Song - 呼び声/Hungry Ghost Festival

harmonically progressive nu metal, Rap Metal

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[Twin guitars: left = low-tuned groove/riffs; right = arpeggios, extensions, harmonics, delay/FX]
[Interlock, never mirror. Bass is active and groove-driven.]

[Main Guitar Motif]
[Monophonic 2-bar/10-beat low-register motif; groovy, metallic, memorable]
[Syncopation, sharp rests, repeated notes, one distinctive intervallic hook]
[Preserve rhythm, contour and opening gesture whenever it returns; adapt only necessary pitches]

[SECTION A — Intro through Chorus 1]
[A1: Em(add9) 3 → Cmaj7(#11)/E 2]
[A2: Fmaj9 2 → Bb7(#11) 3]
[A3: Am9 3 → Ebmaj7/G 2]
[A4: D6/9 2 → B7sus4(b9) 3]
[B7sus4(b9): keep E and C; no D#]
[Repeat A1–A4 exactly]

[Intro]
[Sparse; no motif]

[Main Guitar Motif]
[Introduce complete signature motif; bass/drums reinforce it]

[Verse 1]
[Pitched rap; narrow range; clipped consonants; motif fragmented]
あら、たま、順 … ちで
きれい、な … 惨禍だ
かい、たい、ま … た
はんぱ、いか … な

しかた、だね … キミの
さが、たてま … つり
中身、は … 忌み
痛み、は、嫌

[Pre-Chorus 1]
[Shift from pitched rap to singing; motif fragments return]
死者、ひざ … ら
いま、まだ … 那
なきが、らいま
あた… え—

[Chorus 1]
[Compact sung-shouted hook; clear pitch; motif answers between phrases]
ただ、 … いま—
分断、済んだ… か？
あ—した、沙汰？
は！ … 嫌—だ

ただ、いま—
寸断、積んだ … あ？
な—にが、さが？
いば … ら—(はりつけ)

[Post-Chorus Riff Break]
[Temporary harmonic freedom; strict 5/4]
[Groovy metallic riff; motif fragments; left leads, right answers with harmonics/arpeggios/FX]

[Lead vocal]
ただ… いま？
[Backing vocal]
(嫌！)
[Lead vocal]
棲んだ… な？
[Backing vocal]
(は？)

[SECTION B — Verse 2 through Chorus 2]
[One chord per full 5/4 bar]
[B1: Cmaj7/Db; bass Db; upper C E G B]
[B2: Am9/Bb; bass Bb; upper A C E G B]
[B3: Fmaj7/Gb; bass Gb; upper F A C E]
[B4: G13sus/Ab; bass Ab; upper G C D F E]
[Repeat B1–B4; preserve split bass/upper tonality; do not normalize]

[Verse 2]
[Dry pitched rap; left follows groove/bass; right exposes upper harmony]
高い、高い、順 … か
逆さ … だ、な
かた、がき、なんか … さ
ん … 紙、か

違和が、違和が … 問う
型は … なに？
裏、裏、見た … か？
うん … バカ、だ

[Pre-Chorus 2]
[Restore recognizable motif rhythm/contour]
死者、ひざ … ら
いま、まだ … 那
なきが、らいま
もど… し—

[Chorus 2]
[Same Section B harmony; motif returns with minimal pitch adaptation]
ただ、 … いま—
分断、済んだ… か？
あ—した、沙汰？
は！ … 嫌—だ

ただ、いま—
寸断、積んだ … あ？
な—にが、さが？
ふみ … え—(はりつけ)

[Post-Chorus Riff Break]
[Temporary harmonic freedom; most aggressive groove section]
[Keep 5/4; develop motif rather than replacing it; strip down toward Bridge]

[Bridge]
[Harmonic freedom; quiet pitched singing; restrained vibrato]
[Right guitar exposes clean tension; prepare Section C]
ん—、いい … や
無—理 … だ
な—に … が
い—や

[SECTION C — Breakdown through Ending]
[Exact order: Cmaj9 → Ebmaj7(#11) → Bm11 → Dbmaj9 → G13sus4 → Cmaj9]
[No substitutions, passing chords or modulation chords]

[Breakdown]
[One chord per full 5/4 bar; large spaces; motif reduced to rhythmic skeleton]
ア！ … カ
詰ん！ … だ
い！ … や
は？

[Rebuild]
[Gradually restore motif notes; no new riff]
惨禍… だ！
詰んだ … うん！
いや、いや … だ(それは)
は … 嫌—だ！

[Final Chorus]
[Compress Section C into 3 bars]
[Bar 1: Cmaj9 3 → Ebmaj7(#11) 2]
[Bar 2: Bm11 2 → Dbmaj9 3]
[Bar 3: G13sus4 3 → Cmaj9 2]
[Repeat twice]
[Main motif at maximum clarity; keep original 10-beat rhythm even across chord boundaries]
[Strongest pitched sung-shouted delivery]
ただ、 … いま—
分断、済んだ… か？
あ—した、沙汰？
は！ … 嫌—だ

ただ、いま—
寸断、積んだ … あ？
な—にが、さが？
いば … ら—

[Outro]
[Cmaj9; play only motif opening fragment and leave it incomplete]
[Dry half-spoken voice]
墓 … ん？
詰んだ … は？
嫌 … か？
は … あ

[Vocals stop; long instrumental decay]

3704/7500

[Japanese lyrics] [Female Vocaloid-style synthetic voice; clear, restrained, same identity throughout] [Mostly straight notes; breath/vibrato/scoops only where tagged] [160 BPM; strict 5/4; straight subdivisions; no tempo/meter changes] [Do not over-accent beat 5; vocal phrases may cross chord changes] [Twin guitars: left = low-tuned groove/riffs; right = arpeggios, extensions, harmonics, delay/FX] [Interlock, never mirror. Bass is active and groove-driven.] [Main Guitar Motif] [Monophonic 2-bar/10-beat low-register motif; groovy, metallic, memorable] [Syncopation, sharp rests, repeated notes, one distinctive intervallic hook] [Preserve rhythm, contour and opening gesture whenever it returns; adapt only necessary pitches] [SECTION A — Intro through Chorus 1] [A1: Em(add9) 3 → Cmaj7(#11)/E 2] [A2: Fmaj9 2 → Bb7(#11) 3] [A3: Am9 3 → Ebmaj7/G 2] [A4: D6/9 2 → B7sus4(b9) 3] [B7sus4(b9): keep E and C; no D#] [Repeat A1–A4 exactly] [Intro] [Sparse; no motif] [Main Guitar Motif] [Introduce complete signature motif; bass/drums reinforce it] [Verse 1] [Pitched rap; narrow range; clipped consonants; motif fragmented] あら、たま、順 … ちできれい、な … 惨禍だかい、たい、ま … たはんぱ、いか … なしかた、だね … キミのさが、たてま … つり中身、は … 忌み痛み、は、嫌 [Pre-Chorus 1] [Shift from pitched rap to singing; motif fragments return] 死者、ひざ … らいま、まだ … 那なきが、らいまあた… え— [Chorus 1] [Compact sung-shouted hook; clear pitch; motif answers between phrases] ただ、 … いま— 分断、済んだ… か？あ—した、沙汰？は！ … 嫌—だただ、いま— 寸断、積んだ … あ？な—にが、さが？いば … ら—(はりつけ) [Post-Chorus Riff Break] [Temporary harmonic freedom; strict 5/4] [Groovy metallic riff; motif fragments; left leads, right answers with harmonics/arpeggios/FX] [Lead vocal] ただ… いま？ [Backing vocal] (嫌！) [Lead vocal] 棲んだ… な？ [Backing vocal] (は？) [SECTION B — Verse 2 through Chorus 2] [One chord per full 5/4 bar] [B1: Cmaj7/Db; bass Db; upper C E G B] [B2: Am9/Bb; bass Bb; upper A C E G B] [B3: Fmaj7/Gb; bass Gb; upper F A C E] [B4: G13sus/Ab; bass Ab; upper G C D F E] [Repeat B1–B4; preserve split bass/upper tonality; do not normalize] [Verse 2] [Dry pitched rap; left follows groove/bass; right exposes upper harmony] 高い、高い、順 … か逆さ … だ、なかた、がき、なんか … さん … 紙、か違和が、違和が … 問う型は … なに？裏、裏、見た … か？うん … バカ、だ [Pre-Chorus 2] [Restore recognizable motif rhythm/contour] 死者、ひざ … らいま、まだ … 那なきが、らいまもど… し— [Chorus 2] [Same Section B harmony; motif returns with minimal pitch adaptation] ただ、 … いま— 分断、済んだ… か？あ—した、沙汰？は！ … 嫌—だただ、いま— 寸断、積んだ … あ？な—にが、さが？ふみ … え—(はりつけ) [Post-Chorus Riff Break] [Temporary harmonic freedom; most aggressive groove section] [Keep 5/4; develop motif rather than replacing it; strip down toward Bridge] [Bridge] [Harmonic freedom; quiet pitched singing; restrained vibrato] [Right guitar exposes clean tension; prepare Section C] ん—、いい … や無—理 … だな—に … がい—や [SECTION C — Breakdown through Ending] [Exact order: Cmaj9 → Ebmaj7(#11) → Bm11 → Dbmaj9 → G13sus4 → Cmaj9] [No substitutions, passing chords or modulation chords] [Breakdown] [One chord per full 5/4 bar; large spaces; motif reduced to rhythmic skeleton] ア！ … カ詰ん！ … だい！ … やは？ [Rebuild] [Gradually restore motif notes; no new riff] 惨禍… だ！詰んだ … うん！いや、いや … だ(それは) は … 嫌—だ！ [Final Chorus] [Compress Section C into 3 bars] [Bar 1: Cmaj9 3 → Ebmaj7(#11) 2] [Bar 2: Bm11 2 → Dbmaj9 3] [Bar 3: G13sus4 3 → Cmaj9 2] [Repeat twice] [Main motif at maximum clarity; keep original 10-beat rhythm even across chord boundaries] [Strongest pitched sung-shouted delivery] ただ、 … いま— 分断、済んだ… か？あ—した、沙汰？は！ … 嫌—だただ、いま— 寸断、積んだ … あ？な—にが、さが？いば … ら— [Outro] [Cmaj9; play only motif opening fragment and leave it incomplete] [Dry half-spoken voice] 墓 … ん？詰んだ … は？嫌 … か？は … あ [Vocals stop; long instrumental decay]

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