The NHK serial novel, 'Amachan', is already beginning to become a social phenomenon with 'Jejeje!' also becoming a fad. Advanced distribution of the opening theme song for the drama began on May 10th.
Although most of the theme songs for morning dramas these days have featured vocal parts, the opening theme song for this drama is a instrumental track created by internationally renowned musician, Yoshihide Otomo. The song features a bouncy, ska-like rhythm with the sounds of 'chanchiki'. The scene of the leading role actress, Reba Nonen, hopping around and the scenery of the beautiful 'Kita Sanriku' that appears along with the song match perfectly. Many people have said 'it gives [them] energy in the morning'. Furthermore, many have been requesting for the song to be released saying, 'I want to listen to it on the way to school/work', and 'I want it to be the marching song for this year's sports day'.
As a result, advanced distribution of the song will begin on iTunes and RecoChoku.
A soundtrack will also be released on June 19th, and it will feature 35 instrumental songs from other dramas that are broadcasted on other days. The CD with a bonus: an 'Amachan Yurukyara Sticker' that is sure to make you relax, and commentaries on all 35 songs by Yoshihide Otomo.
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•Amachan Opening Theme / Long Version
The opening is equivalent to the, 'hajimari hajimari' call in a 'kamishibai' (picture story show. It's like opening the door that says, 'this is where the drama starts'. Whatever the case is, I wanted to write a song that says just that, and that's exactly what I imagined when I began writing it.
I began writing the sketch for the opening theme in August 2012. It was right after I went to Kuji and Kita Sanriku for the first time for collecting data and ate a load of sea urchin. We recorded it on September 11th with a team of 10 members. We recorded 2 versions of the demo at that time. The director and other staff members began shooting while listening to the song.
After that, we developed the sketch based on the video recordings and the scripts as they came up, and in November, we recorded another demo with a team of 6 people. We took that as a stepping-stone and discussed over and over with the staff. The final version was recorded in January 2013 with a team of 40 people. It's a piece that developed over half-a-year. We recorded and re-recorded the song many times using real live instruments while the directors, the staff, and I discussed things over and over. Although the strings were recorded on a different day, the brass and rhythm sections were all adlib. They were given scores with just the melody and chord progression. It was like a jam session; we had a lot of fun doing the recording. So that's how the song was created, but actually, there are 2 versions of the song. The long version airs on Mondays, and it's the regular version (track #12) that airs on the other days. The reason that Mondays are longer is because the credits not only show the cast members' names but the staff members' names also. On the long version, when it goes back to the verse after the chorus, the key changes several times. It ends at a higher key than when it started.
Commentary by Yoshihide Otomo (taken from the bonus material from the CD. The CD will feature commentaries on all 35 tracks)