
28:44It's coming.
28:45It's coming.
28:46It's coming.
28:47It's coming.
28:48It's coming.
28:49It's coming.
28:50It's coming.
28:51It's coming.
28:52It's coming.
28:53It's coming.
28:54It's coming.
28:55It's coming.
28:56It's coming.
28:57It's coming.
28:58It's coming.
28:59It's coming.
29:00It's coming.
29:01It's coming.
29:02It's coming.
29:03It's coming.
29:04It's coming.
29:05It's coming.
29:06It's coming.
29:07It's coming.
29:08It's coming.
29:09It's coming.
29:10It's coming.
29:11It's coming.
29:12It's coming.
29:13It's coming.
29:14It's coming.
29:15It's coming.
29:16It's coming.
29:17It's coming.
29:18It's coming.
29:19It's coming.
29:20It's coming.
29:21It's coming.
29:22It's coming.
29:23It's coming.
29:24It's coming.
29:25It's coming.
29:26It's coming.
29:27It's coming.
29:28It's coming.
29:29It's coming.
29:30It's coming.
29:31It's coming.
29:32It's coming.
29:33It's coming.
29:34It's coming.
29:35It's coming.
29:36It's coming.
29:37It's coming.
29:38It's coming.
29:39It's coming.
29:40It's coming.
29:41It's coming.
29:42It's coming.
29:43It's coming.
29:44It's coming.
29:45It's coming.
29:46It's coming.
29:47It's coming.
29:48It's coming.
29:49It's coming.
29:50It's coming.
29:51It's coming.
29:52It's coming.
29:53It's coming.
29:54It's coming.
29:55It's coming.
29:56It's coming.
29:57It's coming.
29:58It's coming.
29:59It's coming.
30:00It's coming.
30:01It's coming.
30:02It's coming.
30:03It's coming.
30:04It's coming.
30:05It's coming.
30:06It's coming.
30:07It's coming.
30:08It's coming.
30:09It's coming.
30:10It's coming.
30:11It's coming.
30:12It's coming.
30:13It's coming.
30:14It's coming.
30:15It's coming.
30:16It's coming.
30:17It's coming.
30:18It's coming.
30:19It's coming.
30:20It's coming.
30:21It's coming.
30:22It's coming.
30:23It's coming.
30:24It's coming.
30:25It's coming.
30:26It's coming.
30:27It's coming.
30:28It's coming.
30:29It's coming.
30:30It's coming.
30:31It's coming.
30:32It's coming.
30:33It's coming.
30:34It's coming.
30:35It's coming.
30:36It's coming.
30:37It's coming.
30:38It's coming.
30:39It's coming.
30:40It's coming.
30:41It's coming.
30:42It's coming.
30:43It's coming.
30:44It's coming.
30:45It's coming.
30:46It's coming.
30:47It's coming.
30:48It's coming.
30:49It's coming.
30:50It's coming.
30:51It's coming.
30:52It's coming.
30:53It's coming.
30:54It's coming.
30:55It's coming.
30:56It's coming.
30:57It's coming.
30:58It's coming.
30:59It's coming.
31:00It's coming.
31:01It's coming.
31:02It's coming.
31:03It's coming.
31:04It's coming.
31:05It's coming.
31:06It's coming.
31:07It's coming.
31:08It's coming.
31:09It's coming.
31:10It's coming.
31:11It's coming.
31:12It's coming.
31:13It's coming.
31:14It's coming.
31:15It's coming.
31:16It's coming.
31:17It's coming.
31:18It's coming.
31:19It's coming.
31:20It's coming.
31:21It's coming.
31:22It's coming.
31:23It's coming.
31:24It's coming.
31:25It's coming.
31:26It's coming.
31:27It's coming.
31:28It's coming.
31:29It's coming.
31:30It's coming.
31:31It's coming.
31:32It's coming.
31:33It's coming.
31:34It's coming.
31:35It's coming.
31:36It's coming.
31:37It's coming.
31:39RADWIMPS Enren
31:55There is a bass and guitar session part after the second chorus in this Enren.
31:59They slap with Mr. Takeda's bass solo in the first part.
32:04I was wondering how they do it.
32:06So I started to slap.
32:09I wanted to improve my technique.
32:11So I started to play jazz.
32:13Here is the performance.
32:33I started to play jazz when I was 13 years old.
32:40I found out that they play jazz with bass.
32:44I was like, what is this technique?
32:46Slap is the most popular bass technique.
32:50I was playing like this.
32:52What was it?
32:57I was playing like this.
32:59I didn't know this at all.
33:01When I started to practice this,
33:04I was like, who is good at slapping?
33:09Then YouTube came out.
33:14I watched a video of a world-famous bassist slapping.
33:21I was interested in jazz itself.
33:25It was the beginning of the beginning.
33:29Looking back now, Enren was a turning point.
33:34That's right.
33:37Next is a classic song that Shun Ishiwaka played when he was in junior high school.
33:52Tchaikovsky, Op. 5, 4.
34:00When he was a junior high school student,
34:02he went to Tokyo Geidai Fuzoku High School.
34:05He had been playing jazz for half a year.
34:08When he was listening to classical music,
34:11he often listened to this song.
34:14In this song, there is only a timpani,
34:17but it is a spice as a very good accent.
34:21Anyway, the timpani is cool.
34:24Here is the performance of the timpani.
34:29Tchaikovsky, Op. 5, 4.
34:44I thought it would be great if the orchestra played the timpani in a large number of people.
34:53When I passed the exam,
34:56I was told that I would play Tchaikovsky, Op. 5, 4 at the Tokyo Geidai Fuzoku High School concert this year.
35:03I heard it!
35:05It was a coincidence.
35:07When I played the timpani that I had been listening to for a long time in the orchestra,
35:12I was so moved and happy.
35:19Next is Ryuichi Sakamoto's song, Rei no Bible.
35:25If I can write such a melody, I don't care if I die.
35:36Ryuichi Sakamoto's song, Rei no Bible.
35:45Ryuichi Sakamoto, Thousand Knives.
35:49In Thousand Knives, Kazumi Watanabe plays a very weak solo,
35:55but it has a great story.
35:57I thought that I could write such a story without a song.
36:18Ryuichi Sakamoto, Thousand Knives.
36:27I think the way he draws the story and the way he takes it to the peak is really great.
36:33I always want to be able to play a solo like this.
36:37In my generation, Kazumi Watanabe is a fusion guitarist.
36:43He has a great technique.
36:47Next is Ayatake Ezaki's movie music, which is said to be as good as the melody.
36:59Love Theme
37:03It's like a beautiful melody.
37:08I think that any genre of music can be remembered by everyone in the end.
37:13Will he be encouraged by the melody?
37:17He is still conscious of this song in making songs.
37:39He makes a lot of experimental music.
37:42But I don't think there are many musicians who can surpass him in singing.
37:48I feel like I can die if I can write a melody like this someday.
37:55This time, we asked the four top players to do this.
38:01The four of you have a great performance, so would you like to have a session?
38:04It's a great ending.
38:06What kind of session?
38:09I don't know what to do with this story.
38:12I'm still in a state where I haven't decided yet.
38:18I think I can keep up with Shun's beat.
38:25There was a song that seemed to be easy to do a session with Ray's song.
38:29Based on that, it felt completely different from the original song.
38:33I'm going to wrap it up.
38:35Oh, that's great.
38:37This session will be based on Ray's original song, KILL.
38:51How will the four of them change this song in the session?
38:56At the end, it's Shun's turn.
38:59Can I say something?
39:01Of course.
39:04Shun's start, riff, verse.
39:09Then Ray, do a solo at FUNK.
39:13Do a solo in the verse?
39:15Yes.
39:16Ayatake will do the solo as it is.
39:18Then I'll do a wet solo.
39:20Then I'll do a wet solo.
39:22And then I'll come back.
39:24I'll do my best so I can come back.
39:26It's a soft and electric feeling.
39:31It's like a drum solo.
39:33It's a big deal.
39:35So this is the flow that was decided at the pre-meeting.
39:40In addition to each solo part,
39:42pay attention to the performance that changes according to the beat of Ishiwaka.
39:49Water.
39:50Coke.
39:52Oh, sugar.
39:54I forgot the drink.
39:56Coke.
40:02I'll go first.
40:04Okay.
40:06I'll go first.
40:08Okay.
40:10I think it's okay.
40:12I'll do my best.
40:14Can I start playing?
40:16Yes.
40:17Here we go.
40:31♪
40:41♪
40:51♪
41:01♪
41:11♪
41:21♪
41:31♪
41:41♪
41:51♪
42:01♪
42:11♪
42:21♪
42:31♪
42:41♪
42:51♪
43:01♪
43:11♪
43:21♪
43:31♪
43:41Bravo!
43:43Bravo!
43:45Is this just eye contact?
43:47Yes.
43:49I did it on the spot.
43:51That's cute.
43:53If you ask them to do the same thing again,
43:55they can't do it.
43:57Wow.
43:59This is really a conversation.
44:01They send each other autographs.
44:04If you miss it,
44:06you won't be able to get into the owner's car.
44:09That's how it is.
44:11I was really nervous,
44:13but I had a lot of fun.
44:15Wow.
44:16What kind of song did the pros choose for this year's My Best?
44:25Musashi.
44:26This week on Terasa TVer.
44:30Next week.
44:31Next week, the pros choose their My Best for each year.
44:35And...
44:36It's all about the dancers.
44:38Next week, the first episode of My Best will be broadcast.
44:43He's a world-famous choreographer.
44:46He's a genius at choreographing.
44:48He's very good at composition and art.
44:50His skills are amazing.
44:52Amazing.
44:53What kind of ranking will he get?
44:55I can feel it.
44:57He's a lucky guy.