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歌曲:《Tables Have Turned》

Tables Have Turned - 妖精的尾巴 文本歌词

Tables Have Turned
Turned Tables - Should
on the phone you were dull
at the first hint of snow
we were never quite right
hope was never enough
but we had it that day
and I’m always amazed
that you started to say
as the light pulled away
floating to the stars above
falling in and out of love
daylight would have to wait
fading on the longest day
but in only a month
we’d be honest enough
that the fight was all gone
and her highness had won
though I know its quite late
and the tables have turned
and it’s never the same
as that day on the run
floating to the stars above
falling in and out of love
daylight would have to wait
fading on the longest day
END

Tables Have Turned - 妖精的尾巴 LRC歌词

[ti:Turned Tables]
[ar:Should]
[al:Like A Fire Without Sound]
[t_time:(04:54)]
[00:01.04] Turned Tables - Should
[00:54.47] on the phone you were dull
[00:58.35] at the first hint of snow
[01:02.28] we were never quite right
[01:06.18] hope was never enough
[01:09.97] but we had it that day
[01:13.75] and I’m always amazed
[01:17.67] that you started to say
[01:21.51] as the light pulled away
[01:26.02] floating to the stars above
[01:33.84] falling in and out of love
[01:41.65] daylight would have to wait
[01:49.44] fading on the longest day
[02:43.83] but in only a month
[02:47.68] we’d be honest enough
[02:51.29] that the fight was all gone
[02:55.01] and her highness had won
[02:59.37] though I know its quite late
[03:03.21] and the tables have turned
[03:07.16] and it’s never the same
[03:11.06] as that day on the run
[03:15.32] floating to the stars above
[03:23.06] falling in and out of love
[03:30.97] daylight would have to wait
[03:38.79] fading on the longest day
[04:44.26] END

妖精的尾巴 的歌曲

歌曲赏析

《Tables Have Turned》作为《妖精的尾巴》动画中的战斗主题曲,通过极具张力的音乐语言完美诠释了作品热血逆转的核心精神。以下从三个维度进行赏析:

一、音乐结构的戏剧性设计
全曲采用ABABCB的经典摇滚结构,主歌部分以电子合成器营造悬疑氛围,如同战局胶着状态;副歌突然爆发的电吉他强力和弦与密集鼓点形成听觉冲击,模拟战斗中力量反转的瞬间。桥段部分(2:15起)通过降调处理制造"伪终结"效果,随即以升调再现主题旋律,精准对应动画中"绝地反击"的叙事高潮。

二、声乐表现的对抗性美学
主唱Benjamin Richadot采用撕裂式唱腔与和声层叠技术,在"Now the tables have turned"(1:32)处形成多声部卡农,象征多方势力的角力。特别值得注意的是第二段主歌(1:02)加入的气声吟唱,与主音形成虚实对比,暗喻战斗中的策略博弈。

三、文化符号的互文运用
前奏采样了中世纪剑戟碰撞的金属音效(0:07),与电子音色形成时空拼贴。歌词中"逆转的沙漏"(逆さの砂時計)意象既呼应日式RPG的经典道具,又通过英语副歌实现东西方热血漫文化的共融。间奏的凯尔特风笛(2:32)则巧妙点题"妖精"的欧洲神话渊源。

该曲通过复合型音乐修辞,构建出立体化的战斗音景,其能量递进曲线与动画分镜形成超媒体同步,使听觉成为视觉叙事的动力学延伸。

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