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hesomagariTranscription and translation by me. Please credit if using!
You can find the scan/translation index for this column here.
第５１回：才能の正体
51: The True Identity of Talent
「楽譜は読めないんだよね（笑）」昨年のコンサートのソロ曲では、流麗なピアノの弾き語りをしていた。楽器は、ギターもベースもドラムも弾きこなし、自ら曲や編曲をすることも多いのに、いまだに楽譜は読まないし、読めないのだと笑う。
"I can't read music (laugh)." At last year's concert for his solo song, he sang while playing a flowing piano melody. In terms of instruments, he's also able to play the guitar, bass, and drums, and he often arranges his own songs, but he still doesn't and can't read music. He laughs as he tells us this.
「ピアノは、バンド系雑誌とかの後ろについてる、スコアの説明を読んで独学で学んだの。“C（コード）はココを押さえる”とか書いてあるから、それを読みながら体で覚えていったんだよね。頭で理解していないから、急に新しい曲は弾けない（笑）」
"I learned piano by myself, reading those score explanations that are attached to the back of music and band-type magazines. They've written things like 'Play a C chord by pressing down here', so while reading those, my body memorized it. I don't understand it with my head, so I can't just play a new song (laugh)."
そもそも弾くことや、演奏する自分を誰かに見せることが目的で楽器を始めたわけじゃないという。
He says that his goal in starting to play instruments to begin with had never been to show off his performance to other people.
「初めて触った楽器はベース。１５、１６歳の時だから、ジャニーズJr.時代だったかな。その後、デビューして、自分でも曲を作ってみたくなってギターを始めたんだよね。そのうち、ギターとは違った雰囲気の曲が作れるよって聞いてピアノもやって。編曲もするようになったら、ドラムも自分で叩いて、デモテープに入れてみようって（笑）。結局、音楽を作りたくて、いろんな楽器を弾くようになったんだと思う」
The first instrument I touched was the bass. It was when I was 15 or 16, back during my Johnny's Junior days. After that, we debuted, and I wanted to write my own songs, so I started the guitar. And then I heard that you could write different kinds of songs with the piano, so I did that. And then when I started to arrange music, I played the drums myself and tried slipping it into the demo tape (laugh). So what ended up happening is that I wanted to make music, so I became able to play all kinds of instruments."
モノ作りが好きなニノにとって、音楽を作る作業は、１０代の頃から大切なものであり続けている。
To Nino, who enjoys creating things, the act of making music is something that's been important to him since he was in his teens.
「楽しいよね。１０代の頃からつきあいのある音楽の師匠に教えてもらって、少しずつ機材の使い方を覚えて。作れる曲の幅も年々広がって。自分で作るだけじゃない、いろんなミュージシャンと一緒に制作するのも面白い。今回のアルバムのソロ曲は、新しい人に作曲をお願いしたんだけど、実はオレが前々から気になってた人なの。プライベートでもCD屋さんに行って、いろんなジャンルの音楽を数時間、試聴するのが好きなんだよね。気に入ったCDは買ってきて、さらに聴き込む。それが後々、仕事につながることもある」
"It's fun. I get instruction from a music teacher I've worked with since I was a teenager, and bit by bit I've learned how to use the equipment. The range of music I can make has increased over the years as well. And not just making music by myself, making it with all kinds of musicians is fun as well. For this album's solo, I asked someone new to write the music. It's actually someone I've had my eye on for a long time. Even in my private time, I go to CD shops and listen to all kinds of genres for hours. I like trying out music. And then I buy the CDs I like and listen even more. And sometimes in the distant future, we connect for work."
ニノは、音楽の聴き手としても誠実で優秀な人だ。まだ無名のミュージシャンでも、自分の耳で好きな楽曲を発見し、そのよさを熱く語ることも少なくない。
Nino is a sincere and excellent person, even as a listener of music. Even if it's a musician who hasn't made a name for himself, if he finds a song with his own ears that he likes, it isn't uncommon for him to talk about it passionately.
感覚に頼っているけど、伝わらないこともある
There are times when he can rely on his senses but he can't express it.
「音楽に惹かれる理由は、演奏の巧さだったり、メロディの印象だったり、そのときどきで違うけど、“巧い人”は貴重だと思うなぁ。たとえば、１０代のミュージシャンがみずみずしい感性を持ちつつ、荒削りなのは普通のことでしょ。１０代の感性を持ったまま、完成度の高い曲を作れる若い人こそが、ホントに“巧い人”だとおもうんだ。逆に５０代のミュージシャンなら、完成度の高い作品を作れることは当たり前で。そのうえで、１０代の頃と変わらない感性を持ち続けていられる人を尊敬する。役者も同じだよね。両面をあわせ持ってる人は巧い。世間は、そういう人たちを“天才”って言葉でくくりがちだけど、違う。たとえ、天から才能を与えられていても、それに気づかなければ、ただの人でしょ。人を惹きつけてうならせるには、才能だけじゃない、意思の力と努力が必要なんじゃないかな」
"Reasons I'm drawn to music is things like how good the performance is and my impression of the melody. It's different every time, but I think 'someone good' is really valuable. For example, a musician in his teens will still have young sensibilities, so it's normal for his music to be unrefined. But I think a young person who holds onto that young sensibility but is able to write songs with a high level of completion is 'someone good'. On the other hand, it's natural for someone in his 50s to be able to write music with a high level of completion. But if on top of that he's held onto his sensibilities that he's had since he was a teenager, I respect that. It's the same for actors. People who have both sides of the coin are good at what they do. In society, people like to fix the word 'genius' onto them, but that's wrong. Like, even if someone was given natural talent from above, if he doesn't recognize that talent, he's just a regular guy. The ones who make people ooh and ahh in fascination aren't just geniuses. Aren't will and effort also important?"
では、ニノはどうだろう？１０代の感性と５０代の成熟を持ち合わせ、“天才肌”と呼ばれることも多い。
Then what about Nino? He's often called a "genius" with the sensibilities of a teenager and the maturity of someone in his 50s.
「いや。オレは天才でもないし、巧い人でもないよ。特にお芝居に関しては本職じゃないしね。音楽も演技も、きちんと勉強してきたわけじゃない。頭よりも体で覚えてきたし、それでなんとか成り立ってるのは、単に器用なだけなんじゃないかな。本当にスゴイ人は、勉強を怠らない秀才タイプだと思う。オレみたいに不勉強じゃない（笑）。開き直ってるわけじゃないよ。知識がないと表現できないことや伝えきれないことはいっぱいあるもん。たとえば、オレは楽譜が読めないせいで、ドラマーの腕が３本ないと弾けない曲を作ったりするからね（笑）。アレンジも専門用語を知らないから、『武田真治さんのサックスの感じで』とか、素人っぽいたとえ話でプレーヤーに伝えちゃったりするし（笑）。まだまだ勉強しなきゃと思う」
"Nah. I'm not a genius or someone who's good. And acting in particular isn't even my main job. I haven't formally studied either music or acting. More than my head, I remember it with my body, and the fact that I've somehow succeeded is only because I'm a little skillful. I think the really amazing people are the prodigy-types who don't slack off on studying. Not people like me who're lazy learners (laugh). I'm not just trying to be defiant. There are a bunch of things you can't present or express clearly if you don't have the knowledge for it. For example, since I can't read music, sometimes I write songs that the drummer can't play unless he has three arms (laugh). And I don't know arrangements or technical terms for anything, so I say things like, 'Something like Takeda Shinji-san's sax,' and I use amateurish examples to get my message across to the players (laugh). I still have a lot more studying to do."
知識や理屈に頼らず、感覚と勘を頼りに生きてきた。だからこそ、現場での反応力に優れ、その表現は、多くの人に伝わりやすくもある。
He's lived not depending on knowledge or logic, but on sense and intuition. That's the reason he excels at reacting on set, and it easier for that expression to reach more people that way.
「でもね、作り手や表現者にとって、いちばん大事なのは、結局、知識や才能よりも、“人のよさ”だと思う。どんなに素晴らしい作品を作れても、その人の人柄がよくなきゃ、一緒に仕事しようとは思えない。少なくともオレはそう。誠実に制作してくれるのか、周囲を思いやってくれるのか・・・・・・たとえ、その人の作る音楽は理解できなくても、人柄に惹かれて自然と一緒にいる人も多いからさ。結局、オレにとっては、その人の才能とか、その人が何をしているかは、さほど重要じゃない。その人自身がすべてなんだと思うなぁ」
But you know, for creators and expressors, what's most important isn't knowledge and talent, but how good a person is. No matter how wonderful a work is, if that person's character isn't good, I don't want to work with him. Or at least that's how I am. Is he going to do sincere work, will he be compassionate toward the people around him...... For example, even if I can't understand the music a person's written, if I'm drawn to their personality, I naturally end up working with that person. In the end, a person's talents or what he does isn't very important. The person himself is everything to me."
+
Kazunari Ninomiya
１９８３年６月１７日、東京都生まれ。１２月１６日に東京d−無で小神の割れたコンサートにて、相葉くんへ熱い誕生日メッセージを送ったニノ。それについて尋ねると、「まぁ、事実だからね」と照れ隠ししつつも、「仲いい人は多くても、いつか離れた時に、わざわざ会いにいく人は少ないなって思う。でも相葉さんには会いにいくんじゃない？実家の場所も知ってるしね（笑）」
Born on June 17, 1983 in Tokyo. During the concert that happened in Tokyo Dome on December 16, he gave Aiba-kun an ardent birthday message. When we asked him about it, he said, "Well, it's the truth," even as he hides his embarrassment. "Even if you're close friends with a lot of people, I think there are very few you'd go out of your way to see when you're apart. But I'd go to see him, wouldn't I? I know where his parents' house is, too (laugh)."
You can find the scan/translation index for this column here.
第５１回：才能の正体
51: The True Identity of Talent
「楽譜は読めないんだよね（笑）」昨年のコンサートのソロ曲では、流麗なピアノの弾き語りをしていた。楽器は、ギターもベースもドラムも弾きこなし、自ら曲や編曲をすることも多いのに、いまだに楽譜は読まないし、読めないのだと笑う。
"I can't read music (laugh)." At last year's concert for his solo song, he sang while playing a flowing piano melody. In terms of instruments, he's also able to play the guitar, bass, and drums, and he often arranges his own songs, but he still doesn't and can't read music. He laughs as he tells us this.
「ピアノは、バンド系雑誌とかの後ろについてる、スコアの説明を読んで独学で学んだの。“C（コード）はココを押さえる”とか書いてあるから、それを読みながら体で覚えていったんだよね。頭で理解していないから、急に新しい曲は弾けない（笑）」
"I learned piano by myself, reading those score explanations that are attached to the back of music and band-type magazines. They've written things like 'Play a C chord by pressing down here', so while reading those, my body memorized it. I don't understand it with my head, so I can't just play a new song (laugh)."
そもそも弾くことや、演奏する自分を誰かに見せることが目的で楽器を始めたわけじゃないという。
He says that his goal in starting to play instruments to begin with had never been to show off his performance to other people.
「初めて触った楽器はベース。１５、１６歳の時だから、ジャニーズJr.時代だったかな。その後、デビューして、自分でも曲を作ってみたくなってギターを始めたんだよね。そのうち、ギターとは違った雰囲気の曲が作れるよって聞いてピアノもやって。編曲もするようになったら、ドラムも自分で叩いて、デモテープに入れてみようって（笑）。結局、音楽を作りたくて、いろんな楽器を弾くようになったんだと思う」
The first instrument I touched was the bass. It was when I was 15 or 16, back during my Johnny's Junior days. After that, we debuted, and I wanted to write my own songs, so I started the guitar. And then I heard that you could write different kinds of songs with the piano, so I did that. And then when I started to arrange music, I played the drums myself and tried slipping it into the demo tape (laugh). So what ended up happening is that I wanted to make music, so I became able to play all kinds of instruments."
モノ作りが好きなニノにとって、音楽を作る作業は、１０代の頃から大切なものであり続けている。
To Nino, who enjoys creating things, the act of making music is something that's been important to him since he was in his teens.
「楽しいよね。１０代の頃からつきあいのある音楽の師匠に教えてもらって、少しずつ機材の使い方を覚えて。作れる曲の幅も年々広がって。自分で作るだけじゃない、いろんなミュージシャンと一緒に制作するのも面白い。今回のアルバムのソロ曲は、新しい人に作曲をお願いしたんだけど、実はオレが前々から気になってた人なの。プライベートでもCD屋さんに行って、いろんなジャンルの音楽を数時間、試聴するのが好きなんだよね。気に入ったCDは買ってきて、さらに聴き込む。それが後々、仕事につながることもある」
"It's fun. I get instruction from a music teacher I've worked with since I was a teenager, and bit by bit I've learned how to use the equipment. The range of music I can make has increased over the years as well. And not just making music by myself, making it with all kinds of musicians is fun as well. For this album's solo, I asked someone new to write the music. It's actually someone I've had my eye on for a long time. Even in my private time, I go to CD shops and listen to all kinds of genres for hours. I like trying out music. And then I buy the CDs I like and listen even more. And sometimes in the distant future, we connect for work."
ニノは、音楽の聴き手としても誠実で優秀な人だ。まだ無名のミュージシャンでも、自分の耳で好きな楽曲を発見し、そのよさを熱く語ることも少なくない。
Nino is a sincere and excellent person, even as a listener of music. Even if it's a musician who hasn't made a name for himself, if he finds a song with his own ears that he likes, it isn't uncommon for him to talk about it passionately.
感覚に頼っているけど、伝わらないこともある
There are times when he can rely on his senses but he can't express it.
「音楽に惹かれる理由は、演奏の巧さだったり、メロディの印象だったり、そのときどきで違うけど、“巧い人”は貴重だと思うなぁ。たとえば、１０代のミュージシャンがみずみずしい感性を持ちつつ、荒削りなのは普通のことでしょ。１０代の感性を持ったまま、完成度の高い曲を作れる若い人こそが、ホントに“巧い人”だとおもうんだ。逆に５０代のミュージシャンなら、完成度の高い作品を作れることは当たり前で。そのうえで、１０代の頃と変わらない感性を持ち続けていられる人を尊敬する。役者も同じだよね。両面をあわせ持ってる人は巧い。世間は、そういう人たちを“天才”って言葉でくくりがちだけど、違う。たとえ、天から才能を与えられていても、それに気づかなければ、ただの人でしょ。人を惹きつけてうならせるには、才能だけじゃない、意思の力と努力が必要なんじゃないかな」
"Reasons I'm drawn to music is things like how good the performance is and my impression of the melody. It's different every time, but I think 'someone good' is really valuable. For example, a musician in his teens will still have young sensibilities, so it's normal for his music to be unrefined. But I think a young person who holds onto that young sensibility but is able to write songs with a high level of completion is 'someone good'. On the other hand, it's natural for someone in his 50s to be able to write music with a high level of completion. But if on top of that he's held onto his sensibilities that he's had since he was a teenager, I respect that. It's the same for actors. People who have both sides of the coin are good at what they do. In society, people like to fix the word 'genius' onto them, but that's wrong. Like, even if someone was given natural talent from above, if he doesn't recognize that talent, he's just a regular guy. The ones who make people ooh and ahh in fascination aren't just geniuses. Aren't will and effort also important?"
では、ニノはどうだろう？１０代の感性と５０代の成熟を持ち合わせ、“天才肌”と呼ばれることも多い。
Then what about Nino? He's often called a "genius" with the sensibilities of a teenager and the maturity of someone in his 50s.
「いや。オレは天才でもないし、巧い人でもないよ。特にお芝居に関しては本職じゃないしね。音楽も演技も、きちんと勉強してきたわけじゃない。頭よりも体で覚えてきたし、それでなんとか成り立ってるのは、単に器用なだけなんじゃないかな。本当にスゴイ人は、勉強を怠らない秀才タイプだと思う。オレみたいに不勉強じゃない（笑）。開き直ってるわけじゃないよ。知識がないと表現できないことや伝えきれないことはいっぱいあるもん。たとえば、オレは楽譜が読めないせいで、ドラマーの腕が３本ないと弾けない曲を作ったりするからね（笑）。アレンジも専門用語を知らないから、『武田真治さんのサックスの感じで』とか、素人っぽいたとえ話でプレーヤーに伝えちゃったりするし（笑）。まだまだ勉強しなきゃと思う」
"Nah. I'm not a genius or someone who's good. And acting in particular isn't even my main job. I haven't formally studied either music or acting. More than my head, I remember it with my body, and the fact that I've somehow succeeded is only because I'm a little skillful. I think the really amazing people are the prodigy-types who don't slack off on studying. Not people like me who're lazy learners (laugh). I'm not just trying to be defiant. There are a bunch of things you can't present or express clearly if you don't have the knowledge for it. For example, since I can't read music, sometimes I write songs that the drummer can't play unless he has three arms (laugh). And I don't know arrangements or technical terms for anything, so I say things like, 'Something like Takeda Shinji-san's sax,' and I use amateurish examples to get my message across to the players (laugh). I still have a lot more studying to do."
知識や理屈に頼らず、感覚と勘を頼りに生きてきた。だからこそ、現場での反応力に優れ、その表現は、多くの人に伝わりやすくもある。
He's lived not depending on knowledge or logic, but on sense and intuition. That's the reason he excels at reacting on set, and it easier for that expression to reach more people that way.
「でもね、作り手や表現者にとって、いちばん大事なのは、結局、知識や才能よりも、“人のよさ”だと思う。どんなに素晴らしい作品を作れても、その人の人柄がよくなきゃ、一緒に仕事しようとは思えない。少なくともオレはそう。誠実に制作してくれるのか、周囲を思いやってくれるのか・・・・・・たとえ、その人の作る音楽は理解できなくても、人柄に惹かれて自然と一緒にいる人も多いからさ。結局、オレにとっては、その人の才能とか、その人が何をしているかは、さほど重要じゃない。その人自身がすべてなんだと思うなぁ」
But you know, for creators and expressors, what's most important isn't knowledge and talent, but how good a person is. No matter how wonderful a work is, if that person's character isn't good, I don't want to work with him. Or at least that's how I am. Is he going to do sincere work, will he be compassionate toward the people around him...... For example, even if I can't understand the music a person's written, if I'm drawn to their personality, I naturally end up working with that person. In the end, a person's talents or what he does isn't very important. The person himself is everything to me."
+
Kazunari Ninomiya
１９８３年６月１７日、東京都生まれ。１２月１６日に東京d−無で小神の割れたコンサートにて、相葉くんへ熱い誕生日メッセージを送ったニノ。それについて尋ねると、「まぁ、事実だからね」と照れ隠ししつつも、「仲いい人は多くても、いつか離れた時に、わざわざ会いにいく人は少ないなって思う。でも相葉さんには会いにいくんじゃない？実家の場所も知ってるしね（笑）」
Born on June 17, 1983 in Tokyo. During the concert that happened in Tokyo Dome on December 16, he gave Aiba-kun an ardent birthday message. When we asked him about it, he said, "Well, it's the truth," even as he hides his embarrassment. "Even if you're close friends with a lot of people, I think there are very few you'd go out of your way to see when you're apart. But I'd go to see him, wouldn't I? I know where his parents' house is, too (laugh)."
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no subject
Date: 2013-06-22 11:39 am (UTC)Why am I moving at snail-speed with my half of the More translations? ;___;I didn't know that he couldn't read music! I kinda assumed he could because of that time he was collaborating with The Alfee during 24H TV and looking panicky while looking at what I thought was sheet music. Although come to think of it, it was probably just chords rather than tabs...
no subject
Date: 2013-06-22 12:32 pm (UTC)Ahh somehow I'd forgotten about that (as great a moment as it is)! I assume it was sheet music with tabs -- he just needed to know what chord went where (and I'm sure he at least has the chords memorized), but the song itself he probably knew well enough to feel out as they played.
I should watch that again. That was a great moment. *_*
ETA: Actually, would they have their own sheet music on hand like that? Maybe it was just chords. XD. IDK, doesn't super matter, he did great.
no subject
Date: 2013-07-01 02:23 am (UTC)Konbanwa Inez-san (and Twosen-san).Girls,you have no idea how I've missed 'It'♥!
Right now,I was reading Ninomiya's column chapter #50 translated by Twosen-san when I found this!
I love Ninomiya Kazunari's IT (More).I'm always waiting for the next one~
I see Ninomiya as a keen obersver and a curious guy you know...he's not just playing around with his beloved Captain and teasing his Soubusen buddy Aiba-chan!Actually,he's actually paying attention to everything that's happening around him.The curiosity of knowing 'the unknown',to challenge it...
Then,thanks a lot for such pleasant reading!
Good night and have a nice day♪
#IT itself is everything to me
no subject
Date: 2013-07-19 09:24 am (UTC)He can't read music ???
Maybe he's just kidding us.
I very like with method he choose CDs to buy.