"Travelers' Musings" — Behind the Scenes of the Music of Inazuma

This article contains AI-generated translation.

《原神》稻妻音乐由陈致逸@HOYO-MiX作曲，由日本东京爱乐乐团与日本顶尖民乐演奏家们合作录制，由HOYO-MiX团队与Sony Music Entertainment (Japan) Inc. 联合出品。视频讲述了稻妻音乐的创作理念，记录了中日团队为期一个半月的跨文化、跨语言的远程合作历程。
*Genshin Impact*'s Inazuma OST is composed by Yu-Peng Chen@HOYO-MiX, recorded by the Tokyo Philharmonic Orchestra with special guest top Japanese folk musicians, and co-produced by the HOYO-MiX team and Sony Music Entertainment (Japan) Inc. This video tells the story of the Inazuma OST's creative philosophy, and documents the one and a half month of remote collaboration across cultures and languages between the Chinese and Japanese teams.

## Video

蔡近翰：HOYO-MiX的特质是做出既合适于产品又令人耳目一新的东西，这也是我们的一贯目标。稻妻音乐和璃月一样融合了传统乐器和管弦乐的元素，不同的最明显的体现就是对日本传统调式的使用。
Cai Jinhan, Music Director: HOYO-MiX's characteristic is to create something that is both suitable for products and refreshing. This has always been our consistent goal. The music of Inazuma, like Liyue, combines elements of traditional instruments and orchestral music. The most notable difference lies in the prominent use of traditional Japanese scales.

很多旋律都是基于日本调式写成。稻妻的日本传统乐器和管弦乐由日本民族演奏家以及东京爱乐乐团演奏。日本的传统乐器，比如说日本尺八、日本筝、三味线、太鼓等等，都贯穿了整个稻妻音乐。这些乐器都在遵从传统演奏法的基础上做了现代的创新，为了保证音乐元素的传承性。
Many melodies are composed based on these Japanese scales. Inazuma's music features traditional Japanese instruments and orchestras performed by Japanese folk musicians and the Tokyo Philharmonic Orchestra. Traditional Japanese instruments such as the shakuhachi, koto, shamisen, taiko drums, and more, are woven throughout the entirety of Inazuma's music. These instruments have undergone modern innovations while still adhering to traditional playing techniques, ensuring the preservation of musical heritage.

我们也对一些耳熟能详的主题进行了变奏，比如说大家熟悉的战斗主题的稻妻版本，又比如说我们的雷神主题是对《樱花》的致敬，这会让玩家觉得既耳熟又新奇。
We have also made variations on some familiar themes to maintain the familiarity while adding novelty. For example, Inazuma presents its version of the well-known battle theme and pays tribute to "Sakura, Sakura" through our Electro Archon theme. This blend of familiarity and novelty is sure to captivate players.

陈致逸：特别感谢Sony Music的协助，我们邀请到了日本顶级的乐队东京爱乐乐团，有非常著名的指挥家栗田博文先生负责音乐监制的宫野幸子老师，还邀请到了日本当地最优秀的民乐演奏家和歌手。在这个特殊时期里，我们与东京爱乐乐团采取了线上远程交流的合作方式。整个录音制作的工作进行了1个半月左右，如果再加上前期的沟通，一共准备了近4个月的时间。这一次远程线上合作，我觉得最困难的地方是在于沟通时间的成本加大。
Chen Zhiyi: Special thanks to Sony Music for their assistance. We invited the top-tier Japanese orchestra, the Tokyo Philharmonic Orchestra, with the renowned conductor Teacher Kurita Hirofumi, and the music producer Teacher Miyano Sachiko as the music supervisor. We also invited outstanding local Japanese folk musicians and singers. During this special period, we collaborated with the Tokyo Philharmonic Orchestra through online remote communication. The entire recording and production process took about a month and a half, and with the preliminary communication, it took nearly 4 months of preparation. The most challenging aspect of this remote online collaboration, I believe, was the increased cost of communication time.

我也明白，乐手与指挥家积极的演奏状态肯定会因此受到影响。但我认为，正是因为在这样艰难的环境下，才能够加深大家彼此的信任。比如说，合作到后来，我会很少尽量不提修改意见，因为已经很信任日本的音乐监制宫野老师对现场音乐演奏的判断。她会主动提出一些演奏改良的建议，然后指挥栗田博文先生也会根据乐谱的内容，有些不确定的地方事先会询问宫野老师。那么如此一来，我们的合作效率就变高了很多。等到了乐队休息的时间，我会再调出之前的录音回放一遍。如果音乐需要修改，我们会放在下一个日程去进一步改善。那么通过这段时间的双方磨合，也让我成长了许多。
I understand as well that the active performance state of the musicians and conductor will definitely be influenced by this. However, I believe that it is precisely because of such challenging circumstances that trust among everyone can deepen. For example, as our collaboration progressed, I rarely, if ever, tried to provide modification suggestions, because I already had great trust in Teacher Miyano, the music supervisor from Japan, regarding her judgment on live music performance. She would proactively offer suggestions for performance improvements. Additionally, the conductor Teacher Kurita Hirofumi would consult with Teacher Miyano in advance on any uncertain aspects based on the musical score. This significantly increased our collaboration efficiency. During the breaks for the orchestra, I would replay the previous recordings to review them. If any adjustments were needed in the music, we would schedule them for further improvement in the next session. Through this period of mutual adjustment, I have also grown a lot.

后面有几首曲子，真的是被打动了。他们的情感处理得非常好，非常细腻。也很意外，因为有两首曲子不是有一首曲子一开始是马林巴嘛。我写得太难了，我不敢让马林巴乐手演奏，所以想说有2个版本。但后来他们还是很坚持要演奏。后来我想了想哦，可能他们真的回去是有仔细地练习了，练了很多次。然后结果一出来，我就知道他练过的，因为那个一定是他练完了以后才能一个音都不错，非常复杂的一个声部的马林巴。我一开始是很担心嘛，所以就是对，主要可能是表达方式，其实应该跟他说我们能不能够先暂时不要演奏，然后来一个没有这个乐器的版本。对，应该是这么说，而不应该说我直接不要这些乐器，这样的话可能会比较伤害他们的感情。对，下次应该我也会注意的，这方面。
Later on, there are a few pieces that truly moved me. The emotional expression in them was handled extremely well, very delicate. It was also surprising because two of the pieces originally didn't have the marimba part. I had written them in a way that was too challenging, and I didn't dare to have the marimba player perform them. So, I thought about having two versions. However, they insisted on performing them. Later, I realized that they must have practiced diligently after going back. They rehearsed many times, and when the performance finally came, I could tell that they had practiced. Every note was spot on, especially in the complex marimba section. Initially, I was worried, so I thought about how to approach it. Maybe I should have asked if we could temporarily refrain from performing and instead have a version without that instrument. Right, that's how I should have communicated it, rather than directly saying not to use those instruments. That way, it wouldn't have hurt their feelings as much. Right, next time, I'll pay attention to this aspect as well.

栗田 博文：三天的录音顺利完成，我也终于松了一口气。这次使用了很多日本的传统乐器，从乐谱上就可以看出这些乐器的用法都拿捏得很好。最终呈现出了作曲家想要的效果。我们要做到的就是尽量完美地还原乐谱，以及力求把大家各自想要表现的东西反映到实际演奏的音符中去。从这个层面上来说，我觉得这次录音的效果是非常好的。
Kurita Hirofumi, Conductor: The recording was successfully completed in three days, and I finally breathed a sigh of relief. We used many traditional Japanese instruments this time, and it's evident from the musical scores that the utilization of these instruments was handled very well. The final result achieved the effect the composer desired. Our goal was to faithfully reproduce the musical scores as perfectly as possible and strive to reflect everyone's desired expressions in the actual played notes. From this perspective, I believe the recording turned out to be very successful.

宮野 幸子：因为这次是陈老师这样一位中国人写的日本风的曲子，所以我觉得反而是平时日本人想不太到的。日本风的旋律像日本又不太日本，有种跨越时空的美感，反倒让人觉得非常棒。
Miyano Sachiko, SHANGRI-LA Sound Director: Because this time it was a piece with a Japanese style composed by Teacher Chen, a Chinese composer, I feel that it brings about aspects that Japanese people wouldn't normally think of. The Japanese-style melodies, which are both Japanese and yet not entirely Japanese, evoke a sense of transcending time and space, creating a wonderful sensation.

陈致逸：日本演奏家对细节的把控相当严谨，比如乐谱上的表情记号，所有乐手会处理得相当精准，令人惊叹。印象最深刻的是现场这么多的乐手，在录音期间几乎没有发出过什么杂音。大家小心地不发出任何乐器以外的声响。在录制一首十分安静的乐曲的时候，我甚至怀疑是现场所有人都屏住了呼吸，才可以将乐曲处理得这么地干净、清澈。大家辛苦了。
Chen Zhiyi: Japanese musicians have a strict control over details. For instance, the expression markings on the musical scores are handled with remarkable precision by all the musicians, which is truly astonishing. What impressed me the most was the large number of musicians on stage, and yet there was hardly any background noise during the recording. Everyone was careful not to produce any sound beyond their instruments. When recording an extremely quiet piece, I even suspected that everyone held their breath, allowing the music to be rendered so pristine and clear. Well done, everyone.

了解到之前地区的战斗音乐很受玩家的喜爱，这次稻妻的战斗音乐创作我花了许多时间去构思。这次还多写了一首，所以应该是四首与众不同的野外战斗曲，分别由不同的乐器组合演奏不同的节奏律动。比如说其中一首只有传统的日本民乐器：太鼓、三味线、尺八，但是曲式上呢，我借鉴了现代电子音乐的节奏变化风格，有Build up和Drop。
Having learned that the battle music in previous regions was well-received by players, I spent a lot of time conceptualizing the composition of the battle music for Inazuma. This time, I even composed an additional piece, making a total of four distinct field battle tracks. Each track is performed by different instrument combinations, featuring varying rhythmic patterns. For example, one track consists solely of traditional Japanese folk instruments such as taiko drums, shamisen, and shakuhachi flute. However, in terms of musical structure, I drew inspiration from the rhythm variations found in modern electronic music, incorporating build-ups and drops.

另外一首战斗曲会在日本民乐器基础上适当地增加一些管弦乐的声部还有人声的元素。还有一首战斗音乐是在激昂的太鼓节奏律动下，加入了稻妻主题曲的长线条的旋律，由弦乐去演奏，那么去试图营造一种执着的精神，同时呢又充满着悲伤、萧瑟之情。
Another battle track incorporates additional orchestral sections and vocal elements on the foundation of Japanese folk instruments. There is also a battle music piece with the lively rhythmic beats of taiko drums, accompanied by a soaring melody played by string instruments, reminiscent of the main theme of Inazuma. Through this composition, I aimed to evoke a sense of unwavering spirit while imbuing the music with a touch of sadness and desolation.

渡邊 香澄：有生田流和山田流两种流派。我是采用生田流演奏，会戴这种四角形的指甲来弹琴。演奏时要求身体稍微往左斜一点点。生田流和山田流在这就有区别。山田流是正对琴身，用的指甲也是尖锐的形状。
Watanabe Kasumi, Koto & 25-string Koto player: There are two schools: Ikuta-ryu and Yamada-ryu. I play using the Ikuta-ryu style, using square-shaped nails to play the instrument. During performances, there is a slight inclination of the body to the left. Ikuta-ryu and Yamada-ryu have their differences. Yamada-ryu is facing the body of the instrument, and they use pointed-shaped nails.

这次有很多乐曲是随着旋律变化而变化的，但其中却有着某种联系。（本次演奏的）乐曲大量采用了日本传统乐器特有的五声音阶，非常雄壮，仿佛能让人感受到大自然的气势。
In this performance, many pieces change along with the melody, yet they share a certain connection. The music (in this performance) extensively incorporates the unique pentatonic scale of traditional Japanese instruments, creating a grand and majestic atmosphere that makes one feel the power of nature.

放在后面的这张25弦的筝今年迎来了它30岁的生日。平常弹奏这个乐器就是我的毕生事业，而这次演奏的乐曲当中，有相当多的部分是恰好只有它才能表达出来。这让我觉得自己的坚持并没有白费。
The 25-string koto, which is placed at the back, is celebrating its 30th birthday this year. Playing this instrument has been my lifelong career, and in this performance, there are significant parts that can only be expressed by it. This makes me feel that my persistence has not been in vain.

寄田 真見乃：日本古典尺八的音色独特，我比较担心是否能准确传达尺八部分给人的印象，比如自然编织出来的神秘的声音、激烈的战斗场景，以及虚幻又强劲，再者是自然之理等等。这是首动荡起伏很有故事性的曲子。
Yorita Mamino, Koden Shakuhachi Performer: The sound of the traditional Japanese shakuhachi flute is unique, and I am concerned about accurately conveying the impression that the shakuhachi part gives. It can create mysterious sounds that seem naturally woven, intense battle scenes, and a sense of both fantasy and strength, as well as embody the principles of nature. This piece is full of dynamic and storytelling elements.

尺八的颤音是一种横竖甩头的叫作震音的技法。我在演奏中使用了大量震音的技巧来调整颤音的强弱，由于曲子中也有大量颤音，每个部分都不尽相同，希望大家能试着感受一下这些差异。
The vibrato technique in shakuhachi, called "shin-on," involves a horizontal and vertical movement of the head. I have used a lot of techniques with vibrato to adjust the strength and intensity of the tremolo. Since there are also many tremolos in the composition, each section is unique, and I hope everyone can try to perceive these differences.

通过远程，可以直接和中国的制作人一起录制，这边演奏，那边听，第一时间得到反馈，可以一边沟通其中的细微之处，一边制作歌曲。我觉得这种方式让我更能体会到一起创作的乐趣，也十分享受这次演奏。
Through remote collaboration, I can directly record with the Chinese producer. While I play here, they listen there, and we receive immediate feedback, allowing us to communicate the subtle nuances while producing the song. I feel that this approach allows me to better appreciate the joy of creating together and thoroughly enjoy this performance.

我平时演奏的时候，在开头和结尾一定会双手合十。一来是为了对来听我演奏的客人表示感谢，也是为了在演奏过程中对万事万物心存感激。
During my usual performances, I always start and end by placing my hands together in a gesture of gratitude. It is a way to express my appreciation to the audience who came to listen to my performance and to maintain a sense of gratitude towards all things during the performance.

小山 豊：三味线有很多种类。我弹奏的这种叫津轻三味线，在众多三味线中是个头最大的一种。收到乐谱的时候，大概一看我就觉得弹不了。太难了，这个我能行吗？很困恼。之后的调整也达不到老师想要的效果，他确认了节奏和音色，再是音程觉得恐怕跟不上这个节奏。这很难弹啊，前奏倒是没问题啦。
Oyama Yutaka, Tsugaru-Shamisen Player: There are many types of shamisen. The one I play is called Tsugaru-Shamisen, which is the largest among the various shamisen types. When I received the sheet music, I immediately felt that I couldn't play it. It's too difficult. Can I handle this? I was very worried. Even after making adjustments, I couldn't achieve the desired effect according to the composer's instructions. He confirmed the rhythm and tone, but I was concerned that I might not be able to keep up with the tempo in terms of pitch. It's challenging to play. The prelude is not a problem though.

他说简单来说，津轻三味线就是那种比较有男子气概、比较帅气的那种乡村的味道，就是比较有那种气魄的感觉。但是，如果是细的那一种流派，就是另外一种三味线的话，可能会有可能接近你想要的比较抒情的感觉。OK。
He said, in simple terms, the Tsugaru-Shamisen has a more masculine and cool countryside flavor, with a sense of vigor. However, if it's a finer genre, it might approach the more lyrical feeling you desire. OK.

目前来说，如果感觉多录几遍也得不到满意的结果的话，那今天最好还是先录后面的比较好。因为我觉得像这样再努力30或40分钟，演奏本身也不会有太大的变化。陈老师要求的有些音色和感觉，有时会和津轻三味线所擅长表达的力量感不太相衬，但有时又非常贴合。这次录音也是在我的录音生涯里算得上最高难度的。
For now, if we can't achieve satisfactory results even after recording multiple times, it's best to record the latter part today. Because I feel that even if I put in another 30 or 40 minutes of effort, the performance itself won't change much. The composer's requirements for certain tones and feelings sometimes don't match well with the expressive power that the Tsugaru-Shamisen excels at, but sometimes they are a perfect fit. This recording is also the most challenging one in my recording career.

这次是面向全世界展现日本传统音乐的机会，也让我觉得身负重担。我希望自己能够成为能让作曲家老师满意的演奏者。虽然我们才刚刚开始，但是希望我能很好地理解作曲老师的意图，努力让我的演奏成为他世界观的一部分。
This is an opportunity to showcase traditional Japanese music to the world, and I feel a great responsibility. I hope to become a performer who satisfies the composer. Although we have just started, I hope to understand the composer's intentions well and strive to make my performance a part of his worldview.

陈致逸：特别感谢三味线的演奏老师们。这一次《原神》音乐对于三味线演奏要求非常非常高，难度很大。那么四位老师都花了许多时间去练习。在录音期间，我们花许多时间一遍一遍地磨合。所有三味线老师都显得特别有耐心。当然，这一切最终的效果都是非常非常好的。
Chen Zhiyi: A special thanks to the shamisen musicians. The music for *Genshin Impact* has extremely high requirements for shamisen performance, and the difficulty level is very high. Each of the four musicians has dedicated a lot of time to practice. During the recording sessions, we spent a lot of time rehearsing and refining. All the shamisen musicians displayed remarkable patience. And of course, the final results were exceptionally good.

太鼓芸能集団 鼓童：第一首曲子录了6个小时左右。照这么下去还有4首，莫非还要花18个小时吗？不过还好，之后大家慢慢适应了录音的节奏，领会了第一首曲子中陈老师想要表达的核心。接下来的第二曲、第三曲、第四曲就会比较顺利，因为每个部分都是分开录音的。比如，我们不能跟交响乐团一起录音的话，要对准各个部分的节奏就会变得非常困难。
Yuta Sumiyoshi, *Kodo Taiko* Performing Arts Ensemble Performer:
The first piece took about 6 hours to record. If we continue at this pace, there are still 4 more pieces. Does that mean we need another 18 hours? Fortunately, afterwards, everyone gradually adapted to the rhythm of recording and grasped the core that Teacher Chen wanted to express in the first piece. The following second, third, and fourth pieces will go more smoothly because each part is recorded separately. For example, if we can't record with the symphony orchestra, it becomes very difficult to synchronize the rhythms of each section.

虽然用的是日本乐器，但演奏出来的风格却不那么像日本。这一点让我觉得非常新奇。怎么说呢，从某种意义上说，有一种可以追溯根源的感觉。从这个角度上来说，真的是意味深长的作品，让我们感受到现在用的乐器果然是通过丝绸之路传来的啊。陈老师的乐曲在这方面给人一种无边无际的辽阔感。所以呢，我们在演奏太鼓的时候也很注意，在“咚”地敲下那一声里，营造一种传递到尽头的感觉。
Although we are using Japanese instruments, the style of the music doesn't quite resemble traditional Japanese music. This aspect is what makes it so fascinating. In a way, it gives a sense of tracing back to its roots. From this perspective, it truly is a profound work, making us feel that the instruments we use today did indeed come through the Silk Road. Chen Teacher's compositions evoke a boundless and expansive feeling in this regard. Therefore, when we play the taiko drums, we pay close attention to the resounding "thud" sound, creating a sense of transmission that reaches its very end.

千葉 智史：这次作曲主要客户方在中国，然后要以日本为主题让日本的音乐家参与进来。声音的最终调整是在英国进行的，真的是名副其实的跨国制作企划。而我能参与其中也是十分开心。
Chiba Satoshi, Sony Music Publishing (Japan) Inc. Music Supervisor: The main client for this composition is located in China, and we invited Japanese musicians to participate, with Japan as the main theme. The final sound adjustments were done in the UK, making it a truly multinational production plan. I am very happy to be a part of it.

《原神》这款游戏本身是面向全球上线的，身处世界各个角落的创作和制作方的热情能以这样一种方式传递给世界各地的人，真的让人非常感慨。
*Genshin Impact* is a game that is globally released, and the enthusiasm of creators and producers from various parts of the world, conveyed in this way, is truly remarkable.

玩家玩游戏的时候，一定会发现无论是感动的场景还是在广阔的世界里遨游的场景，这都会是一款音乐匹配度超高的游戏作品。衷心希望这次的配乐能给玩家带来惊喜的体验。
When players experience the game, whether it's the emotionally moving scenes or exploring the vast world, they will find that the music is incredibly well-suited to the game. We sincerely hope that this soundtrack will bring players a delightful experience.

陈致逸：音乐上的合作关系，本质上是一种文化的交流。特别是在如何演奏此时此刻的音乐作品方面，每个人有着各自的态度和理解。我想应该是互相尊重、彼此信任。不得不说，最终的音乐效果非常棒。通过这次合作，我认为能以这种形式，以音乐的形式加深中国和日本的文化交流，让我非常高兴。以及这次录制的音乐如果能让全世界的《原神》粉丝们获得美好体验的话，就非常知足了。
Chen Zhiyi: The collaborative relationship in music is essentially a form of cultural exchange. Especially when it comes to performing music in the present moment, each person has their own attitude and understanding. I believe it is important to respect and trust each other. I must say that the final musical outcome is truly fantastic. Through this collaboration, I am delighted that we can deepen the cultural exchange between China and Japan in the form of music. And if the music we recorded this time can bring a wonderful experience to *Genshin Impact* fans around the world, I would be truly satisfied.

栗田 博文：非常感谢。
Kurita Hirofumi, Conductor: Thank you very much.

蔡近翰：这是一次跨文化的合作，传统但不限于传统。希望能让玩家深刻地感受到“这里是《原神》”。
Cai Jinhan, Music Director: This is a cross-cultural collaboration, rooted in tradition but not limited to it. Our goal is to allow players to truly feel that "This is *Genshin Impact*."