This picture is simple magnificent; it fits so well the lyrics and the melody.
“For the Dear You, of the B-type”.
I’m actually wondering how many people know about this song; by my experience, from all the people I met, no one who was aware of this Yuyoyuppe’s arrangement. Well, I by myself discovered it by luck –researches- but I really hope more and more people will enjoy this fabulous Touhou arrangement by Yuyoyuppe.
I was tempted to tagged everything also with the “Draw the Emotional” tag, but well, it’s mentioned nowhere, and this song is published under the “Halozy” circle, thus the absence of it. Well, I hope I’ve clarified this –before someone jump out of the blue just to say “Yuyoyuppe is not Halozy!”, because I’m perfectly aware of it~
Now, a little introduction to the singer, 癒月 (Yudzuki). I believe someone has already listened some songs by Yudzuki, she performed with quite a lot circles –doujin and not. I don’t have a full list of her works, but I knew her from “fatal bite”, a track of “Koumajou Densetsu II: Stranger’s Requiem”. She sang also in “WINTER MIX Vol.05”, “Cutie POP’s Tone”, “Songs”, “夜を越えて” –album which I’m aware of because of Merami and Chata~- and in a bunch of Higurashi no Naku Koro ni CDs. Even if I discovered the latter ones only in these days, they’re in my opinion, together with this song, Yudzuki’s best performances.
Anyway, if someone’s wondering why I’ve adopted “Yudzuki” instead of “Yuduki”, it’s simple because “Yudzuki” is actually the closest one to the pronunciation her second’s kanji’s name, and I usually translate all the “づ” as “dzu” and not as “du”.
About the arrangement: I’m pretty sure most of the people know Yuyoyuppe’s other “Septette for the Dead Princess” ’s arrangement, “月夜に舞う想い”, featured in “Funny party in the Fog”, and with as vocalist the awesome Merami. To be honest, I prefer a lot more this arrangement over “月夜に舞う想い”, the melody here is just a ton better, it expresses much more feelings and the rhythm simple fits better Remilia, and the original song itself. But, I still prefer Merami’s voice, no matter what –and I’d be happy, a lot happy, if some day, for any reason, this song will be re-do with Merami; I’ll keep dreaming~
About the lyrics: another song related to Remilia and Sakuya, in my opinion. There are a lot of references in the lyrics, I’m sure you’ll have no problems in recognizing them. Anyway, for me, here’s Remilia speaking, and it’s a pretty amazing interpretation, so different, yet so similar, to the canon –even if the similarities are just in a few lines; phrases which I translated according to whole text; so, actually, you’ll find them only in the notes; and if you want, blame me for this, but my interpretation will most likely stay as it is.
“拝啓 B型のきみへ |haikei B gata no kimi e | For the Dear You, of the B-type”. This is how I’d translate this enigmatic, but beautiful, title. “拝啓” is the typical form used to open a letter, and it can correspond to either “Dear Miss/Mr.” or a simple way of greetings. I’ve translated the title in a liberal way, and I actually have other clues about the “B-type” except that is a reference to the blood-type. Another possible translation could be “Dear, for you of the B-type”, but I preferred changing it a bit. Well, that’s all.
“これが雨だったら 少し憂うだけだろう | If this is rain, what’s this sadness, so near?”; I truly didn’t know how to give the sense of this in the translation. It sounds actually more like “If it’s rain, maybe there will be a little sadness”, but it’s essentially meaningless. So, since “少し憂う” means both “small” in term of quantity or distance, this time I decided to put the second meaning, and took the license to change the translation according to the context.
“行き止まりには－－－君 | In a dead end －－－ you”; in the song, “you” is repeated, like an eco. But what’s so interesting, is how they managed to merge this stanza with the next one. In fact, even if it’s not in the booklet, the phrase turns out to be “君が今” –kimi ga ima in romanjis- which I’d translate in this case as “You’re here now”; phrase that fits so well the next one. Anyway, it’s quite difficult to explain this, the stanzas are entwined in a way which can be actually only heard in the song and not read in the text. I really hope you’ll get the work behind this, since it’s simple awesome.
“戸棚に眠る 紅茶はもうきっと | In a cupboard, the black tea, surely, is already locked”; the verb used here is “to sleep” and not “to be locked”. But well, sometimes those personifications –if they’re actually personifications, since I’m not sure if “眠る” has a different meaning for inanimate objects- are quite –a lot- odd.
“君に飲ませて | will you drink it?”; one of those parts I’ve mentioned where Remilia is… well… Remilia. As I said, I changed the translation to make it fit the context, but the Japanese lyrics say “I’ll make you drink it”.
“私の悲しみ 知るのならばそれでいいな | My sorrow; understanding it, will make things better?”; more literally, it’d be “If I understand it –my sorrow- that will be good”. But well, this sentence sounds awfully odd in this way, and I’ve changed it –like before- according to the context.
“君は 元気でいますか。| How are you?”; this is essentially the common phrase used by Japanese people to greeting themselves. It’s impossible to make a distinction in English between the casual greeting “元気だ？” and the way more polite “元気でいますか”, since they’re both translated as “How are you?”
“今も 君の影 抱いて | Even now, I’m holding your reflection in my arms”; it’s interesting the fact that “reflection” is pronounced “toka” and not “kage”, which is basically like saying “Of all the things –people?- I can hold, I’ve chosen you”; but for the translation I preferred keeping the kanji’s meaning instead of the word spelled. I hope with this note you’ve get the meaning behind this phrase.
Title: 拝啓 B型のきみへ
Arrangement: ゆよゆっぺ (Yuyoyuppe)
Vocal: 癒月 (Yudzuki)
Album: Crescendo Planet
Original: 亡き王女の為のセプテット | Septette for the Dead Princess | Touhou 6 Embodiment of the Scarlet Devil | Remilia Scarlet’s Theme
拝啓 B型のきみへ ~ Yuyoyuppe
tsumetai kanshoku ni yagate me wo samashi
kore ga ame dattara sukoshi ureu dake da rou
soko ni aru nakigao sore ni kotae sagashite mo
ikidomari ni wa －－－ kimi
After so long, with a cold sensation, I woke up
If this is rain, what’s this sadness, so near?
There, a tear-stained face; there, I’m searching for an answer too
In a dead end －－－ you
今 鏡の部屋に 君がいるようで 戸惑うよ
でも秒針の音 ザザ降りの音 不在しめすだけで
ima kagami no heya ni kimi ga iru you de tomadou yo
demo byoushin no oto zaza furi no oto fuzai shimesu dake de
Now, in a room of mirrors, it’s like you’re here, leaving me perplexed
But the sound of the clock’s hand, the rainfall’s sound, they only show your absence
todana ni nemuru koucha wa mou kitto
watashi hitori de toridasenai kara
shibuku nattara kimi ni nomasete
watashi no kanashimi shiru no naraba sore de ii na
In a cupboard, the black tea, surely, is already locked
I, alone, can’t take it out from it
If it becomes bitter, will you drink it?
My sorrow; understanding it, will make things better?
kimi wa genki de imasu ka.
watashi wa sou ne aikawarazu da yo.
ayamaritai na kimitsuita koto
demo sukoshi dake kizu de isasete－－－.」
How are you?
As for me, everything is as usual.
I want to apologize; I have bitten you
Even if it is nothing, will you let me heal your wound－－－?」
今も 君の影 抱いて
mutou no hibi ni nare tsutsuaru wa
kosaji de ireta kimi to no jikan wo.
dashita tegami wa henji nai mama
moratoriamu de maigo chuu de
ima mo kimi no toka daite
In the unsweetened days, I kept practice
To put in with a teaspoon, the time with you.
The letter I sent, hadn’t received an answer
About the moratorium, about the lost child
Even now, I’m holding it, your reflection, in my arms