願榮光團隊DGX 日本&國際版文宣 «明天» 眾籌計劃 (捐款是美金)

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Update posted by DGX MUSIC On Jul 03, 2020

「A1」 走れ(3)柔らかい風をきって(11)二人描いた夢は(10)永遠(とわ)に続くものだと(10)あのころ(4) 信じてた(5)

「A2」 まわる 時代の間(はざま)で君は 何が本当の君か わからなくなってゆく 消えてく あの笑顔

「B1」 当たり前の日々が 静かに壊されてく 誰のために歌を唄おう 明日よ 君の手にあれ!

「C1」 鏡に照らし出された瞳は 君のものかい? さぁ もう一度 深呼吸して 始めよう 彩りのあるあの夢は君を 輝かせた 忘れないで

「A3*改過」 紅い 霧の中に佇んで 僕らは確かめあった 儚いその背中を やさしく 抱き寄せて

「B2」 小さなすれ違い 後戻りできなくて いつか出会えるその日まで 信じて 走り続けてゆく

「C2*改過」 ありふれた日常の日々をまた 取り戻すため 今二人は 手をとりあい 前を向く 君の笑顔を取り戻せる日が きっと来るから さぁ 顔上げて

「C3」 鏡に照らし出された瞳は 君のものかい? さぁ もう一度 深呼吸して 始めよう 彩りのあるあの夢は君を 輝かせた 忘れないで


中文翻譯:

A1 走吧, 穿過柔和的風

那時候的我 曾相信 兩人描繪的夢 會持續到永遠


A2

在不斷轉動的時代的隙縫裡 你漸漸不認識真正的自己

那笑容也漸漸消失


B1 理所當然的日常靜靜地被破壞了 讓我們為別的人們歌唱吧

希望明天能留在你們的手裡


C1 鏡中反射的眼晴 是你的嗎? 來重新深呼吸

重新開始 , 不要忘記那個令你發出光輝的夢


A3 站在紅色的霧中 我們互相確認彼此脆弱的背影

並溫柔地互相擁抱


B2 經過一個小路口後 因小小的想法差異而變得不能再回頭

相信能有再會的一天所以繼續向前跑


C2 為了取回以往的日常日子, 現在我們牽著手並向前望

重獲你的微笑的日子一定會到來. 來往上望


C3 鏡中反射的眼晴 是你的嗎? 來重新深呼吸

重新開始 , 不要忘記那個令你發出光輝的夢

日文版由日本填詞人填詞, 所以偏含蓄

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Update posted by DGX MUSIC On Jun 19, 2020

A1

‘Why the tears?’ said a young girl at the junction to her friend.

As raindrops fall upon their silhouette,

My window tinkles on as if to ask,

‘Will you, or not, take her in your arms?’

A2

‘Take my hand.’ Those words echo through my mind, my memory.

I shut my eyes and yet her voice remains,

No hiding from all those regrets of mine,

‘Will you, or not, take me in your arms?’

B1

In that little box that she has left

Sits her rusty sword and broken sca-les.

Was it you or me who’s blindfolded all along?

Matters not now — far too late to judge my hands.

C1

There comes a time when everybody must decide in their minds

Whether to stand or to hide,

To absolve my sins and to lend my hand when I dared not before.

What passed is past! Let not the darkness cloud my heart, as I carve:

‘Tomorrow there’s a new start.

With her, walk on, walk on.’

A3

‘Call my name,’ said the young girl to my ears on tha-t day.

Oh how I wish that this our Sto-ry

Unending too like how the Empress was.

‘Will you, or not, call her by your name?’

B2

In that little box that she has left

Sits her rusty sword and broken sca-les,

And a little note in her own hand saying it’s

‘Up to you now —

Let nobody judge your hands.’

C2

There comes a time when everybody must believe despite all

The damning words you receive,

And now with her gifts I decide to walk her path for evermore.

What passed is past! Let all the darkness now be gone, as I find

In all my dreams a new dawn.

‘For her, walk on, walk on.’

C3

‘There comes a time when everybody must decide what to do

When all your dreams seem to die.’

And so left the young girl who at the junction said these words to me.

Break now the dawn, as all the dark clouds in the skies are all gone,

My fate, my hands, my own path.

‘I shall walk on, walk on.’




English poetry begins with metre. Without metrical writing, the result would be prose 散文, not verse 詩詞.

The soul of the English language, to poets, is the rhythm 節奏. Rhyming 押韻 and word choice 字詞 and all other poetic devices 修辭 follow the basic rhythm of a line.

When the rhythm of each line becomes regular throughout the entire poem, that structure is called the metre, and the art of finding this regularity is called scansion (you 'scan' the lines to find the rhythmic pattern).

Take, as an example, this line:

'From time to time and for as long as it takes.'

If we take 'x' to mean an unstressed beat, and '/' to mean a stressed one, then we'll scan the line as follows:

x / x / x x x / xx /

This isn't regular, as it doesn't have a pattern, so the line is probably prose, not verse.

As a second example, see:

'He bangs the drum and makes a dreadful noise.'

'If winter comes, can Spring be far behind?'

For both lines, the stressed and unstressed beats are regular, following this pattern:

x / x / x / x / x /

Or, five sets of 'weak-strong'. In technical terms, one set of 'weak-strong' is called an 'iamb', and five in Greek is 'pente', so we call these two lines' metre 'iambic pentameter'.

In the case where the poetry needs to fit an existing piece of music, as in the job of a lyricist, the metre of each line would then have to conform with the rhythm of strong- and weak-beats already existent as implied by the melody.






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