Puella Magi Madoka Magica ☆ Magia Exedra Game Theme Song "Lighthouse" FictionJunction feat. LINO LEIA

OK, let me think about this. Pardon if it seems like I'm belaboring the point.

I can understand some of the earlier songs mentioned being written and then after some consideration (such as in Yuuka Nanri's case with "Destination Unknown") it was switched to Kalafina. She was working with all of them around the same time so it's understandable.L

Also, KnY was closer to 2018 (released 2019) so I can easily imagine that "from the edge" was already being penned for Kalafina during the composition then switched to LiSA/FJ because Kajiura resigned, but for the songs released much later for other works, I am not getting why she would write them for Kalafina.

I am asking because, it's not like the style/genre or the vocal arrangement is something she couldn't have written for FictionJunction or for a collaboration? Am I missing something? (I'm referring to the later songs specifically, like Hachistu no Organ). Did Kajiura state any of this to say how long she'd been working on the songs and had them in her archive or something?
 
No, it's mostly fanfiction. @Saber's words that certain songs released post-Kalafina/SpaceCraft were clearly meant specifically for Kalafina (okay, I'm paraphrasing) are just Saber's opinion. @Lorde-Kowz 's opinion on Hachigatsu, too.

On the other hand, Kai and Mune no Yukue were performed by See-Saw during some lives. With Kai we kinda know it's the same song 'cause Kajiura acknowledged it as the oldest song she wrote being placed next to the newest on PARADE. (Maybe she flat out confirmed it being that See-Saw song too, but I don't have a source rn.) ("I have a dream" I believe might just be speculation cause of See-Saw's album title, rather than any confirmation or live performance? But I may not be remembering right.)

(Edit#9001:
Oh to add to that, I just noticed the booklet for that See-Saw album does have snippets of lyrics of Kalafina's "I have a dream" so, unless it's some popular text, it's not just the album title. (Did I already know that before and forgot? Maybe...)

I have a dream
ささやかすぎて
とても君に言えそうにはないけれど・・・

I have a dream
変わらない日々の中
小さな夢 探し続ける
)

"ＤＥＳＴＩＮＡＴＩＯＮ　ＵＮＫＮＯＷＮ－行先不明－" has been listed in JASRAC's database with FictionJunction YUUKA as artist since forever, it precedes any other released FJY song. Whether it's the same as Kalafina's, we do not know AFAIK.

And Kajiura's statements in single interviews often contradict eachother (or they are mistranslations). When she left SpaceCraft there was an oricon interview where she said she never composed with Kalafina in mind, she just writes lyrics, music, arrangements best suited for a "song", rather than "artist". But then for another answer she basically says she imagines specific singers singing what she writes and if it doesn't match, the song doesn't work out or something like that. So basically, make of it what you will.

(Edit#69:
Maybe I misremembered the interview. Now that I read it again I understand that she was saying it all started without thinking about singers and then she couldn't help but imagine certain Kalafina members singing certain parts while writing. Which is fair. And in a way what I'm saying below.)

I choose to believe Kajiura just creates songs. Not specifically "Kalafina songs" or any other artist. Of course in the back of her head she could always have Wakana, Keiko, or any other singer she has around her or knows and that be an influence on her compositions. That doesn't have to mean the songs are always specifically meant for them.
 
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CloisteredFlame said:
I am asking because, it's not like the style/genre or the vocal arrangement is something she couldn't have written for FictionJunction or for a collaboration? Am I missing something? (I'm referring to the later songs specifically, like Hachistu no Organ). Did Kajiura state any of this to say how long she'd been working on the songs and had them in her archive or something?
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No she writes some songs within hours or days and i think there are many drafts she discards. Other than that no menthion of any archive, and she said she usually doesnt listen to her own works after recording them You can read some interviews here https://canta-per-me.net/yuki-kajiura/interviews/
 
george1234 said:
Other than that no menthion of any archive, and she said she usually doesnt listen to her own works after recording them
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Didn't she take out some old binders in her studio in that 2000s documentary? lol Anyways, I may be misremembering. Nor do I remember whether she said they were unused songs or not. Not that it matters.
 
sorry, it was translated from Japanese to Chinese from the other fansite... And translated by Kera-chan to English... so yea lol
I just subbed what it was written there :XD:
 
I presume you mean FJ.CN? Is it still alive somewhere? I feel that forum went down more than 10 years ago.
 
Yes, new Madoka music by Kajiura! Can't wait! Yeah, I know, I'm late to the party...
Saber said:
Tons of post-Kalafina songs were very obvious future Kalafina songs. Hibari, Kimi ga Mira Yume no Monogatari (Asca does a great job in both though), from the edge, Akeboshi,Homura, Koto no Hoka Yawarakai -I'm not sure of because of Yuriko's parts, but the song borrows very very heavily from Ongaku and Sandpiper. Despite not having any SAO tie-in and Sokyuu no Fanfare has that distinct generic Kalafina anison feel to it (plus the song's structure is very obviously Kalafina).
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All the songs mentioned (except Koto no Hoka Yawarakai and Sokyuu no Fanfare) are linked to projects Yuki Kajiura started working on after Kalafina had already disbanded (Kimetsu no Yaiba and Lord El-Melloi II's Case Files). As we all know, Kajiura's compositions are usually closely connected to the works they accompany, both lyrically and musically. Because of this, I find it unlikely that these songs were composed years in advance. In fact, Kimi ga Mita Yume no Monogatari is a song version of the opening OST for Case Files, which basically confirms it was created afterward. Would these compositions have fit into Kalafina’s discography? Absolutely. But I'm 99% certain they weren’t written with Kalafina in mind.

On the other hand, Koto no Hoka Yawarakai could, in theory, have been composed earlier since it's a standalone song, not tied to any anime, movie, or TV series. Additionally, it was clearly designed for multiple vocalists, unlike the songs mentioned above. However, the Kajiura documentary strongly suggested that this song was written specifically for PARADE, even as a last minute composition before recording. So, it's unlikely that it was ever intended to be a Kalafina song, although not entirely impossible. She might have already had an early draft lying around for a while after all.

Sokyuu no Fanfare, however, is a different story entirely. Kajiura has been composing for SAO since at least 2012, yet she has never been responsible for an opening or ending theme for the anime. This is unusual, as she typically contributes at least one OP or ED for projects she’s involved in. It’s not far-fetched to think she might have pitched a theme song for the first season, which was then rejected. That song might have been Sokyuu no Fanfare.

There are three pieces of evidence supporting this theory:
  1. The song was specifically composed for three vocalists, not one, not four, but exactly three. If you swap out ASCA, Aoi Eir, and ReoNa for Keiko, Hikaru, and Wakana, you essentially get a Kalafina song. No other post-Kalafina track would be this easy to convert.
  2. The lyrics fit perfectly as an OP or ED for SAO's first season. Nothing songwriting-wise suggests inspiration or influence from any post-Aincrad plotlines or OSTs.
  3. If you subtract the 14-second intro before the first verse starts, the first chorus ends precisely at the 1:30 mark. Coincidence? I don’t think so.

So, while it remains speculation, I personally do believe Sokyuu no Fanfare was originally meant to be a Kalafina OP or ED for Sword Art Online's first season.
 
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SurgamIdentidem said:
  1. If you subtract the 14-second intro before the first verse starts, the first chorus ends precisely at the 1:30 mark. Coincidence? I don’t think so.
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For TV size versions they usually mix the 1:30 mark with with closing of the whole song, and this can be seen in many songs when you compare the TV-size with the full version, so the first 1:30 part of the song doesnt have to be exactly as a TV size needs to be from the beginning,
eg https://youtu.be/fbu4mNGKFLU?t=268 vs https://www.youtube.com/watch?v=7-78e1HgPK8 (maybe that is a special case since the chorus has also been moved from the end to the beginning of the tv size, which is rare)
 
george1234 said:
For TV size versions they usually mix the 1:30 mark with with closing of the whole song, and this can be seen in many songs when you compare the TV-size with the full version, so the first 1:30 part of the song doesnt have to be exactly as a TV size needs to be from the beginning,
eg https://youtu.be/fbu4mNGKFLU?t=268 vs https://www.youtube.com/watch?v=7-78e1HgPK8 (maybe that is a special case since the chorus has also been moved from the end to the beginning of the tv size, which is rare)
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Granted, but look for example at Kalafina's believe. The tv size version is basically also cut off intro (except the last section) and then 1st verse and chorus. There are many examples, especially for Kalafina, where the TV version is exactly 1st verse plus chorus.

My point is, Sokyuu no Fanfare sounds like it was composed with a TV size version in mind.
 
SurgamIdentidem said:
Granted, but look for example at Kalafina's believe. The tv size version is basically also cut off intro (except the last section) and then 1st verse and chorus. There are many examples, especially for Kalafina, where the TV version is exactly 1st verse plus chorus.

My point is, Sokyuu no Fanfare sounds like it was composed with a TV size version in mind.
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Kajiura said that Sokyuu was what grunty described, and swordland was supposed to be Kirito's theme but ended up being a theme for the whole anime cause it became popular, thats why Sokyuu used its melody too later on.
 
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