【SixTONES 歌声分析】京本大我、森本慎太郎、田中樹のソロ曲を徹底分析！

【SixTONES 歌声分析】京本大我、森本慎太郎、田中樹のソロ曲を徹底分析！

This is voice trainer Tsuru-san. How are you all doing? In this video , I’ll be analyzing the vocals of three songs: Kyomoto Taiga’s “Knight Rider,” Morimoto Shintaro’s “Life Is,” and Tanaka Juri’s “No Cap .” This is Tsuru-san’s vocal room. Yesterday, the Stones’ official YouTube channel released music videos for Kyomoto, Morimoto, and Tanaka’s solo songs . A few days ago, YouTube versions of music videos for Matsumura, Kochi, and Jesse’s solo songs were also released. I ‘ve already released a vocal analysis video in the thumbnail below, so if you’re interested, the URL is in the description, so please check it out . And this time, I’m currently filming a video to combine Kyomoto, Morimoto, and Tanaka’s vocal analyses into one video. The reason I decided to combine them into one video this time is because I thought it would be too much for viewers if I released separate vocal analysis videos, so I decided to combine them all into one . I analyzed each vocal, and I think Morisawa’s vocal expression and the atmosphere of the song were a little different from the Stones’ songs . All three of them were amazing. I analyzed these vocals more carefully and meticulously than anyone else, so please stay tuned until the end of the video. Also, Tsu’s Vocal Room has a playlist of Stones vocal analysis videos I’ve previously released. If you’re interested in other vocal analysis videos after watching this video , I’ve included a URL in the description, so please check them out as well. Tsu’s Vocal Room. This channel mainly features reaction videos and vocal analysis videos that convey the appeal of artists I’m currently interested in from a vocal trainer’s perspective . If what I just said piques your interest, please subscribe and rate my channel . So let’s get started with an analysis of the Stones’ Knight Rider, Morimoto Shintaro, and Life is Tanaka’s no-cap singing voice . Oh, cool. Here we go. Yeah. Yeah. Oh, what a cool introduction. Kyomoto-san in his car is both cute and cool, it’s the best. Now, I think the singing starts here. Here we go. Yeah. Yeah. I’ll stop here for a moment. It’s a kind of jazz-like song. And the choreography is really cool. And as for the voice, the subtle air in the nose. I think this resonance is the core of the singing voice. There’s a fairly large space deep inside the nose, and when you sing with the image of aiming for that space and singing out loud, it brings out a sparkle . Kyomoto-san is really good at using his nose. Let’s listen to it again . Hmm. Cool. Cool. So, he flips the “go” part of this phrase into falsetto . I always say this in my Stones vocal analysis videos, but this part is one of your singing habits, and I love it. Like, la-la-la-la. The part where you flip into falsetto is so sexy . Moving on. Cool. The rhythm in the second half of this is so cool, isn’t it? It’s like la-la-la-la-la, and you start off with a low note, like a kōshiri, and then you start off with a higher note than the intended note, and then you really get the hang of it . When you add this “shō” (a slash) in the phrase, it gives it a sense of lapse, and that sense of speed is cool , isn’t it? Let’s listen to it again. The sub-note is cool. From the very beginning, it’s just cool. Moving on. Hey. Yeah. That triple rhythm is also good. It starts off with a really fast feeling, and then the speed slows down a bit at the triple-win part I just mentioned . The difference in feel is captivating, isn’t it? A triplet is a ‘taka-kata-kata’ rhythm, with evenly-pitched notes coming in with this count. Let’s listen to this rhythm again, focusing on the triplet triplet. See, it’s like a ‘ra-ra’, with a ‘taka-kata-kata’. This is a triplet. Moving on to the next part. I just tried singing this part, and it’s incredibly difficult. It’s also high for a guy. And the words are ‘u’. Singing gratitude using the same words is difficult, isn’t it? The way he sings it so effortlessly is incredible. Let’s listen to it again. See, it sounded like ‘u’te’ just now, but it’s actually a detailed phrasing, more like ‘u’. This is even more difficult than singing the entire phrase with the same words, as I mentioned earlier. He sings the ‘u-u’ phrase with vibrato. This creates a rhythm that sounds like ‘u-gata’. This is a technique often used in fake-outs in R&B lyrics, a finely swaying vibrato called ‘sirimen vibrato’. Hmm, it’s something like this. You sing the song I mentioned earlier while doing this. The vibrato accentuates the contours of each note. As a result, it sounds like a ta-ra-ta rhythm. It’s incredibly advanced. It’s incredible . Moving on. Cool. All I can say about this is that it’s incredibly cool. It ‘s incredibly cool, isn’t it? The lyrics are also beautifully pronounced, and each word is incredibly easy to listen to. This is the half-tempo part, where the A-melody feels half as good. Speaking of the song arrangement, the overall relaxed atmosphere is very comfortable. Let’s listen to it again. See, see. The A-melody has a tempo of tan tan tan tan, compared to tan tan tan tan. The A-melody is a fast-paced section. And the B-melody is a relaxed section. Morisawa-san here. Moving on. Yeah. I’ll stop here for now. There was a really powerful high-pitched part just now . When I’ve analyzed Kyomoto’s singing voice in Stones songs, I’ve always thought of him as singing beautifully with what’s called a mixed voice, somewhere between his chest voice and falsetto . But the powerful high-pitched voice he just played is actually a chest voice with a very strong chest component. So, he has this kind of voice too. Kyomoto-san is amazing. Let’s listen to it again. Like this . And this falsetto is so beautiful. How does he produce this falsetto? He puts a lot of the voice into his nose. And it’s like he’s bringing the image of that nasal voice all the way to the top of his head and letting it come out from there. This is called head voice. It’s a type of voice that resonates in the head, and when he uses this voice, his singing becomes incredibly beautiful. It’s amazing. Moving on. Oh , no, the last low voice was also really cool, but the part you just heard, the space inside your lungs, the ‘kyou’ space. I think it’s a voice that makes strong use of that resonance. As I mentioned earlier, the A-melody features a nasal tone, courtesy of Misora Noriaki. This is a strong element in his voice, but at the end of the B-melody, he uses chest resonance to create a masculine voice. It also adds a sense of power. I suspect he shifted to this voice to create excitement in the chorus. Now, the chorus. Let’s get started. It’s incredibly powerful. And here, just like before, his voice uses a lot of chest resonance. Well , I wouldn’t say he uses a lot of chest resonance, but rather, he uses the two resonances of the symphony and the tail to create the core tone of his voice. He creates a lot of accents by enunciating the plus notes quite strongly. Accents are strong sounds, and he creates a lot of these accents to match the power of the vocals to the more aggressive parts of the song. It’s so cool, so good . It’s really good. A huge explosion of charm. Moving on. Yeah. There’s a cool yet sweet vibe to it, doesn’t there? Kyomoto’s voice is amazing here. It’s an incredibly cool voice, yet somehow gentle, too . I think it has a certain charm, like it envelops everything in its coolness. That sweet atmosphere is created by the nasal voice. It’s Ozora Resonance. Let’s listen to it again. Hmm. It’s irresistible. And the outfit has a casual feel to it, which really brings out the golden vibe. Personally, I think it suits her really well. Let’s move on. Oh, it’s all in falsetto. The low part here is also in falsetto. The strong attack in the first half and the emphasis on the fluffy atmosphere are key points here. The contrast in the room is amazing. Let’s listen to it again. Darkness , yeah. Good. It’s an incredibly beautiful falsetto. Here too, she’s using what we called head voice , which I mentioned earlier . Like la-la-la-la. If you do this in normal falsetto, it sounds like la-la-la. But if you use head voice, it sounds like this la-la-la. Can you tell? In the video, that is. It might be hard to tell, though . Head voice brings out a sparkling quality to the voice. It gives the voice a clear quality. That’s a wonderful falsetto. Moving on. Um, yeah. Did you hear that? It was a really edgy, cool voice. Imamoto-san is using another new voice here. This time, it’s the air resonance inside the mouth. It’s the space inside the mouth. The resonation here is the main focus of the vocal choice. By using the resonation inside the mouth, the words become clearer, and it’s closer to the voice quality you use when you’re speaking normally, so rather than a beautiful voice, it tends to have an edgy quality . I think that’s what made the vocals cool. Let’s listen to it again. Yeah . That part in the second half of what we just heard, around the “A” part. That part was incredibly cool, wasn’t it? And the performance was incredibly intense and cool, too. It’s a song that’s packed with coolness. That’s Knight Rider, I think. It’s just too awesome. Moving on. Ah, it gets quiet here. Eh, is this the back melody? The atmosphere has become quieter. But the ups and downs in speed throughout the song are intense in a good way, and it really gets you pumped. Let’s listen to it again. Yes. And here he goes back to a nasal voice again. A nasal voice makes it much easier to control the color of your voice. Here, Kyomoto uses a lot of nasal resonance to create a gentle, sweet atmosphere. Let’s move on. Yes. This high note was amazing, too, but it’s a technique voice that mixes breath sounds into the voice only at the beginning of the phrase. He uses this when singing. That’s why the phrase starts off so gently. Let’s listen to it again. Yes. It starts off like that, doesn’t it? Gentle. But the second half is a powerful high note that makes strong use of the hollow resonance in the chest. This phrase feels like it’s really building up in volume from the very beginning. This is called a cresciendo, and the way the volume gradually increases gives the feeling of a gradual, gradual expression of emotion, which is really captivating . Moving on. Good. Yeah. There’s an awful lot of falsetto this time. Hon-san’s falsetto is so beautiful, I’m sure it’s making women’s hearts flutter. This voice is incredibly captivating. Let’s listen to it again. Look, look, look, look, look, look. It almost feels like it’s gently cradling your ear. Even as a man, I get excited, so I’m sure it’s amazing for women. Moving on. Wow. Yeah. Sorry. That was a really high-pitched falsetto. I think that voice just now helps to understand the resonance of the head voice I’ve been explaining. It’s a really beautiful dark blue , isn’t it? Let’s listen to it again. Look, look, look, look. I’m not as good as Hon-san, but it’s an incredibly beautiful voice. Moving on. Okay. Ah, I see. This part is a long, drawn-out dance break. No , this is a music video that lets you fully enjoy Kyomoto-san’s charms. It’s amazing . Moving on. Cool. Hey, this is amazing. The video is a bit hazy, but it’s really cool. It’s the first time I’ve seen Kyomoto-san dancing so much, so it’s really refreshing, and I think it’s the kind of performance that makes me want to dance cool like that too . Moving on. Cool. Okay. I think it’ll continue with a dance break until the end. Let’s continue. Yeah. Oh, so it ends here. Oh, it was really cool. His singing voice is great. His performance is great. And the way the video was made is also really cool. It was amazing. Okay, next up is Morimoto-san’s Life Is. I’d like to analyze his singing voice here. Here we go. Cool. Hmm. It has a refreshing pop feel to it. It seems like she really loves Morimoto’s voice. Here we go . Yeah. Her smile is lovely. Yay. There’s something edgier about her voice than usual, like it really brings out a coolness. It ‘s like a la-la-la, I think that’s the kind of voice she chose. How does she produce this voice ? It’s the resonance of her chest, the resonance of her nose, and the resonance of her tail. These two are the main elements. And I think she sings it as if she’s pressing her voice a little against her chest . If you exaggerate it like this, it sounds like this. Add just 1mm of this and it becomes a voice that sounds like la-la-la. No, this voice is great. Let’s listen to it again. Fingers crossed. Yeah. Arata’s pronunciation is also really cool. Like finding something. The combination of this pronunciation and this voice is amazing. On to the next one. Be gentle. Yeah. Morimoto, you’re singing the lyrics with a slightly English pronunciation this time. This pronunciation really suits the song. And before this phrase starts, there’s a brief, rough sound added for a moment. It’s called edgy, but this temporary star-shaped sound is added for a moment before singing. It gives off a sad feeling and is really cool, isn’t it? Let’s listen to it again. Hmm. It’s really good. This is such a refreshing song. Morimoto’s voice suits it so well. No, I’ve been excited the whole time . Ever since Kyomoto-san’s performance just now, I feel like my excitement hasn’t died down yet. Let’s move on to the next part. Yeah. This falsetto voice, which I just thought of, has been turned upside down. I love this. A voice turned upside down into falsetto. The singing analysis picks up everything. It’s so stylish, isn’t it? This way of singing. Let’s listen to it again. Yeah, that’s all. Good. Really good. So far, there’s been an edgy voice at the beginning of the song. To tell you the truth, Morimoto-san’s image is of an edgy voice, and I think he uses it in quite a few songs. So, when you listen to the Stones’ songs, please check to see if Morimoto uses his three-part edgy voice . He uses it quite a lot. Moving on. That’s “Life, Life.” Oh, good. This is “Life.” Here’s the “Wee-sounding voice.” Wow, that’s great. Now, the range drops like this. This part adds a more hollow feeling to the chest. So, Morimoto-san’s low-pitched voice has a really manly feel to it, and I think it’s cool. Let’s listen to it again. It’s like, ” See, see, see, see, hey?” I’ve said it three times now, but I think Morimoto-san wanted to create a sigh-like atmosphere at the end, starting with a manly voice. I think he wanted to create a slightly depressed atmosphere, like “Life .” Moving on. Yeah. This is where the harmonies come in. It’s so sparkly. No, I love this kind of classic, refreshing pop music in a good way. The harmonies are really stylish, and it’s a very easy-to-understand song in every way. It’s a song that’s easy to convey its appeal. Let’s listen to it one more time . It’s so good I could die. Isn’t it amazing? It’s an amazing song. Next up is your voice. Yeah. Oh, camping. I see. Sorry. Suddenly, I went from analyzing the vocals to talking about the music video’s storyline. Is Morimoto-san camping? This scene where they’re setting up a tent is really cool. Please tell me about it, fellow members. In the comments. I was so distracted by the scene in the video that I couldn’t analyze the vocals right now, so I’ll listen to it again. Your voice, your voice, your voice. Your voice here was amazing, wasn’t it? And what’s amazing is that your voice hasn’t changed from the low note at the beginning to the high note now. How you sing this is about the image of the direction you’re projecting the voice. This is the key. With a high voice, the image of the direction you’re projecting tends to rise, while with a low note, it tends to fall. This is the difference between a high voice and a low voice. This leads to this. By keeping this constant, you can maintain the same chorus to a certain extent. That’s how Morimoto-san sings. This phrase. Or is he singing like that overall? Let’s move on . Yeah. Lalala. If you do it like this, as I said earlier, the chorus will be maintained. Morimoto-san has been singing like this until now, hasn’t she? For example, depending on the range, if you raise the high notes as I mentioned earlier and lower the low notes, it becomes like “lalalalalalalalalalalalala .” It changes quite a bit depending on the range. She doesn’t sing like this . As I said earlier, Morimoto-san sings with a consistent image of the direction her voice is coming from . But, maintaining this way of singing is actually very difficult. As I said earlier, the natural flow of the voice is for high notes to rise and low notes to fall, so in a sense you have to ignore that natural flow of the voice and sing. This is incredibly difficult to do until your body gets used to it. Let’s listen to it again . Yeah. No, it’s incredibly stable, isn’t it? Let’s move on. Yeah. The low notes are also incredibly gentle. It’s a really great voice. Morimoto-san’s voice. Let’s move on. Wow, it’s low. It’s dropped a lot. So, when it’s this low, if you just keep the image of the voice direction I mentioned earlier, your voice ends up sounding heavy. Like “La.” So, what technique does Morimoto use here? He increases the amount of voice he puts into his nose. That makes the voice sound clearer. Like “La la la la la la la la la la la .” If you don’t put it into your nose, it’s “La la la.” If you put it into your nose, it’s “La la la .” It really makes a difference in the private room, doesn’t it? A low voice with voice put into the nose. Let’s listen again, paying attention to that. “Yuri is fine too. ” “Yeah.” “Yukuri is fine too.” Something like that. And finally, the super voice. The whisper voice at the end makes the words “It’s fine to be slow” seem like they’re really encouraging, which makes me happy. Let’s move on to the next part. Look, you’ll see. Yeah. So, for now, Morimoto really uses a variety of voices , but the point he’s singing is centered around the aerial resonance in his mouth. You can hear the contours of each word incredibly clearly here. That’s what happens when you center your mouth. Let’s listen to it again. If you take a step forward, yeah. If you take a step forward, you’ll see. The voice I just heard is centered on the sound inside my mouth, but the words come out really clearly. Morimoto sings this way. Let’s move on. Not bad. That was a really strong voice. There’s a point where the background sound really expresses the rhythm, and here, Morimoto sings by layering sounds that emphasize the scenes. Doing so creates an atmosphere that feels incredibly powerful. Also, there’s the technique of cutting each note, staccato. Should I add a bit of that too? Let’s listen to it again. Yeah. There’s definitely staccato and strong scenes throughout. No, it’s cool. Let’s move on. Yeah. So, for now, you’re using strong staccato throughout. As expected, when you sing with stack-outs, the phrase as a whole has a more compact feel, and when that feeling is layered with “ne,” it becomes incredibly cool. Let’s listen to it again. Yeah. Cool. Wow, it’s amazing. Let’s move on. So, I just heard it, and I thought, there’s an octave arrangement here. If this is Morimoto’s main melody, are there instruments playing one octave below and one octave above? Let’s listen to the same phrase as the vocal melody again. There’s some kind of beep-beep-beep sound in the background. I was wondering how I felt about saying the beep-beep sound, but maybe it’s an instrument or something? I think it’s something like an electric piano, and with that sound in there, it gives it a cute atmosphere. Let’s move on. Yeah. Let’s continue today. The voice here has an incredibly powerful feel. Here, the chest and mouth are used. I think they’re used equally. Maybe it’s easier to understand if you say the thickness of his voice comes from his chest, or “thickness.” Well , it’s powerful , isn’t it? I think it’s a voice that creates a certain vibe, like the space inside his mouth makes each word clearly defined . Let’s listen to it again. Hmm. The video is really homey and gives off a real gold vibe. Morimoto and his friends are in a couple, and I love the atmosphere, which makes you feel closer to Morimoto than usual. Moving on. The harmonies come in with “damou-ko.” It feels like the scale has expanded, which is wonderful. The harmony pattern here is a supporting chorus. I wonder if there are lower and upper harmonies in addition to Morimoto’s main part . The supporting harmonies are really sparkling, and they match perfectly with the natural atmosphere of the forest. Let’s listen to it again . Yeah. Great, really good. Moving on . Oh, Morimoto looks really cute in this pose. Is the corn tough? He’s stabbing it with a knife and hitting it with a wooden stick. Let’s move on. It looks fun. Wow, what a beautiful view. An incredibly beautiful view. It was filmed by a drone. This natural scenery and Morimoto’s solo song, Life Is, seem to match perfectly, don’t they? It has an incredibly soothing effect. Let’s move on. Oh, I really love this final phrase, where he sings Haitian so powerfully. Let’s listen to it one more time. Yes. Wow, it’s great. Is this the end? There’s a little more to it this time. Let’s listen. I see. So it was repeated twice. I see. I see. When the same phrase is repeated twice like this, it feels like it’s over, and it has a really refreshing atmosphere . There’s a little more to it, so let’s take a look. Oh, yeah. It was almost, it was really almost. No, Morimoto’s Life Is is also great. Morimoto’s gentle atmosphere and the refreshing feel of the song really match, and I’m really looking forward to seeing the full video for Life Is . Okay, next up is the last one. Tanaka without a cap. Let’s analyze his singing voice . Yeah. Yeah, yeah. What’s he saying “way” about? Tanaka looks amazing in gold accessories, doesn’t he? Like a gorgeous man. And then he said “way.” Excuse me. Let’s move on. Yeah. Yeah. It’s got to be rap, isn’t it, when you think of Tanaka. And Tanaka’s way of producing his rap voice is through the space inside his shoes, the air. That’s the main thing. I may have explained this earlier, but if you use the space inside your mouth as the main focus, the elements of your normal speaking voice really come through in your singing voice. And, by focusing your attention on your mouth, you can sing while thinking about the pronunciation of the words in detail . Let’s listen to it again. Yeah. I think that the strong attack of death is a feeling that comes from focusing your attention on the inside of your mouth. It’s amazing. Let’s move on to the next one. Yes. And the pronunciation of the words is also really cool, but Tanaka-san’s sense of rhythm is just amazing. So , we’re talking about how you feel about rhythm, but the way you take the rhythm that gives off a sense of disappearance, which is called “mae-riding,” and the way you express the heavy, cool weight, which is called “ato-ri,” There are two main ways to create rhythm. The forward rhythm is what No Cap does, where if you create a fast rhythm like “tan tan,” it’s forward, and if you create a slow rhythm like “tan tan,” it’s backward. This time, Tanaka uses a backward rhythm to rap. And the rhythm of Tanaka’s rap , which fits into that rhythm, is almost too precise. I think this is the biggest reason why listening to Tanaka’s rap is so relaxing. Let’s listen to it again. Yeah. If you listen to No Cap while consciously listening to Tanaka’s rhythm along with the drums in the background, it feels like the atmosphere of Tanaka’s rap and the atmosphere of Ram are one. It’s a rap where each and every note really fits in exactly where it should . It’s amazing. Moving on. Hmm. Looking at it again, Tanaka’s style is just so amazing. He’s so slim. He really suits suits. Well, his rap is amazing, and his looks are amazing, there’s nothing more to say. Let’s move on to the next part. Hey, here we go. Isn’t the way he cuts the sound here amazing? Ah, ah. It’s here. As for the way he produces his voice here, I’m sorry, but I’ll just take a second. You can’t see it, but he uses his abdominal muscles like “ahhhh,” and at this point, he stops it like this. He stops the air that comes up in his throat and goes “ahhh.” The moment he presses his fingers like this, he stops his breath. This is just so cool, isn’t it? Let’s listen to it again. Yeah. It’s cool, isn’t it? And at the end, he uses an edged voice. Like “ahh, ahh.” He uses so many different techniques. Let’s move on to the next part. Yeah. From here on, it feels like the overall sharpness of the words is a little looser. It’s like the cutting of the stack art sounds is a little less intense. Let’s listen to it again. He sings with a sloppy, jerky feel, but he slows down when he needs to and cuts the notes when he needs to. I guess he’s got a better sense of contrast. When he cuts the notes abruptly, it creates a still, almost abrupt atmosphere, which is fantastic. Let’s listen to it again. It’s cool. Honestly, I think it’s amazing how cool rap can be. Let’s move on. Yeah. This part, too, has a strong, forward-pushing attack to the voice, which is cool. Each section is expressed in a completely different way. Honestly, this expressiveness is amazing. Let’s listen to it again. Yeah . I want to rap in a cool way like this too. I really admire that. Let’s move on. Yeah. Yeah. And the scenes are getting stronger again. At this point, I think we talked about forward and backward rhythms earlier, but the rhythm shifts to a more forward-pushing style. So, it’s like the rap has a sense of disappearance in it. Let’s listen to it again. Yeah. I think he’s probably singing more of a rhythm than a ‘tan tan tan’ rhythm . I think the rap has a completely different speed here than in the first half. Let’s listen to it again. Yeah. It’s cool. Let’s move on. Good. It’s cool how it goes silent. There were several moments where it was just Tanaka’s voice. Wow, this arrangement is cool. Let’s listen to it again. Wow, it’s irresistible. Let’s move on. I see. The silent part earlier had more of an atmosphere of the brakes being applied, but from what I just heard, it has an atmosphere of time starting to move again. Let’s listen to it again. See, see. Yeah. And, I think the sounds overall are a bit drawn out. Each individual sound. So maybe that atmosphere of time starting to move is emphasized even more. Let’s move on. Yeah. And I think the slurred rhythm in the middle amplifies the sense of speed in the rap. It’s like a tatara-tatara rhythm, and it’s jerky. Let’s listen to it again. It’s jerky, isn’t it? Wow, this sense of speed is irresistible. Moving on. Okay. Yeah. And then, it gets really quiet here. Where is this location? Is it overseas? But looking at the mountains in the background, I can’t help but think it might be Japan. I think it’s probably a cedar tree. Sorry. I might be wrong, but I think it might be a mountain with cedar trees. I grew up in the countryside, in the mountains, so I grew up seeing mountains like this a lot, so I think it’s probably a cedar tree. Moving on. Yeah. For now, there’s no rhythm in the background. Like the drums have disappeared. That’s why Tanaka-san is using really strong staccato notes and really strong shees to express a sense of rhythm in his rap. Let’s listen to it again. See ? Now that you mention it, I think I can understand, at least from the atmosphere, that, oh, he’s definitely cutting it, and that the sailor is definitely singing with a strong voice. No, so far, it’s really cool. Moving on. Oh, this first part is cool, isn’t it? Again, I think this is a repeat of the first part, but this part with no cap, I can’t sing as well as Tanaka-san, but it’s really cool, isn’t it? I love the part where he says ” cap. ” Let’s listen to it again. It’s always, no, noki, no-un . And Tanaka-san in the water. It’s so picturesque. Moving on. Yeah. Cool. Tanaka-san, a handsome guy who suits water, is really cool. Moving on. Yeah. This video shows Tanaka sitting by the pool, and with all his gold jewelry and shirt, he has a kind of bad- boy coolness to him. I think that’s what makes him manly . Let’s move on to the next one. Hey, he’s swimming. Oh, it’s over. Tanaka ‘s rap went by so quickly. As expected, when you analyze a vocal performance while thinking how cool it is from the bottom of your heart, time flies. It was amazing . That concludes the Stones Kyoto Night Rider, Morimoto Shintaro Life Is, and Tanaka No Cap. This concludes the vocal analysis. Honestly, this song really showcases the individual charms of all three members. And the music video is also incredibly cool. This amazing music video can be viewed on DVD when you purchase the Stones’ 16th single , Stargaze. It really makes me excited for the release date. I can’t wait to see the full video. It’s still more than a month away , but I’m really happy that I can excitedly wait a whole month for Stargaze’s release date, so I’m looking forward to it. I’ll continue to follow the Stones with all my might . That’s all for today’s video. If you enjoyed the video , please subscribe and rate it highly. Well, this is voice trainer Tsusan.

SixTONES – Night rider (Taiga Kyomoto) [YouTube ver.]、SixTONES – Life is… (Shintaro Morimoto) [YouTube ver.]、SixTONES – No Cap (Juri Tanaka) [YouTube ver.]がSixTONES公式youtubeチャンネルにて公開中！
今回の動画は京本大我、森本慎太郎、田中樹のソロ曲をボイストレーナーのツル３がどこよりも丁寧に細かくをテーマに歌声分析をしています！