[Intro: ritual percussion only; agogô establishes a persistent 3:2 timeline over low atabaque, no chordal instruments; distant dry female unison responses gradually enter] まわる まわる よるの ふちで いきを ひとつ おとして [Verse 1: intimate low female vocal, clearly sung but restrained; narrow repeating melody; dry nylon-string guitar joins as a syncopated rhythmic instrument, leaving wide negative space] まわる まわる ゆびの あいだ なにも つかまず ただ [Pre-Chorus: percussion briefly thins; wooden flute answers the ends of vocal phrases; melody rises slightly without increasing vocal power] ここにいて まだ うごかないで しずけさの しん [Chorus: immediately memorable modern J-pop melody; wider vocal contour but soft controlled delivery; deep short sub-bass and clipped electronic kick enter without replacing the Afro-Brazilian cross-rhythm; dry unison responses behind selected words] めぐる めぐる このよるを ふたつの こどう すれちがう かさならない ままで ねえ いきをして まだ ここで [Post-Chorus: harmony drops away; ritual call-and-response over agogô, atabaque and afoxé only] （まわれ）まわれ （まわれ）まわれ [Verse 2: return to sparse arrangement; close vocal, nylon guitar and isolated sub-bass pulses; percussion remains quietly interlocked] まわる まわる とけいの そと はりわ とうに とめた まわる まわる またたきの かず どこにも ゆかず ここで [Instrumental Turn: exactly 4 bars; no solo; nylon-string guitar ostinato, agogô timeline and short wooden-flute fragments interlock in 3:2 cross-rhythm; granular flute echoes appear briefly] [Final Chorus: fullest arrangement; layered acoustic percussion and precise electronic transients, strong melodic lift without belting; additional dry response voices enter gradually] めぐる めぐる このよるを ふたつの こどう すれちがう かさならない ままで ねえ いきをして まだ ここで （まわれ まわれ） いきをして まだ ここで [Outro: no cadence or dramatic resolution; electronic elements disappear first, then guitar and flute; agogô and overlapping female voices remain, slowly fading while the rhythmic cycle feels unfinished]
