{"id":18400,"date":"2024-05-20T18:18:00","date_gmt":"2024-05-20T22:18:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=18400"},"modified":"2024-05-20T18:19:12","modified_gmt":"2024-05-20T22:19:12","slug":"naruto-music-kana-boon-silhouette","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/naruto-music-kana-boon-silhouette\/","title":{"rendered":"The music of Naruto: Analyzing the harmony of KANA-BOON&#8217;s &#8220;Silhouette&#8221;"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">It wouldn&#8217;t be an overstatement to say that KANA-BOON&#8217;s &#8220;Silhouette,&#8221; the sixteenth opening for <em><strong>Naruto Shippuden,<\/strong><\/em> is one of the most iconic OPs across the entirety of anime.<\/h2>\n\n\n\n<p>Scoring the series&#8217; climax, &#8220;Silhouette&#8221; features a combination of infectious, universally-appealing melodies and an unapologetic dose of genuine emotion\u2014a perfect match for the spirit of <em>Naruto<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Naruto Shippuden - Opening 16 | Silhouette\" width=\"370\" height=\"208\" src=\"https:\/\/www.youtube.com\/embed\/zVgKnfN9i34?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/21z1GxeHjfD3qkaF5CgCTO?si=7739162f63984adf\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>As you listen to the track, you&#8217;ll likely hear numerous interesting harmonic colors that add an unashamed emotiveness that&#8217;s just <em>so<\/em> indescribably distinct to the lexicons of J-pop and J-rock. In this article, we highlight a few of these chords in &#8220;Silhouette&#8221; that are specifically borrowed from outside of its home key (D major), and discuss how they fit into the larger composition and impact the music&#8217;s expressivity. MIDI screenshots transcribing the vocal melody and chord progression (with the chords we&#8217;re breaking down bolded) and audio excerpts are provided to help you see and hear exactly what&#8217;s going on.<\/p>\n\n\n\n<p>Let&#8217;s dive in!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">A satisfying dissonance<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"785\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01.png\" alt=\"naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01\" class=\"wp-image-18403 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01-400x307.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-01-768x589.png 768w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/785;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/Naruto-harmony-1.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">The first half of the verse of &#8220;Silhouette&#8221;<\/p>\n\n\n\n<p>First things first\u2014let&#8217;s acknowledge that almost all of these chords are cool in their own right. The suspensions, additions, sevenths, and inversions add interesting flavors to even the diatonic chords that are largely outlining <a href=\"https:\/\/splice.com\/blog\/an-introduction-to-harmony\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"simple I-IV-V-type moves. (opens in a new tab)\">simple I-IV-V-type moves.<\/a> That said, all of the chords are exclusively using additional notes that belong right within the key of D major, except for one\u2014the A#<sup>o7<\/sup>.<\/p>\n\n\n\n<p>Although for just a fleeting moment, the A# in this chord adds an intensity that&#8217;s unique from the rest by serving as the <strong>leading tone<\/strong> to the subsequent Bmin<sup>7<\/sup>. The concept of this pitch might actually already feel pretty familiar to you; tons of songs across genres and geographies employ the III (or V\/vi) chord, its more popular cousin that features the same leading tone as its <em>third<\/em>. Take a listen to the chord connecting the instrumental intro to the first verse of another popular <em>Naruto Shippuden<\/em> opening, Ikimonogakari&#8217;s &#8220;Blue Bird,&#8221; for an example of this color:<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/2XpV9sHBexcNrz0Gyf3l18?si=5728bce1e59c4b9f\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">The chord occurring at 0:25 is a III<sup>7<\/sup> chord, which also resolves nicely to the vi chord (also seen as a V<sup>7<\/sup> &#8211; i cadence if we&#8217;re looking at the relative minor, which the song is centered around)<\/p>\n\n\n\n<p>While serving the same function, the diminished seventh chord used in &#8220;Silhouette&#8221; is a slightly more niche substitution that adds some extra grit\u2014both in how it positions the leading tone as the root of the chord, and in its inherently dissonant structure (featuring intervals like a \u266d5). And of course, these less stable elements only combine to make the resolution even sweeter when it hits.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">A unique passing chord<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"797\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02.png\" alt=\"naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02\" class=\"wp-image-18404 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02-400x311.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02-328x255.png 328w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-02-768x598.png 768w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/797;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/Naruto-harmony-2.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">The second half of the verse of &#8220;Silhouette&#8221;<\/p>\n\n\n\n<p>After the first eight bars of the verse play out, we begin looping back with both the same vocal melody and accompanying chords. This sets up the expectation that the chord progression is going to remain consistent throughout\u2014after all, many of us are accustomed to &#8216;four-chord progressions&#8217; that repeat the same handful of chords over and over for the entirety of a song&#8217;s section.<\/p>\n\n\n\n<p>This is where we&#8217;re thrown our second surprise. The sixth chord in the progression, which was previously an F#min<sup>7add4<\/sup>, is replaced by a bold C<sup>add9<\/sup>. The latter may sound simpler in terms of its voicing, but what makes it so unexpected is that C\u266e doesn&#8217;t naturally belong to the key of D major.<\/p>\n\n\n\n<p>So what makes this chord feel surprising, but not totally random? There are a few things that make it work. For one, it&#8217;s far from <em>the most<\/em> foreign chord possible; the other pitches (E, G, and D) all fit nicely within our home key. Second, when we take a step back and look at the root movement across the greater progression, we see that the C<sup>add9<\/sup> continues a chromatic ascent we&#8217;ve been on for the last three chords\u2014this helps our ear make a little more sense of it when it hits. Lastly, the chord is followed up by a G major chord, and while we don&#8217;t tonicize it, C<sup>add9<\/sup> <em>could<\/em> belong to the key of G major, which helps us ease our way out of it a bit.<\/p>\n\n\n\n<p>This C<sup>add9<\/sup> can be seen as what we loosely refer to as a <strong>passing chord<\/strong>\u2014while it&#8217;s non-diatonic and kind of spicy, it fits snugly into the trajectory of the diatonic chords that both precede and follow it. This allows our ear to interpret it as a fleeting moment of cool harmonic color that adds a subtle but meaningful emotional contrast from the first half of the verse.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">A steady chromatic descent<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"762\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03.png\" alt=\"naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03\" class=\"wp-image-18405 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03-400x298.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03-343x255.png 343w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/naruto-anime-op-kana-boon-silhouette-music-theory-in-post-03-768x572.png 768w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/762;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/10\/Naruto-harmony-3.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">The pre-chorus of &#8220;Silhouette&#8221;<\/p>\n\n\n\n<p>What&#8217;s better than one passing chord? An entire progression based on them! Traditional analysis tells us that the first few chords of the pre-chorus are quite complex, including the likes of a Bm\/A# and a D<sup>\u266d5<\/sup>. However, it&#8217;s important to not overthink things; if you look closely, all that&#8217;s really going on here is a Bm triad repeated four times, with the root shifting down by a half step with each repetition. Eventually, this descending root lands nicely on the diatonic G major chord, which gets us back on track to set up for the chorus.<\/p>\n\n\n\n<p>These sorts of chromatic descents are ubiquitous across popular Japanese music. For example, the chorus in C\u00f6 Shu Nie&#8217;s &#8220;asphyxia&#8221; (a track that served as an opening for <em>Tokyo Ghoul:re<\/em>) features similar passing chords that connect a Dm to a B\u266dmaj<sup>7<\/sup>:<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/4hJ0xbo5ErSsZgrccu7h2v?si=84f75904ecce4758\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">1:23 &#8211; 1:26 of the acoustic version of the track clearly highlights the chromaticism<\/p>\n\n\n\n<p>While unrelated to Nagato&#8217;s powerful jutsu, songwriter and utaite Mafumafu&#8217;s track &#8220;Rinne Tensei&#8221; also features a series of descending chromatic chords at the end of its driving chorus:<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/2F2t5p9wRHpl8q16uv6uZb?si=db3f8dd799154092\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Hear the chromatic hits at 1:12 &#8211; 1:15 that set up the end of the chorus<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">The bigger picture of &#8220;Silhouette&#8221;<\/h2>\n\n\n\n<p>So there you have it! While it may seem like we skipped over the focal point of the song (the chorus), we&#8217;ve actually already unlocked its harmonic secrets, since it simply reuses the progressions heard in the verse.<\/p>\n\n\n\n<p>When thinking about incorporating these sorts of unique chords and progressions into your own music, it&#8217;s always important to not get &#8216;lost in the sauce.&#8217; Remember to take a step back every now and then to ask yourself: Does this non-diatonic chord serve and help nuance the emotions I&#8217;m trying to convey? Or, does it actually distract from them? In the case of &#8220;Silhouette,&#8221; KANA-BOON always seems to prioritize emotional impact over all else, and that&#8217;s what makes the song so memorable.<\/p>\n\n\n\n<p>Do you have any questions about any of the concepts we covered? What tracks would you like to see us analyze next? Start a conversation with us and an ever-growing community of other music creators via <a href=\"https:\/\/splice.com\/features\/community\" target=\"_blank\" rel=\"noreferrer noopener\">the Splice Discord.<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Explore royalty-free melodies, chord progressions, and grooves by key, BPM, genre, and more:<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button aligncenter\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/splice.com\/sounds\" target=\"_blank\" rel=\"noreferrer noopener\">Join Splice today<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>We highlight a few unique chords and progressions heard in KANA-BOON&#8217;s &#8220;Silhouette,&#8221; the track that served as the sixteenth opening for Naruto Shippuden. <\/p>\n","protected":false},"author":33,"featured_media":18401,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1699,1696],"tags":[165,1633,1745,1766,1784],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Music Theory of Naruto: Analyzing KANA-BOON&#039;s &quot;Silhouette&quot; 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