Classical Style Arrangements
Animenz's arranging style is known as "The Classical Style"
Animenz’s arrangements go beyond what we typically associate with pop piano music. I argue that Animenz’s arrangements should be compared to classical music due to its classical influences and difficulty. Animenz refers to his arranging style as “The Classical Style” which incorporates classical techniques so that his arrangements can be aesthetically pleasing on their own. He stated:
"“Classical Style” simply means creating a pleasing sound aesthetic on the piano, where the listener can enjoy the arrangement without even knowing the original song. I am not only using advanced piano techniques from classical music and including them in my arrangement, but I also think about how to optimise the flow of the music as well by editing the structure of the song.”
- Animenz 2024 (Email Interview)
Animenz uses a variety of classical techniques and aesthetics. This section should not be seen as a comprehensive guide but rather as a proof-of-concept for future research. Only a select group of examples are provided below. For the full list, I encourage readers to read the paper.
Subtle Influences
In the descriptions of several of his YouTube videos, Animenz stated that he took inspiration from certain musical periods, composers or pieces. For example, Animenz’s arrangement of Hikaru Nara and Kizuna Music is arranged in the style of a ballade. In another example, Animenz’s arrangement of the main theme from Non Non Biyori was inspired by the second movement of Beethoven’s Sonata No. 32, Op. 111. His arrangement of Colours was inspired by Chopin, Schuman and Romantic aesthetics. Guren No Yumiya was heavily inspired by Beethoven’s Moonlight Sonata and Silhouette was inspired by the polyphonic music of Bach. Animenz’s arrangement of My Dearest incorporates numerous classical piano techniques inspired by Beethoven’s sonatas.
Overt Classical References
Concertos Qoutations
Animenz would occasionally incorporate passages from classical pieces into his arrangements. For example, the opening of Kuusou Mesorogiwi features a Liszt concerto opening. His arrangement of Extra Magic Hour features a passage from Beethoven’s Emperor Concerto. In addition to this, Animenz’s arrangement of Kura Kura incorporates the opening of Schuman’s Piano Concerto in a Minor. Below are videos featuring these two examples. This occurs in the beginning making it easier for first-time listeners to hear.
Polyphony
Animenz’s arrangements would feature three and on rarer occasions, four voices working together. In some of Animenz’s arrangements, he would use the entire range of the piano so that each voice occupies a register. Animenz may also use rests during complex passages to give the illusion of several voices being played simultaneously, but in reality, they are taking turns to be played. Animenz’s polyphonic style of arranging could also be seen as a piano reduction score as he tries to faithfully recreate and capture all the voices present in the original song.
Ornamentations and Embellishments
Animenz’s arrangements would feature ornamentations and highly embellished melodies. These techniques are associated with the Baroque and Classical periods but exist in other musical periods.
Some common ornamentation techniques that Animenz uses are grace notes, roll chords, slides, glissandos, tremolos and the trill. Animenz may also use arpeggios, scales and motifs to embellish his arrangements. Animenz’s arrangement of My Dearest drew inspiration from Chopin’s improvisation and used trills, broken thirds and arpeggio to create embellished runs. This technique is also known as Fioritura which means flowering.
Variations
In classical music, materials are often restated but they may appear in different variations. Animenz’s arrangements feature variations of the verse and chorus to keep the audience’s interest. In both of these cases, there is a sense of change and development in the music which is different from traditional pop music where the verse and chorus largely stay the same.
Compound Melodies
This is known as a melody within a melody or figure. This is commonly found in classical music as it allows for a sense of depth and nuance. In Animenz’s arrangements, the main melody or motif could contain a compound melody.
Repetition of the Tonic/Dominant Chords at the end of the piece
Composers often repeat the tonic or dominant chord at the end of the piece to create a dramatic or satisfying ending. This is a very common practice in classical music. Animenz uses this practice at the end of his arrangements such as Zense Zense Zense, Guren no Yumiya, and This Game.
Alberti Bass
This is a 3-note broken chord accompaniment pattern often associated with the classical music period. Animenz employs the Alberti Bass in many of his arrangements such as Guren no Yumiya, My Dearest, and The Everlasting Guilty Crown.
Animenz also uses other classical-style accompaniments. For the full list, I recommend readers to take a look at my paper.
Tempo Rubato and Pauses
While not compositional devices themselves, these playing techniques enhance his arrangements and allow the classical elements to come through. The use of these techniques is up to the individual pianists to decide. These practices are common in classical music.
Scales and Arpeggios
Classical composers often extensively employ scales and arpeggios in their works. In fact, the reason why there is so much emphasis on practicing scales and arpeggios is that a pianist will encounter them in their repertoire. Animenz also incorporates many scales and arpeggios in his arrangements.
Ostinato Theme
In some of Animenz’s arrangements, there may be a recurring theme or rhythm. One example is aLIEz where there is an almost constant off-beat rhythm. This takes shape in several different forms, but the main one is introduced in the beginning. The use of an ostinato theme has appeared in other arrangements such as The Everlasting Guilty Crown, where Animenz created an ostinato countermelody.
Details
While not inherently classical, Animenz’s arrangements feature many detailed markings allowing for a sense of depth. Due to this, there could be multiple different but valid ways of interpreting Animenz’s arrangements. In classical music, many people often have different but valid interpretations of the same piece. This type of in-depth thinking does not exist in popular music.