[访谈翻译] 宫崎慎二 × Game Freak 声音团队对谈：“畅谈宝可梦音乐的世界”
档案记录
- Date
- 2006.12.20
- Source
- Shinji Miyazaki × Game Freak Sound Team “Talk about Pokémon Music”
- People
- Sato, 一之濑刚, 佐藤, 增田顺一, 宫崎慎二
- Game / Work
- 宝可梦
- Page
- 未标注
- Language
- en
- Status
- done
原始资料
![[访谈翻译] 宫崎慎二 × Game Freak 声音团队对谈：“畅谈宝可梦音乐的世界”](/assets/img/interviews/9999-99-99-miyazaki-interview-anime-ost/img_01.png)
Pokemon Official Site
图像作为阅读入口保留；正文仍以可检索、可对照的文字档案为主。
逐段译读
Pokemon Official Site
原文
Interview with Shinji Miyazaki and the Game Freak sound team - PocketMonsters.Net
译文
对宫崎慎二与Game Freak音响团队的访谈 - PocketMonsters.Net
原文
Shinji Miyazaki Game Freak Sound Team “Talk about Pokémon Music”
译文
宫崎慎二、Game Freak音响团队“畅谈宝可梦音乐”
原文
The following interview was translated from the booklet included with the TV Anime Pocket Monsters Original Soundtrack Best 1997-2010 (TVアニメ ポケットモンスター オリジナルサウンドトラック ベスト 1997-2010) CD box set .
译文
以下访谈内容译自CD盒装《TV动画 宝可梦 原声带精选 1997-2010》（TVアニメ ポケットモンスター オリジナルサウンドトラック ベスト 1997-2010）所附的小册子。
原文
Participants:
译文
参与者：
原文
Shinji Miyazaki – Composer/Arranger who handles the music of the TV Anime “Pocket Monsters”
译文
宫崎慎二——负责TV动画《宝可梦》音乐的作曲家/编曲家
原文
Junichi Masuda – Director of the game series “Pocket Monsters”
译文
增田顺一——游戏系列《宝可梦》的导演
原文
Go Ichinose – Sound Leader of the game series “Pocket Monsters”
译文
一之濑刚——游戏系列《宝可梦》的音响负责人
原文
Hitomi Sato – Sound Staff Member of the game series “Pocket Monsters”
译文
佐藤仁美——游戏系列《宝可梦》的音响工作人员
原文
- First, may I inquire about your musical roots, Shinji Miyazaki-san?
译文
——首先，能否请您谈谈您的音乐渊源，宫崎慎二先生？
原文
Miyazaki: Thinking back, I’ve trivially listened to music since I was small. There was a slightly rich boy in our neighborhood (laughs) and he had a shortwave radio at home. And whenever I visited the boy at home, we would listen to the Billboard music of that time. I remember listening to The Spotnicks and many other things.
译文
宫崎慎二：回想起来，我从小就一直听音乐。附近有一个家境稍好的男孩（笑），他家有一台短波收音机。每次我去他家玩，我们都会听当时的公告牌（Billboard）音乐。我记得听过The Spotnicks等许多音乐。
原文
- So you mostly listened to Western music?
译文
——那么您主要听西方音乐吗？
原文
Miyazaki: No, I also listened to Kazuo Funaki-san and Sylvie Vartan’s “Search for the Idol” (Cherchez l’idole) and other things.
译文
宫崎慎二：不，我也听船木一夫先生和茜尔维·瓦尔坦的《寻找偶像》（Cherchez l’idole）等歌曲。
原文
- And what made you want to become a professional?
译文
——那么是什么让您想成为专业人士呢？
原文
Miyazaki: I liked music, but I hadn’t received any specialized education on it, so I tried to attend a normal university. However, I couldn’t give up on music, so I worried myself, wondering if there were any connections. Shortly before that, I just happened to listen to Toru Takemitsu-san’s music and was incredibly moved. I also read Takemitsu-san’s literary work and thought, “This person is amazing.” That’s when I started brooding and went all the way to Tokyo to meet him.
译文
宫崎慎二：我喜欢音乐，但没有接受过专业教育，所以曾试图进入普通大学。然而，我无法放弃音乐，于是烦恼不已，思考是否有任何门路。就在那之前，我偶然听到了武满彻先生的音乐，深受感动。我还读了武满彻先生的文学作品，心想“这个人真了不起”。从那时起我开始沉思，并一路前往东京去见他。
原文
- What, all of a sudden (laughs)?
译文
- 怎么突然这么说（笑）？
原文
Yes (laughs). I visited a reporter who had written an article on Takemitsu-san in the newspaper and told him that I’d like to meet him. But I was told that he was not in Japan but in Paris at the moment, attending a music festival or something. There was nothing to be done about it, so I thought, “What now? Should I go home?” and was just lazing around at Yotsuya station, when this poster from a music academy caught my eye. Not to mention, it said, “basic course”. I wondered, “What do you do in a basic course? Could it be something I could do as well?” And so I ordered an application form and…
译文
是的（笑）。我去拜访了一位在报纸上写过武满彻先生文章的记者，告诉他我想见武满彻先生。但对方告诉我，武满彻先生当时不在日本，而在巴黎参加一个音乐节之类的活动。没办法，我心想：“现在怎么办？要回家吗？”就在四谷站闲逛时，一张音乐学院的招生海报吸引了我的注意。上面还写着“基础课程”。我好奇：“基础课程是学什么的？我也能学吗？”于是就要了申请表……
原文
All in all, I listened to different kinds of music and just dimly thought, “It would be nice to enter a world like this”, but it wasn’t until I was twenty that I approached it concretely.
译文
总之，我听各种类型的音乐，隐约觉得“能进入这样的世界就好了”，但直到二十岁我才真正开始具体接触音乐。
原文
- Where do the musical roots of the Pokémon sound team lie?
译文
- 宝可梦音乐团队的音乐根源在哪里？
原文
I was in third or fourth grade in elementary school. We had the soundtracks of “The Bridge on the River Kwai” and “Ben Hur” at home and I remember listening to them and trying to emulate them with my recorder. I feel like that was the first moment in which I thought, “Music is interesting!” Other than that, there was the YMO (Yellow Magic Orchestra) I listened to when I was in fifth or sixth grade. From then on, I became more of a techno type. Tangerine Dream, Ultravox, Kraftwerk and such. My parents bought me a radio-cassette player, but I only listened to rock and Western music. That’s why there was almost no one in school I could relate to (laughs). Not to mention, records were expensive so you couldn’t buy them so easily.
译文
我上小学三四年级的时候，家里有《桂河大桥》和《宾虚》的原声带，我记得我会听这些音乐，并尝试用竖笛模仿。我觉得那是我第一次觉得“音乐真有趣！”除此之外，五六年级时我开始听YMO（黄色魔术交响乐团）。从那时起，我变得更偏向电子音乐风格，比如橘梦乐团、Ultravox、发电站乐队等等。我父母给我买了收音机录音机，但我只听摇滚和西方音乐。所以学校里几乎没有和我有共同语言的人（笑）。而且，唱片很贵，不能轻易买到。
原文
- So that’s when the radio airchecks came in, right (laughs)?
译文
- 所以那时候就开始录广播节目了吧（笑）？
原文
Yes. But even when a song was played, I didn’t know who sang it and what is was called. That’s why I bought magazines and read them to get information. That’s how it was back then.
译文
是的。但即使播放了一首歌，我也不知道是谁唱的、叫什么名字。所以我买杂志来获取信息。那时候就是这样。
原文
- For you, Masuda-san, what era constitutes the base of your music works today?
译文
- 增田先生，对您来说，哪个时代构成了您今天音乐作品的基础？
原文
It was when I entered junior high school, I think. I had pestered my parents into buying a synthesizer called MS-10 for me. And since there was someone at school who liked those things as well, we used our two cassette decks to do multiple recordings together (laughs). So I never actually studied music as my specialty.
译文
我想是进入初中的时候。我缠着父母给我买了一台叫MS-10的合成器。而且学校里也有喜欢这些东西的人，我们就用两台卡带录音机一起做多轨录音（笑）。所以我其实并没有专门学习过音乐。
原文
- Is that so?
译文
- 是这样吗？
原文
In high school, I was part of a brass band and played the trombone, but I never studied it (laughs). Basically, I like techno and rock. Those are far away from the Pokémon world. That one goes more in the direction of Marilyn Manson and Slipknot.
译文
高中时，我参加了管乐团，吹长号，但我没有专门学过（笑）。基本上，我喜欢电子乐和摇滚。这些与宝可梦世界相去甚远。那个方向更像是玛丽莲·曼森和活结乐队。
原文
Masuda-san’s taste in music from back then is reflected in the battle tracks (laughs).
译文
增田先生当时的音乐品味反映在对战音乐中（笑）。
原文
- Where do your musical roots lie then, Ichinose-san?
译文
- 那么，一之濑先生，您的音乐根源在哪里？
原文
When I was in kindergarten, I was forced to attend a swimming school and a music class. As for the swimming school, I kept crying until I didn’t have to attend any more, but I remained in the music class the whole time. It’s just that I never did my homework, so my music teacher told me, “I won’t let you advance to higher classes.”
译文
我上幼儿园时，被迫去上游泳学校和音乐课。至于游泳学校，我一直哭，直到不用再去，但我一直坚持上音乐课。只是我从不做作业，所以音乐老师对我说：“我不会让你升到更高等级的班。”
原文
That’s when I switched to the piano. But even then, I didn’t practice unless it was a piece I liked. That went on until junior high school, I think. In terms of piano [music], I liked Chopin the most. I often thought, “I want to play this piece!” and put a lot of effort into practicing a difficult piece. It was also during junior high school that I got into game music. Famicom [Family Computer] music, Game Center music and things like that. I also took recording devices to the Game Center and recorded the sounds, then played them on the piano.
译文
那时我转而学习钢琴。但即便如此，除非是我喜欢的曲子，否则我不会练习。这种情况一直持续到初中，我想。在钢琴音乐方面，我最喜欢肖邦。我经常想：“我想弹这首曲子！”并投入大量精力练习一首难度高的曲子。也是在初中时期，我开始接触游戏音乐，比如红白机音乐、游戏厅音乐等。我还会带录音设备去游戏厅，录下声音，然后在钢琴上弹奏。
原文
- Hearing your story, it sounds like you became part of Game Freak because you were destined to do so.
译文
- 听了你的故事，感觉你加入Game Freak似乎是命中注定的事。
原文
Ichinose: But the thing is, at that time, I wasn’t even thinking about making music. I only entered Game Freak because I wanted to acquire some qualifications. I just happened to find they were recruiting people for part-time jobs and said, “Excuse me, please let me study here.” So I studied programming, but I couldn’t seem to make progress and before I knew it, I was making music (laughs). Also, I’ve just remembered something else that lead to my starting with music: Once while we were moving, I discovered a record for prenatal care in our house. Apparently, it was music I used to hear when I was still an unborn child; when I checked the playlist, I realized it was full of pieces that I had selected to play on the piano.
译文
一之濑：但问题是，当时我根本没想过要做音乐。我进入Game Freak只是因为想考取一些资格。我碰巧看到他们在招兼职，就说“不好意思，请让我在这里学习”。于是我学了编程，但似乎没什么进展，不知不觉就开始做音乐了（笑）。另外，我还想起一件促使我开始做音乐的事：有一次搬家时，我在家里发现了一张胎教唱片。显然，那是我还在娘胎里时听过的音乐；我查看曲目列表时，发现里面全是我后来选择在钢琴上演奏的曲子。
原文
Sato: Does that mean you had listened to Chopin?
译文
佐藤：那意味着你听过肖邦的作品吗？
原文
Ichinose: Yeah. Chopin and Liszt and such. That’s why I think prenatal care does have an effect (laughs).
译文
一之濑：是的，肖邦、李斯特之类的。所以我觉得胎教确实有效果（笑）。
原文
Sato: I had a similar experience. Apparently, when I was still 0, my father constantly let me listen to a record that contained yodeling. He told me that one morning, before I had learned to talk, I was suddenly standing on my futon and yodeling (laughs). That’s when my parents began to hope that “this kid may have musical talent” (laughs). I began playing the piano at age 3 and continued all the way until second grade in high school.
译文
佐藤：我也有类似经历。据说在我0岁时，父亲经常让我听一张含有约德尔调的唱片。他告诉我，有一天早上，在我学会说话之前，我突然站在被褥上唱起了约德尔调（笑）。那时我父母就开始期待“这孩子可能有音乐天赋”（笑）。我从3岁开始弹钢琴，一直弹到高中二年级。
原文
Also, since I always went to Christian-oriented schools, I was very familiar with hymns. That’s why I listened to little else but hymns and piano music until I was 17 or 18 years old (laughs).
译文
另外，因为我一直上基督教学校，所以对赞美诗非常熟悉。因此，直到十七八岁，我几乎只听赞美诗和钢琴曲（笑）。
原文
- How did you end up working for Game Freak?
译文
- 你是怎么最终进入Game Freak工作的？
原文
Sato: There was a job advertisement stating that Game Freak was looking for planners. I worked as a planner for about 7 or 8 years, but then I happened to hear that someone from the sound staff had quit. I had told them once that I could play the piano and when I was asked if I wanted to give it a try, I said yes.
译文
佐藤：当时有一则招聘广告，说Game Freak正在招聘策划。我做了大约七八年的策划，但后来碰巧听说音效组有人辞职了。我之前告诉过他们我会弹钢琴，当他们问我是否想试试时，我答应了。
原文
Ichinose: Well, Sato had amazing hearing, you see.
译文
一之濑：嗯，你知道，佐藤的听力非常出色。
原文
- Regarding the fact that neither Ichinose-san nor Sato-san were originally part of the sound team; does Game Freak often make personnel changes among members?
译文
- 关于一之濑先生和佐藤先生最初都不是音效组成员这一点，Game Freak是否经常在成员之间进行人事调动？
原文
Masuda: No, it’s not personnel changes; it’s more like we approach people who are familiar with music and ask them, “Hey, do you want to try and make a music piece like this?” When we find someone talented, we slowly tell them to “come over here” (laughs). So it’s not like they change sections and become part of the sound team.
译文
增田：不，不是人事调动；更像是我们去找那些懂音乐的人，问他们：“嘿，你想不想试着做一首这样的曲子？”当我们发现有才华的人时，就会慢慢告诉他们“到这边来”（笑）。所以并不是他们调换部门，成为音效组的一员。
原文
Ichinose: We say, “We’re a bit busy, wanna help us out?” That’s what it feels like.
译文
一之濑：我们会说：“我们有点忙，想帮我们一把吗？”感觉就是这样。
原文
Masuda: After we let them produce something, we tell them that they’re talented.
译文
增田：我们让他们创作一些东西之后，会告诉他们“你很有才华”。
原文
- On this CD, all music pieces from the games that were arranged by an orchestra and used for the TV anime are recorded, though it seems like some pieces are used differently in the anime than in the games.
译文
- 在这张CD中，收录了所有由管弦乐改编并用于电视动画的游戏音乐，不过有些曲目在动画中的使用方式似乎与游戏中不同。
原文
Ichinose: You’re right. For example, Disc 2, Track 9 “Crossing the Ocean”. It’s a track from “Ruby & Sapphire” and originally plays while you move from a certain place to a town with a boat. It’s a lively piece that feels speedy because of the boat motif, but during the game, it’s only played for a very short time. In the anime, that piece was turned into a magnificent and moving tune. I thought, “This is great! How interesting!”
译文
一之濑：你说得对。例如，第二张碟的第九首《跨越海洋》。这是《红宝石/蓝宝石》中的一首曲子，原本是在你乘船从某地前往某个城镇时播放的。这是一首活泼的曲子，因为船的主题而感觉很快，但在游戏中只播放很短的时间。在动画中，这首曲子被改编成了一首华丽而动人的旋律。我当时想：“这太棒了！真有趣！”
原文
- In the case of the anime, a menu (list of the tracks needed) is written beforehand to fit certain scenes and characters. How are they [music pieces] produced in the case of the games?
译文
- 在动画中，会事先写好一个菜单（所需曲目列表）来配合特定的场景和角色。那么在游戏的情况下，这些音乐是如何制作的呢？
原文
Masuda: First we bring the necessary scenes to light and fortify what kind of image we want to give off in them, but as the production of the game continues, instances where we say, “I want a tune like this” occur as well, as it was the case with the aforementioned boat scene. So instead of determining how we imagine everything beforehand, we often let the people in charge of the sound actually play the game and then have them produce the tunes.
译文
增田：首先我们会把必要的场景展现出来，并强化我们想要在场景中传达的形象。但随着游戏制作的进行，也会出现像之前提到的船的场景那样，我们说“我想要这样的曲子”的情况。所以我们并不是事先决定好所有想象，而是经常让负责声音的人实际玩游戏，然后让他们制作曲子。
原文
Ichinose: Being able to produce while looking at the screen would be the most ideal way, but since scenes are still being produced during the development phase, we work with just our imaginations sometimes.
译文
一之濑：能够看着屏幕制作是最理想的方式，但由于在开发阶段场景仍在制作中，我们有时只能凭想象来创作。
原文
Masuda: If it’s a scene where you walk through a city, we produce thinking how the main character feels. Also, in the game, the timing of the scene changes is entirely up to the player. That’s why they [the tunes] always loop. Even if we think, “At this moment, I’d like to build up excitement” and add figures somewhere, chances are that the player doesn’t switch scenes during that moment. We have dilemmas like this sometimes, but there is something enjoyable about it as well.
译文
增田：如果是走过城市的场景，我们会思考主角的感受来制作。另外，在游戏中，场景切换的时机完全取决于玩家。这就是为什么音乐总是循环播放。即使我们想“在这个时刻，我想营造兴奋感”并在某处加入一些元素，玩家也可能不会在那个时刻切换场景。我们有时会遇到这样的困境，但也有其乐趣所在。
原文
- Miyazaki-san on the other hand, uses those game tunes as bases to extend arrangements to be played by an orchestra for the anime. What are the difficulties you experience?
译文
- 另一方面，宫崎先生以这些游戏音乐为基础，扩展编排成由管弦乐队演奏的动画音乐。您遇到了哪些困难？
原文
Miyazaki: During the early days of Pokémon, the number of sounds (that could be played at once) was low.
译文
宫崎：在宝可梦的早期，能够同时播放的声音数量很少。
原文
Masuda: Yes, during the days of “Red & Green” it was 3 sounds plus background noise.
译文
增田：是的，在《红·绿》的时代，是3个声音加上背景噪音。
原文
Miyazaki: So there were actually sounds that didn’t resonate. But I’m sure those sounds did resonate in Masuda-san’s mind as well. How did they resonate in Masuda-san’s mind? What if my world is entirely different from his? Those were the most difficult questions. The first arrangement does kind of determine the direction, after all. I was very worried and wondered, “Is it really okay this way?”
译文
宫崎：所以实际上有些声音并没有产生共鸣。但我相信那些声音在增田先生的心中一定也有共鸣。它们在增田先生心中是如何共鸣的呢？如果我的世界和他的完全不同怎么办？这些是最困难的问题。毕竟，最初的编排确实决定了方向。我非常担心，心想：“这样真的可以吗？”
原文
Masuda: In that sense, you make me think you’re amazing, Miyazaki-san. I really felt like you “picked up all my sounds.”
译文
增田：从这个意义上说，宫崎先生，您让我觉得您很了不起。我真的觉得您“把我所有的声音都拾起来了”。
原文
Miyazaki: There is this opening piece that’s also often used in movies (Disc 1, Track 1-3); I think that’s my number one, personally. The tune itself is a good piece, but I also think that if it wasn’t for that [piece], the situation regarding Pokémon music might not be like this today.
译文
宫崎：有一首开场曲也常在电影中使用（光盘1，曲目1-3）；我个人认为那是我的第一代表作。曲子本身是一首好作品，但我也认为如果没有那首曲子，宝可梦音乐的现状可能不会是今天这样。
原文
Of the Game Freak people, is it you who determines the worldview and decides things like, “It’s a good tune, but it doesn’t fit the image”, Masuda-san?
译文
在Game Freak的人员中，是您来决定世界观并做出诸如“这是一首好曲子，但不符合形象”这样的决定吗，增田先生？
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Masuda: Since I’m working as a director for the games now, it appears to be that way. And when it comes to troubling aspects, it’s one of the things I worry about very much. For example, if we made one CD and it consisted entirely of heavy rock, you’d become exhausted, wouldn’t you? That’s when you say things like, “Let’s take it a little easier in this scene” or something. We also try to create a flow that adapts to the chronological order of the adventure. Those are things I’m always concerned about.
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增田：由于我现在担任游戏的总监，看起来确实如此。至于令人困扰的方面，这是我非常担心的事情之一。例如，如果我们制作一张CD，全部都是重金属摇滚，你会感到疲惫，不是吗？这时你会说“让我们在这个场景中轻松一点”之类的话。我们也试图创造一种适应冒险时间顺序的流程。这些是我一直关注的事情。
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Ichinose: The things Masuda is particular about – for example, whether something is important scenario-wise or concerning places that are important for the worldview – those are things for which he conveys a very clear image. However, other than that, everyone implements their own respective images and if Masuda says nothing, everything is OK.
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一之濑：增田先生特别在意的事情——例如，某些东西在剧情上是否重要，或者对于世界观重要的地方——这些他都会传达出非常清晰的形象。然而，除此之外，每个人都实现自己的形象，如果增田先生没有说什么，那就一切OK。
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Masuda: There aren’t that many “no-go’s” getting submitted anyway. But, for example, while the Jouto region had cities around Kyoto serving as models, I said something like, “Don’t make it too Japanese.” By adding non-Japanese music to a Japanese place, I want to create a new, slightly different worldview.
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增田：反正提交上来的“禁区”并不多。但是，例如，城都地区以京都周边的城市为原型，我曾说过“不要做得太日本化”。通过在具有日本风格的地方加入非日本音乐，我想创造一种新的、略有不同的世界观。
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- In what way do the arrangements for the anime version show guts?
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- 动画版的编曲在哪些方面展现了毅力？
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Ichinose: Pokémon tunes use “input music”, a special trait of the games, and have a tendency to be composed without favoring playing methods for musical compositions or harmonic concepts. Considering all this, it must be very complicated to make orchestra arrangements. What do you think?
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一之濑：宝可梦的音乐使用的是“输入音乐”，这是游戏的一个特殊性质，作曲时往往不会优先考虑演奏方法或和声概念。考虑到这些，做管弦乐编曲一定非常复杂吧？您怎么看？
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Miyazaki: Choosing the instruments is easy. Determining whether their respective figures and orchestra arrangements are effective is also easy. However, I think the difference is that, compared to input works, the feeling of broadness may get lost. For example, when the original tune uses a variety of synth strings, there is a broadness to the timbre, but if the chords are played with real strings, it doesn’t seem that way any more.
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宫崎：选择乐器很容易。判断它们各自的形象和管弦乐编曲是否有效也很容易。然而，我认为区别在于，与输入作品相比，那种宽广感可能会丢失。 例如，当原曲使用多种合成弦乐时，音色会有一种宽广感，但如果用真实弦乐演奏和弦，就不再是那种感觉了。
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Ichinose: I see.
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一之濑：原来如此。
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Miyazaki: It often happens with the music used with battles.
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宫崎：这种情况经常发生在战斗音乐中。
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Ichinose: There is one tune among the ones you arranged, Miyazaki-san, that I really like. It’s Disc 2, Track 14, “Minamo City”. Surprisingly, the sub-melody (the melody that complements the main melody) and the harmony weren’t changed, so it turned out to be extremely close to the original tune. I must say I was very happy and thought, “Miyazaki-san must have approved of this.” (laughs)
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一之濑：在您编曲的曲目中，宫崎先生，有一首我非常喜欢。就是第二张光盘的第14首《水奈茂市》。令人惊讶的是，副旋律（衬托主旋律的旋律）和和声都没有改变，所以结果与原曲非常接近。我不得不说我很高兴，心想：“宫崎先生一定认可了这首。”（笑）
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Miyazaki: Please (laughs). There are some compositions where I’d refuse even if I was asked to change them.
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宫崎：哪里哪里（笑）。有些曲子即使被要求修改我也会拒绝。
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Ichinose: I’d like to know more about them (laughs).
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一之濑：我倒是很想知道是哪些曲子（笑）。
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Miyazaki: There are cases where, if I try it with the key for the instruments I had in mind, it doesn’t sound as I imagined it or, if I change the key, it doesn’t bring out the feeling the original tune had carried.
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宫崎：有些情况下，如果用我设想的乐器调性来尝试，听起来不像我原本想象的那样；或者，如果改变调性，又无法表现出原曲所承载的感觉。
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- So that means pieces created with the input method cannot simply reproduced by an orchestra as-is.
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——也就是说，用输入法创作的曲子不能简单地由管弦乐队原样重现。
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Miyazaki: I mentioned it earlier, but the battle tunes from the early days couldn’t be left as-is, no matter what. That’s why I slowed down the tempo a little. Having done that, I was torn on what to leave out and what to include. For example, the sound range of the trumpets used in the games is surprisingly high…
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宫崎：我之前提到过，早期的战斗音乐无论如何都不能原样保留。所以我稍微放慢了速度。这样做之后，我在取舍上很纠结。例如，游戏中使用的喇叭的音域高得惊人……
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Ichinose: That’s true. Low tones don’t come out of game consoles speakers very well, but high tones do. That’s why we often use high tones.
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一之濑：确实如此。游戏机扬声器低音表现不好，但高音表现好。所以我们经常使用高音。
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Miyazaki: But if I left that as-is, it’d sound a little acrid. Then again, I think the mood it gives off is one of the characteristics of Pokémon. That’s why I leave the high sound range as-is sometimes.
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宫崎：但如果我原样保留，听起来会有点刺耳。不过，我认为它传达出的氛围是宝可梦的特色之一。所以有时我会保留高音域。
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Sato: We really are careless, writing pieces that the orchestra can’t play… How do you get through this?
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佐藤：我们真是粗心，写出了管弦乐队无法演奏的曲子……您是怎么克服这个问题的？
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Miyazaki: Well, if I didn’t have some trouble doing it, it wouldn’t be an arrangement (laughs). Also, if I just try, it’ll work out somehow.
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宫崎：嗯，如果做这件事没有遇到一些困难，那就不叫编曲了（笑）。而且，只要我去尝试，总会有办法解决的。
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Sato: So we can go on without keeping our heads down (laughs)?
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佐藤：所以我们不用低头认错，可以继续这样下去（笑）？
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Miyazaki: Writing pieces that are close to mine might make me worry in a different way. I might think, “Is it really okay if I just leave this as-is?” (laughs)
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宫崎：创作贴近自己风格的作品可能会让我以另一种方式担忧。我可能会想：“就这样保持原样真的好吗？”（笑）
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Sato: I see (laughs). Well then, please bear with us in the future (laughs).
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佐藤：原来如此（笑）。那么，今后也请多多包涵（笑）。
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Masuda: What interests me the most is how you work on the arrangements, Miyazaki-san. Do you write them down on the score directly?
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增田：我最感兴趣的是宫崎先生是如何进行编曲工作的。您是直接写在乐谱上吗？
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Miyazaki: Much has changed over the years. Lately, before I record a live performance by the orchestra, I try to simulate the timbre using synth instruments and make a demo in order to make sure how the overall image of the composition comes across. But in the beginning when I’d just started working, I had no score at first, so I began with copying everything using my ears and then created the image while looking at the music I’d copied and checking the menu I’d been given by the sound director.
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宫崎：多年来变化很大。最近，在录制管弦乐队现场演奏之前，我会尝试用合成器模拟音色并制作小样，以确保作品的整体形象能够传达出来。但在我刚开始工作的时候，起初并没有乐谱，所以我先用耳朵听写所有内容，然后一边看着听写出来的音乐，一边查看音响监督给我的菜单，从而构建出整体形象。
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Masuda: This music, do you write it in pieces for the respective instruments? Do you line everything up at once or do you write the music piece by piece?
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增田：这些音乐，您是分别针对各个乐器来写的吗？是同时把所有部分都排列出来，还是一段一段地写？
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Miyazaki: I do both. If the tune has an impressive melody, I’ll copy the melody first and then think of an appropriate chord. In reverse, if the rhythm is the focus of the tune, I create the rhythm and then think further while playing that.
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宫崎：两种方式都有。如果曲调有令人印象深刻的旋律，我会先誊写旋律，然后考虑合适的和弦。反过来，如果节奏是曲调的重点，我会先创作节奏，然后在播放节奏的同时进一步思考。
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Masuda: In this sense, it might be a good thing if the timbre isn’t predefined. Personally, I’m one of those who think that, since we’re going through the trouble of making a new game, sounds that haven’t been heard before are preferable. That’s why I use the timbres in a slightly different way every time and hope that, when they’re given to you, Miyazaki-san, you’ll arrange them to have a different shape.
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增田：从这个意义上说，如果音色不是预先定义好的，也许是件好事。就我个人而言，我认为既然我们费尽心思制作新游戏，那么以前没听过的声音更可取。这就是为什么我每次使用音色的方式都略有不同，并希望在交给宫崎先生时，您能将其编排成不同的形态。
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- Miyazaki-san, is there anything you would like to ask the people of Game Freak?
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——宫崎先生，您有什么想问Game Freak的成员的吗？
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Miyazaki: I’d like to ask when you get your ideas for the pieces. For me, more often than when I’m sitting at a desk, it’s when I take a bath or when eating that they come gushing forth…
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宫崎：我想问你们创作乐曲的灵感是在什么时候产生的。对我来说，比起坐在桌前，更多时候是在洗澡或吃饭时灵感喷涌而出……
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Masuda: In that regard, we’re the same, I think. When I’m sitting in the bathtub or the train, I suddenly get an idea. Then I whistle it into my cell phone. And then I listen to it afterwards. Although there are times when it turns out to be really bad (laughs).
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增田：在这方面，我想我们是一样的。当我坐在浴缸里或在火车上时，会突然冒出灵感。然后我会用口哨把它吹进手机里。之后再听一遍。虽然有时结果真的很糟糕（笑）。
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Ichinose: Like Miyazaki-san, I think of the melody or the framework of a piece while taking a shower or something. The instance I’m freed after having been pressured by the deadline for my work is the best time for me to think of music pieces. Sorry if the story sounds hopeless (laughs).
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一之濑：和宫崎先生一样，我也会在洗澡或做其他事情时构思旋律或乐曲框架。在受到工作截止日期压力后获得解放的那一刻，是我构思乐曲的最佳时机。如果这个故事听起来很绝望，很抱歉（笑）。
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Sato: I’m the opposite; if I don’t sit at a desk, nothing will come out. And when I think, “I have little time left. Just one more hour!” everything comes out at once.
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佐藤：我正好相反；如果不坐在桌前，什么也写不出来。而当我想“时间不多了，再给我一个小时！”的时候，一切都会一下子涌现出来。
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- So they [ideas] come out more easily when under pressure?
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——所以，在压力下更容易产生灵感吗？
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Sato: Yes. I just can’t think of melodies, you see. I start with the base and the grace notes, so I begin with entering all the grace notes I want to include at once and when I have one more hour left, I enter the notes I haven’t used yet and it starts resembling a melody (laughs).
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佐藤：是的。你看，我就是想不出旋律。我从基础和装饰音开始，所以我会先一次性输入所有我想包含的装饰音，当还剩一个小时的时候，我再输入还没用过的音符，然后它就开始像旋律了（笑）。
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- Like drawing a sketch and then filling it out afterwards.
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——就像先画草图，然后再填充内容一样。
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Sato: That’s right.
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佐藤：没错。
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Masuda: I see, so you’re among those who think of the melody later.
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增田：原来如此，你是属于后考虑旋律的那种人。
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Sato: I never have any ideas.
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佐藤：我从来没有什么灵感。
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Masuda: I’m one of those who think of the melody first.
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增田：我是先考虑旋律的那种人。
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Ichinose: Me too.
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一之濑：我也是。
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Miyazaki: I start with the melody as well.
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宫崎：我也是从旋律开始。
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Sato: I have no friends (laughs).
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佐藤：我没有朋友（笑）。
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- Please tell us about one track you’re fond of.
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——请告诉我们你们各自喜欢的一首曲子。
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Masuda: It’s still the fight theme from the first games, “Red & Green” [Disc 1, Track 6 Fight (VS Wild Pokémon)].
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增田：还是初代《红·绿》的战斗主题曲（CD1第6轨“战斗（VS野生宝可梦）”）。
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Miyazaki: There are some subtle differences between the versions.
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宫崎：各个版本之间有一些细微的差别。
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Masuda: This arrangement was even more fantastic than I imagined. If I tried to arrange it myself, it’d end up going in the same direction, you see (laughs).
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增田：这个编曲比我预想的还要精彩。如果我自己来编曲的话，最终也会走向同样的方向吧（笑）。
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Miyazaki: Perhaps it’s that, even if you think there are many possible directions, there is only one truth (laughs). You just think that this is more or less how it should be.
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宫崎：也许即使你觉得有很多可能的方向，但真相只有一个（笑）。你只会觉得，大致就应该是这样。
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Masuda: The first time I heard it was on TV (laughs), but at the very beginning of the TV series, there’s this scene where game sounds are suddenly replaced by an orchestra. I still remember that scene.
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增田：我第一次听到它是在电视上（笑），在动画系列的开头，有一个游戏音效突然被管弦乐取代的场景。我至今还记得那个画面。
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Ichinose: For me, it’s Disc 2, Track 9, “Crossing the Ocean”. “A track of mine was arranged and became such a magnificent piece”, I thought. When I heard it for the first time, I actually soliloquized and said, “Thank you so much” (laughs).
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一之濑：对我来说，是CD2第9轨《跨越海洋》。我当时心想：“我的一首曲子被改编成了如此宏大的作品。”第一次听到时，我真的自言自语说：“非常感谢”（笑）。
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Sato: For me, it’s Disc 2, Track 34, “Hakutai Woods”. The original piece was made with a “forest-like” image in mind, but when I listened to the arrangement, it was a lake-like piece. Since in the games, the scenes where you meet the legendary Pokémon take place at lakes, I was incredibly moved when I heard that it was changed that way. I thought, “There is a feeling of mystery to it that I couldn’t bring out.” Another one would be Disc 2, Track 36, “Route 206 (Day)”. It’s played in a place called route 206, and actually, it’s the first piece I ever made. When it was played at the beginning of the first episode of Diamond & Pearl, I was so happy I almost cried.
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佐藤：对我来说，是CD2第34轨《白岱森林》。原曲是以“森林般的”印象创作的，但当我听到编曲时，却是一首湖水般的曲子。因为在游戏中，遇到传说宝可梦的场景都是在湖边，所以当我听说它被这样改编时，我非常感动。我想：“其中有一种我无法表现出的神秘感。”另一首是CD2第36轨《206号道路（白天）》。它在一个叫206号道路的地方播放，实际上，那是我创作的第一首曲子。当它在《钻石·珍珠》第一集开头播放时，我高兴得差点哭了。
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Masuda: It seems like the direction the arrangements take is what stimulates the sound team.
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增田顺一：似乎是编曲的方向激发了音响团队的灵感。
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Ichinose: You’re right.
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一之濑刚：你说得对。
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- Lastly, I’d like a small message from everyone.
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最后，我想请各位说几句话。
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Masuda: Lately, I’ve done nothing but battle tracks and I feel bad about how they resemble each other (laughs), and since I’m slowly running out of ideas, I thought it would be nice to change directions at some point. To make Pokémon-like music with a new shape.
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增田顺一：最近我一直在创作对战音乐，但感觉它们彼此相似，这让我有些过意不去（笑）。而且我的灵感也渐渐枯竭，所以我想是时候换个方向了，希望能创作出具有新形态的宝可梦风格音乐。
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Ichinose: For a while, I’ve been thinking that, since “Pokémon” is a game millions of people play, the tracks included in it are heard by millions of people as well. In that regard, it’s a production which exerts a lot of influence. Even putting aside whether the same goes for the music, I’d prefer to do new things that differ from others. Concerning this CD, one of the things one should look forward to is hearing diverse endings (the last part of a track) that aren’t present in the games. I’d be happy if game fans as well as anime fans looked back at Pokémon music with fond memories when hearing live performances.
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一之濑刚：我一直在想，既然《宝可梦》是一款有数百万人游玩的游戏，那么其中收录的乐曲也会被数百万人听到。从这个意义上说，这是一部影响力巨大的作品。且不论音乐本身是否如此，我更倾向于尝试与他人不同的新事物。关于这张CD，值得期待的一点是能听到游戏中没有的多种多样的结尾（乐曲的最后部分）。如果游戏粉丝和动画粉丝在听到现场演奏时，能带着美好的回忆回顾宝可梦音乐，我会很高兴。
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Sato: Among those who play the games, there might be some who aren’t very interested in music. I’d like to put something into the worldview of the tracks that makes those people think, “This is a nice piece” and that awakens their interest.
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佐藤：在玩游戏的人中，可能有些人对音乐不太感兴趣。我想在乐曲的世界观中加入一些东西，让这些人觉得“这首曲子真不错”，从而唤起他们的兴趣。
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Miyazaki: I might stray off a little, but I think it would be nice if we could have an event where people involved with Pokémon music gather.
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宫崎：我可能有点跑题了，但我觉得如果能举办一个让参与宝可梦音乐的人们聚集在一起的活动，那会很好。
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- It would be great to see that! Thank you for today.
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如果能实现那就太好了！今天非常感谢各位。
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Translated by Sushi
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翻译：Sushi
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This page has been viewed 32269 times.
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本页面已被浏览32269次。
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Last updated 11 Jun 2020 18:46 by Sunain.
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最后更新：2020年6月11日 18:46，由Sunain更新。
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Revision #14
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修订版本 #14
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Page Tags: Interview Music
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| 网站编程：JDS、Hiroki、Sunain | 修订版本：ea5db73d |
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