Provisional Logistics

Post for testing purposes.

Is the Bunker Ring really necessary for the iPad mini? My answer is, "It's not required, but it can improve convenience." Convenience is more specifically to aid in ease of holding and reduce the risk of dropping. As you know, the iPad mini has a smooth, thin aluminum housing with rounded corners, and users should always be wary of the danger of slipping out of their hands. (This doesn't seem to be a serious problem for people who use the iPad on their desk all the time, but the iPad mini is the most portable iPad, and many users should have it in their hands.) Bunker Ring Can't eliminate this risk, but it can reduce it. Another important thing is the thickness of your fingers. In my measurement, the inner diameter of the Bunker Ring is 2.4 cm at the longest point and 2 cm at the shortest point. (Most are 2.4 cm, only about 1 cm with hinges is 2 cm.) That is, if your finger is close to this, your finger is better suited for the Bunker Ring. However, you can use it even if your fingers are relatively thin. Again, the Bunker Ring isn't "essential" for the iPad mini (or any device). Bunker Ring is a kind of insurance. It costs less than $ 20 and reduces the chances of your smartphone or tablet falling and ruining it. This Korean ring is invaluable to those who handle the device improperly, like someone trying to use the iPad mini with one hand. We should use our device properly.

In fact, the style of leaving the thoughts of field subject agents growing in all fields as achievements is heretical. It's full of gorillas. Collaborative action is slammed to clearly answer the question of what a kiosk terminal is.

I mean, I'm worried about my prostate.

I found an illustrator with the same name as the world's largest rainforest or e-commerce site, so I would like to share my personal impressions about him. According to my typology, he is a typical deformist and very likely to be a reference for important insights into supernormal stimuli. His style seems to be different from both the two maestros I know, doskoinpo and Sennen Comodo. Boobs he draw are bigger and hanging down than doskoinpo and he tend to emphasize nipples and pubic hair. Also, I feel that it is a more pop coloring [verification needed]. He doesn't seem to like muscular heroines as much as Sennen Comodo, but the relatively thick lines are similar. Another decisive difference is the degree of femdom. The men in his work are often (sexually) tossed by heroines, but the obvious masochistic depictions are rare, and the latest work is also valuable in that respect. Unfortunately, I round it up to prevent my seizures, but the general comment is "I have high expectations because he balances motivation and skill and goes well with my taste."

I think we humans, especially the Japanese, have sorrow and are aware of it. Because in the subconscious we realize that our existence and everything we do is not for ourselves. One of the most common examples is racism. And here, new awareness hampered the development of these ideas and even killed them. In other words, the Japanese word "卑近" seemed very symbolic and couldn't be helped.

If we have to lie to live, there seems to be no reason to live.

>>92 Shut up.

That was hurtful fap... Hate it.

The question of whether to unify the patterns will eventually have to be faced. How to make the pole role and the sexual object consistent.

Je ne m'amuserai point ici à rien rapporter de ma naissance, parce que je ne trouve pas que je puisse rien dire qui soit digne d'être rapporté.

Est-il possible d'avoir deux styles différents ou plus dans une seule image? C'est l'un de mes vagues rêves.

J'ai trouvé un illustrateur du même nom que le plus grand site de commerce électronique ou de forêt tropicale au monde, alors j'aimerais partager mes impressions personnelles à son sujet. Selon ma typologie, il est un déformiste typique et très probablement une référence pour des informations importantes sur les stimuli supra normaux. Son style semble différent des deux maestros que je connais, doskoinpo et Sennen Comodo. Les seins qu'il dessine sont plus gros et pendants que doskoinpo et il a tendance à mettre l'accent sur les mamelons et les poils pubiens. De plus, je pense que c'est une coloration plus pop [vérification nécessaire]. Il ne semble pas aimer les héroïnes musclées autant que Sennen Comodo, mais les lignes relativement épaisses sont similaires. Une autre différence décisive est le degré de domination féminine. Les hommes dans son travail sont souvent (sexuellement) ballottés par des héroïnes, mais les représentations masochistes évidentes sont rares, et les derniers travaux sont également précieux à cet égard. Malheureusement, je l'arrondis pour éviter mes crises, mais le commentaire général est "J'ai de grandes attentes car il équilibre la motivation et les compétences et va bien avec mon goût."

After a little hesitation, I excreted almost soundly. With a little bleeding.

Is beauty and strength incompatible?

In other words, beautiful things tend to be fragile. Its brittleness also seems to be related to rarity.

Décision inconstitutionnelle: tournez-vous toujours des vidéos sur un trépied?

La ligne Keihin reliant la gare de Tokyo à celle de Takashimacho (aujourd’hui gare de Yokohama) a ouvert en 1914. En 1924, les services de la ligne Keihin furent prolongés sur la ligne principale Tōhoku jusqu’à Akabane, puis jusqu’à Ōmiya en 1932. L’ensemble pris alors le nom de ligne Keihin-Tōhoku (après avoir été initialement appelé ligne Tōhoku-Keihin).

Les services interconnectés avec la ligne Negishi débutèrent en 1964.

La gare de Takanawa Gateway, 36e gare de la ligne, ouvre au public le 14 mars 2020.

Often the problem ends up at the same end point. Will I be gone or will the others be gone? Or will I be gone with someone? Which one do I choose? It's a simple matter with few choices.

Excuse me, can I hit Dacho?

I just learned that the wreckage of Jun Moai had subscribing Nechorika, so I chuckled smugly.

A product that is not essential but can improve convenience on a daily basis. Like wireless headphones.

Today I will be reviewing and analysing the music of Touhou 17 demo. I've been reading comments over the internet and many have felt that the music sounds experimental, weird, interesting and etc. So I guess I will be dissecting the music up and comment on what I find interesting and stuff like that. Note that there might be some inaccuracies in this analysis as the the featured music sheets are transcribed by me and I ain't have perfect ears. OK?

Touhou 17 Title Screen Theme: Silent Beast Spirits
Definitely gives off that mysterious yet menacing vibe which is not surprising for a Hell themed game. In the intro, ZUN placed G# (1 semitone away from the tonic) on every 4th beat of the bar. The leading tone packs a lot of tension and really wants to resolve upwards to the tonic note (A) but ZUN decides to keep that tension there. But I will resolve it for you so you guys can hear what it sounds like. And the next section, the theme of eastern story comes into play but this time sounding creepy. The diminished chord (red) played at every 4th beat helps to give off that darkish feel. While that C natural note (blue) in the melody functions as a chromatic note also contributes to that creepy/darkish feel. You may argue that this section of the OST is in C# harmonic minor scale because of the raised 7th (B# being enharmonic to C natural) But I feel that chromaticisms would fit better in this context because ZUN usually uses chromaticisms to make his music sound creepy. The same technique is used as the previous section but this time I want to show you the aggressive bass being used. Not to mention that pretty aggressive instrumentations are also being used in this OST too. For the next section, ZUN adds and extra layer of melody ontop of the pre-existing melody from the intro. And now he mashes the theme of eastern story with that intro motif which is one of the common techniques ZUN uses to have both melody playing : (mashing up pre-existing melodies together). Definitely one of the more complex and interesting title screen theme ZUN has composed. But I still prefer Mysterious Purification Rod.

Touhou 17 Stage 1 Theme: The Lamentations Known Only by Jizo
Gives me a melancholic yet captivating feel. Yes, the doll maker of Bucuresti motif is back along with the 'even beat same note pattern' (apparently this technique is called 'Pedal'). This technique is commonly used by ZUN in stage themes to give off that atmospheric vibe (?) [don't really know how explain the feeling lol]. Since the repeated note is the dominant note of the key, it's called a dominant pedal here. Really love the bass and choir here. They seem to be played independently. So there are like at least 4 voicings being effectively played in the intro: Melody, Bass, Choir and Guitar spam which I did note transcribe. It uses a chord progression of VI > VII > vii dim > i which is played by the guitar strumming (Didn't add it in due to space constraint and I'm lazy to learn how to display my MuseScore sheet music horizontally instead of vertically lol). And it's not really an uncommon chord progression used by ZUN. But I feel that because of how prominent the choir (and maybe bass) are, it's really easy to divert your attention onto them instead of the guitar chords playing the common Touhou chord progression. Not to mention that the combination of these all voicings would make some interesting harmonies. Hence, in my opinion, the intro doesn't really sound Touhou-like although it uses common Touhou chord progression. Also feel free to refer back to the original OST to hear parts that I did not transcribe or when I talk about instrumentations later on (I won't replicate them because it will take me effort to get those VSTs and experiment with them). Or you can refer to Williatico's transcriptions (He makes pretty accurate transcriptions and tries to replicate the sound and usually post the VST instruments he used in the description). Next section is just a simple Touhou melody with the chord progression of VI > VII > vii dim > i. Sounds pretty Touhou-like. I really like the spooky lead instrument used for the melody. It gives off that captivating (?) vibe here. Next section, we can hear that ZUN is trying something new here. Taking both bass and choir into our harmonic analysis, we can see that ZUN is trying to modulate from a minor key to a major key. And here are the chords notated down in root position (for easier analysis). However, G# major chord (V) does not exist in C# minor and neither does Bb dim chord (ii dim) exist in Ab major. So ZUN borrowed the V chord from C# minor's parallel key (C# major) and that V chord (G# B# D#) happens to be the I chord of Ab major. (G# B# D# is enharmonic to Ab C Eb) Likewise, ZUN borrowed from Ab major's parallel key (Ab minor) to obtain that (ii dim) Bb dim chord (Bb Dd Fb). To summarise, ZUN tries to modulate from C# minor to Ab major using the same chord found in C# minor parallel key (C# major) and Ab major. As for why ZUN tries to borrow from Ab minor while trying to establish a Ab major tonic, I have no idea why (To trick listeners to think that the song is still in the minor key?). Eb note in melody when the chord has a E natural note instead of Eb note? Weird. Either way, those 2 bars sound pretty weird to me. I guess ZUN is still on the experimentation stage. Maybe in the future we can hear some smooth and sick modulation from him. Do note that I might have trascribed that part wrongly which would deemed my analysis futile but the key point is that ZUN is trying to modulate from C# minor to Ab major, something that you don't see otten from ZUN. Why Ab major though?

Because the next section is in F minor which is the relative key of Ab major and the range of the melody fits just nice in the middle (not too low or high). In the last section, the chord progression is just the usual VI > VII > i with a simple melody. Typical Touhou sounding part. Parts of this section really sound like Egoistic Flower. i have compared them off- screen and the general motion of both melodies is really similar, and not to mention the melody structure and phrasing is also really similar. But I have decided not to mash them up and showcase it here because I have already spent so much time on this stage theme and parts of both melodies do clash too so might need to rework on the mashup arrangement if I ever work on it. Same spooky lead instrument is used here. Choice of instrumentations is really important in deriving a song's mood. Even though it uses a simple melody and the usual Touhou chord progression, it really gives off a different mood from other OST's that use the same technique. In my opinion, the intro and the section after the 1st melody stands out from this OST.

Touhou 17 Stage 1 Boss: Jelly Stone
Probably one of the more popular OSTs in Th17 demo. Really catchy and melodious. To be honest , I don't really have much to talk about this song so I will go through it quickly (Nice bass riff at 3rd-4th bar by the way). Quite a drum focused song, which of course helps to contribute to its catchiness. Uses the common Touhou chord progression : VI > VII > v > I and has quite a simple yet melodious melody. Spooky lead instrument is used here again. Has a fast tempo of around 174 BPM and uses pretty short value notes (many quavers). Really makes the OST feel energetic and lively. Really suited for a rock arrangement or.... a.... STONE ARRANGE.

Touhou 17 Stage 2 Theme: Lost River
Gives me this unstable and lost feeling. A music in 3/4 time signature. Not really an uncommon time signature but I guess it's nice to have something other than 4/4. It's probably pretty obvious to any listener s that some interesting chords are being used. So lets jump into the chords and harmonies of the intro. The first thing to note that is that for the most part of the music, it alternates between 2 keys every 4 bars. By continuously looping between only 2 keys, the music doesn't seem to have an actual resolution. That makes the music feel like it's note going anywhere, which as the name of the music implies, a "Lost" feeling. Anyway lets go back to the chords and harmonies. Lets first look at the bass and the ostinato of the first 4 bars. We can see that it alternates between notes based on F# minor 2nd inversion chord and C# sus4 chord which is just literally just resolution > suspense > resolution > suspense ... Likewise, for the next 4 bars, it alternates between notes based on D minor 2nd inversion chord and A sus4 chord. And this repeat for the most part of the music. And because this progression is pretty dull, ZUN tries to add some spice to the song with those arpeggio chords (curly symbol). Here are the chords notated in root position (Easier to digest for you guys). And overall it invokes this sad feeling using minor chords, tenseness using suspended chords. I really like that D(b5) chord, feels eerie yet suspenseful (The chord has Tritone interval and Major 2nd interval). Personally, I wouldn't analyse the chords together with the bass because the bass suggests that the music isn't progressing harmonically so I'm stopping here. And the purpose of inversion is to have a nice motion in the upper chord voicing and also to connect the chords smoother. Interestingly, the melody alternates between 2 keys. Note the first time ZUN has done this though. Music like "No More Going Through Doors" and "Doll Judgement" have its melody played over 5 changing keys/chords. The usage of acciaccatura really gives an 'unstable' feeling. And parts of the main melody beat keep landing on the offbeat, creating this 'unexpected' feeling. The main melody is pretty simple and follows the common Touhou chord progression of VI > VII > i. I love that Oboe instrument used here. Really sweet and smoothing. This melody really sounds like it could be part of Aya's theme lol. Next part is my favourite. Now, instead of doing his plain old boring direct modulation to transpose the melody up to a higher key so as to increase the energy of the song. He now adds harmonies ABOVE the melody. You can say that the new harmony is now the new melody while the old melody functions as harmonies. The combination of the Oboe and the added Lead instrument is really nice too.　

Touhou 17 Stage 2 Boss Theme: The Stone Baby and the Underwater Cow
Weird yet catchy theme. I love the bass lol. First, I want to talk about the bass. Honestly, only the first 6 bars sounds weird. That's because the bass is played 1 higher than the usual range and around Bar 3-5, it sounds really dissonant and weird because it intersects with the melody. And after 6 bars, the bass range drops 1 octave lower and it doesn't sound that bad anymore. lol look at all those dissonant intervals from bar 3-6 (with respect to melody and harmony). The intro and pre-melody section contains many non-diatonic notes with respect to G# minor key. I did try to look for other alternatives to explain for those non-diatonic notes such as modal scales. But my end conclusion would be to think of ZUN adding non-diatonic notes in a minor scale in an attempt to make this music sound weird. Which is honestly not surprising with so many dissonances and that bass. Just like Lost River, this section has quite a few syncopations. The bass is also really similar to the doll maker of Bucuresti motif but with like the 7th note pushed up a semitone. The melody section contains a moderately simple melody. To be honest, what really sets it apart from a simple melody is that there are a shit tons of syncopations here. It uses the chord progression (in root position) of VI > VII > i > VI > VII > vii# min > V which is a pretty interesting chord progression. And apparently ZUN uses some kind of clarinet in the lead melody to emulate the 'moo' sound. Befitting for a cow theme lol

Touhou 17 Stage 3 Theme: Everlasting Spider Lily
Gives me this dreamlike and relaxing feel. The music stars out with a counter melody where the motion seems to ascend and descend alternatingly every bar, creating this dreamlike feeling. It sounds similar to Eternal Spring Dream intro so I will be looking at that too later. The melody is pretty simple too. It follows the chord progression (in root position) of i > VII > vi# dim > VI > vii# dim and then i > VII > vi# dim > VI > III > IV > V. It's a pretty unique progression and it's based on the melodic minor scale (raised 6th and 7th). Really nice melody and countermelody relationship. Sadly, since the intro of Eternal Spring Dream is composed over different keys/chords, it will be inaccurate to compare by mashing the 2 music together. So we will be comparing via the motion of the 2 music instead. If we split the music into 2 notes per group, we can see that the 1st quaver tend to be higher than the 2nd note. So if we remove the 'not as important' lower note, we will be able to see the overall motion of the 2 music. And it doesn't seem like they follow the same motion. So my end conclusion would be that they are semi-similar. They do share similar patterns (1st note tend to be higher than 2nd) and sometimes even have the exact same notes/motion. But overall, their general motion is different. They do share the same dream-like emotion in my opinion though, due to the "1st note tend to be higher than 2nd" pattern. In this section, ZUNpet is used as the lead melody and a new counter melody is introduced. The counter melody sounds like 'The Shining Needle Castle Sinking in the Air' so I'll be looking at that later too. Really love how the ZUNpet is used here. It sounds surprisingly relaxing instead of blaring. It uses a chord progression (in root position) of VI > i > III > VI > VII >II VI > i > III > VI > VII > V and it's a pretty unique chord progression. And ZUN cleverly uses inversions to get that bassline progression that I have played before this. Interestingly, since this music is more bass oriented, I wasn't able to hear any form of 'filling' instruments such as choir and strings that are usually used to play the chord progressions. So I had to deduce the chord progression via the notes from the ZUN's funky bass and also play-testing whether it sounds correct on my piano. Kill me please. Sadly, Shining Needle Castle is in 3/4 while Everlasting Spider Lily is in 4/4 so not it's not really accurate to compare via mashing up so I'll be comparing via their motions instead. We can see that the 5 notes or both OSTs which are under the red arrows have almost exactly the same notes and motion, so yes, they sound very similar.

Touhou 17 Stage 3 Boss Theme: Seraphic Chicken
Sadly, I can't really tell what vibe this music is trying to emit. But it's nice to see ZUN experimenting with new time signatures. I have seen many people saying that the time signature of this music intro is in 7/8 or in 7/4 but in my opinion, I feel that 14/8 best fits the music. So lets compare between these 3.
7/8 I will accent on the first beat of every bar. Sounds off on the 1st beat of every 2nd, 4th, 6th, 8th bar.
7/4 I will group them as 3+3+1 and accent the first beat of every group. I will also accent the main melody beat so you guys can hear it clearer. Not as bad as 7/8 but you can hear that the 2nd, 3rd, 5th, 6th beat does not fall on the main melody beat.
14/8 I will group them as 3+3+3+3+2 and accent on every first beat of every group. Perfect.
How about the part with 7 groups of 2 quavers? Lets try 7/8 where I will accent on the first beat of every bar. I will also accent on the 1st note of every group of 2 quavers. Sounds pretty off like before.
7/4 Perfect.
14/8 Perfect. Both 14/8 and 7/4 fits nicely here.
To conclude, 14/8 best fits the time signature of "Seraphic Chicken". 7/4 is acceptable but 7/8 is a no no.
The intro pulse really reminds me "The Magic Straw Hat Jizo" lol
The main melody follows the chord progression of VI > VII > v > i. Pretty common Touhou chord progression. Melody is quite syncopated. Don't really have much to say about it but I guess it's nice. I think "Seraphic Chicken" is one of the popular Touhou 17 demo OSTs, but I find it meh mainly because of this section. Because it's mainly just copy pasting and direct modulations which is pretty uncreative in my opinion. At least ZUN made the effort to introduce some bass, piano and clavinet spam midway. So I guess just enjoy the rest of the music while I conclude Touhou 17 demo OSTs. In my opinion, ZUN has really experimented quite a lot in the new music, such as trying out new time signature, syncopated melodies, new chord progressions, harmonies, modulations, voicings and adding some nice bass riffs. And talking about bass, the bass is really prominent in the new OSTs. I guess like how people call Imperishable Night the piano game, I shall call Touhou 17 demo the bass game lol.

Here are the features I find interesting for each individual music from Touhou 17 demo
Title Screen - Interesting complexity for just a title screen
Stage 1 theme - Multi voicings for intro and interesting modulation
Stage 1 Boss theme : None
Stage 2 Theme - ZUN trying to use interesting chords, melody in 2 alternating keys, syncopated melody
Stage 2 Boss - Many non-diatonic notes and that bass
Stage 3 Theme - Interesting bassline, chord progression, good melody + counter melody relationship
Stage 3 Boss Theme - Time Signature, 2-3 instruments spamming simultaneously

To be honest, the music doesn't really appeal to me on the first listen. I had to listen a few more times to get used to the music. OSTs like Th15 Stage 6 Theme and 'No More Going Through Doors' are the ones that made me like them instantly. Will I continue doing these type of videos? If the future music are unique enough and they interest me enough, then maybe. To be honest, I'm pretty sick of repeating the same techniques used by ZUN. Haha chromaticism induce spookiness haha. And also transcribing every single music is a pain in the ass too. so... Bye

As usual, all the OSTs featured here are transcribed by me. There might be inaccuracies in the transcriptions but I don't think it will affect the overall analysis much. Also, I will be notating all chord progressions in root position.

Touhou 17 Stage 4 Theme: Unlocated Hell
A music composed for a Hell setting and ZUN's attempt in making a heavy metal music. It won't be surprising if harsh instruments like electric guitars are being used here. Dissonances might be common here too. In the intro, one of ZUN commonly used pattern (high low high low pattern) is used as the music motif. Although a single phrase of motif last for 2 bars of 4/4, it can be felt in 9/8 + 7/8 time signature. Chord prog wise, the intro revolves itself around the tonic chord (D minor) for the first 8 bars. While for the next 8 bars, it seems to be alternating between i and V7. ZUN also used chord tones to form additional voicing in the bass so that's pretty cool. I guess ZUN is aiming for this resolution > tension > resolution > tension feeling as the last 8 bars alternate between a tonic chord and a dominant seventh chord. One aspect of the intro I want to talk about is this. If you look at the last 4 bars of the intro, you can see that ZUN added some kind of harmony/melody (notated in blue) ABOVE the pre-existing motif (notated in both green and orange). A pretty common technique used by ZUN to increase the tension of the song without modulating the song to a higher key and most of the time, ZUN just adds an interval of third above the melody. I did talk about this in my previous video, but I am repeating this technique so that I can give a name to this technique for easier references in the future. I shall call it "Upper Harmony/Melody". For the next section, there is an interesting interaction between the piano melody and the electric guitar motif called the "Call and Response".
Call... (Piano)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Response... (Electric Guitar)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Call... (Piano)
(I really like the bass here)
Response... (Electric Guitar)
Those fast notes in the bass kinda imitate the feel of pitch blending.
Chord Progression is nothing unusual here, just your typical i > VI > i > VII > VI. The only thing unusual is ZUN choice of instruments. Using piano in an attempted heavy metal music and contrasting a pleasing instrument against a harsh instrument lol. Next section is just ZUN preparing for modulation from D minor to F minor, really common for ZUN to modulate his music a third or a semitone apart. You can also see his increasing usage of the sharpened 7th note in his music too. I feel that his main purpose of modulation is to modulate the music to a higher pitch to prepare for his next piano solo section. Because piano usually sounds cleaner and nicer at a higher pitch. This melody sounds pretty experimental because it uses quite a bit of chromatic passing notes. Bar 6 seems to have borrowed notes from the parallel F major, accounting for the natural A and E (to be honest bar 6 sounds weird to me, probably because of ZUN's "wrong" choice of melody notes?). It does sound nice though due to the acciaccaturas and semiquavers notes being added while also partially because piano instrument is used. Chord Progression for this section is VI > VII > v > i iv > V > VI > #vii min > V. The last section is pretty epic, two melodies playing concurrently. It seems that ZUN just adds a new melody layer above the piano solo because the chord progression is the same as the one used in the piano solo. However, I feel that the way ZUN composes the new melody is by creating a new melody line from his MIDI keyboard and then slamming the line above the piano solo. I say this because there are quite a lot of dissonances between the 2 melodies and if lets say ZUN were to create the new melody based on the piano solo, then there shouldn't be so much dissonances. Because ZUN would at least bother harmonising the 2 melody lines.

Now it's just chunks of dissonance intervals here and there (I will put both melodies in the same range after this so it will be easier to hear the dissonances). For the last section, it seems that ZUN is trying to let all the energy out with the held ZUNpet notes while also trying to build tension up for the very last time (as seen from the ascending bassline on the 2nd stave). I have put both melody lines together at the same pitch. Another reason why dissonances can be heard much easier is because I used piano for both the melodies. Because of the piano's natural timbre, colour and etc, its much easier to hear certain dissonances compared to like in electric guitar.

Touhou 17 Stage 4 Boss Theme: Tortoise Dragon
Hard to describe, but it feels floaty and draggy? The prominent choir voicing with its lengthly held note gives me this floaty and air-y vibe. Similar to Tenshi's theme, Wonderful Heaven I guess. While the draggy feel is mainly due to the music's time signature. A music in 6/4! It feels draggy because each bar lasts longer than the typical 4/4 (obviously). Same with Medicine's theme, I think these 2 are the only Touhou songs with time signature of 6/4. Chord Progression for intro is i > VI > iv > V. Also, did you notice that the intro motif comes in every 3/4 while the running notes comes in every 2/4? Epic 3/4 over 2/4 polymeter. For the next section, I feel the 'melody' pulse coming in every 2/4 while the staccato chords at comes in every 3/8, so a 2/4 over 3/8 polymeter. You can also just consider the staccato chords as syncopations relative to the melody. I really love the staccato chords to be honest, I think this song has a great potential for a Bossa Nova arrange. For this section, a chord progression of VI > VII > i iv > v > VI > I is used. You can hear the implied Picardy third (major tonic chord at the end of the musical phrase) in the melody as it resolves from the 4th to the raised 3rd. I really love the voicings composed by ZUN in this music as the running notes, staccato chords, choir and etc are used thoroughly in different timings of the music instead of just spamming it all over the place (It sounds more interesting to create a new voicing using choir rather than using choir as a block chord background filler). Rest of the song is just mostly copy pasting and adding a varied motif onto the main melody section so I don't think there's any need to discuss about that.

Touhou 17 Stage 5 Theme: Beast Metropolis
Piano is heavily used in this music. Pretty obvious ZUN is going for the relaxing and emotional vibe in this music. Intro motif is using arpeggios based on a G# min 9th chord. Nice suspension sound between the G# and the A#. For the melody section, it uses the chord progression of i > VII > IV > VI > VII > IV > V > VI > VII. Interesting chord progression. It uses mostly major chords in a minor key. I can see ZUN is trying to use the raised 6th and 7th from the G# melodic minor scale to convert the iv and v chord into IV and V respectively. Really love the grace note on bar 3 and 4. Also it uses arpeggios as the piano background which is a common way to beautify a song. For this part, it uses the chord progression of VI > VII > V > i VI > VII > i before modulating the song up a semitone from G# minor to A minor. For this section (I shall call it section D), it alternates between i and VI every 4 bars with an added counter melody. Alternating between 2 chords (usually a third apart) is also a very common technique used by ZUN which I personally feel is quite boring because there isn't much progression going on. Also, I do notice that ZUN likes to compose countermelodies with fully quaver notes in his recent games, similarly to the one in this section. This part is just the main melody with a varied form of the counter melody from the previous section (It sounds empty on the lower frequency because I got lazy to add a new stave for block chords xd). last part is nice, 3 concurrent melodies/voicings going on. ZUN just mash the intro motif onto section D. It works because the chord progression for he intro and section D is the same (chord remains unchanged for 4 bars). I got nothing else to say so just stare at the screen I guess.

Touhou 17 Stage 5 Boss Theme: Joutounin of Ceramics
Feels frightening and aggressive. Chord progression of intro: i > VI (D minor) > Temporarily shifts to the (i) of B minor > VI > VII (Back to D minor). This section has a chromatic progression of D > D# > D > C# Not using roman numerals to notate something with little harmonic function. The progression sounds similar to Nue and Koishi's theme so I will be doing a comparison later. I love this additional intentional chromatic dissonant voicing here, really adds the intimidating feel to this part. The progression in this whole section is chromatic here and chromaticisms is a technique ZUN often use to make his music sound creepy (eq. Koishi, Satori, Nue, Flandre's theme, Th16 EX Stage Theme). To be honest, this whole section feels super repetitive but ZUN tries to make it less boring by changing the bass rhythm and adding additional voicings to this section. Also, is this first time ZUN use triplet bass rhythm?! As you can hear, it's more similar to Koishi theme than Nue theme. The melody is made out of triplets and because how the quaver note triplets are three notes being squeezed into an area that two notes normally take up, it gives off this rushy feel to me. The crotchet same triplet note, however, emits an aggressive vibe because I can imagine a pianist mashing the 3 same notes repeatedly on the piano loudly. Remember the upper melody thing I talked about earlier in this video? For this part, unlike the ending of Unlocated Hell, ZUN seems to have built an upper melody based off the main melody. I guess you can say that the upper melody now functions as the new melody while the previous main melody functions as a counter melody. By the way, the bassline suggests a chord progression of VI > VII > i. Chord Progression of this section is VI > VII > V > i iv > VI > VII > V. Bye

To be honest, I was considering not to make Part 4 because only Keiki and Saki theme are worth talking about but I guess I will whip up something for the sake of completing anyway.

Touhou 17 Stage 6 Theme & Stage 6 Boss Theme: Electric Heritage & Entrusting this World to Idols
There isn't really much difference between these two songs in terms of their compostition. The main difference is the type of instruments used. Electric Heritage uses a more synthy instrument, giving that disco-modern feel while Keiki's Theme uses more ensemble/orchestra instruments like horns, brass and zunpets to give that epic vibe to it. Which is a very good example of how the type of instruments you choose can affect the mood of the song greatly. Chord Progression used in this intro is i > VII > IV > VI > #vii dim. This chord progression appears in quite a few PC98 song like Complete Darkness and Vanishing Dream so it might sound PC98-ish to some of you. This intro feels very build-up-esque mainly because of the implied suspension harmony between the melody and chords while also using tension packing diminished chords. If we consider the implied harmony between the melody and chords, the derived harmonies can be seen notated in red. I shall try and emphasise the any tension between the chord tones using my piano. I played important chords of the intro and emphasised mostly on 2nds, 9ths and tritones. Don't mind the clucking sound, I didn't cut my fingernails when recording this video. You can hear a lot of tension between the melody and chords which is good for building up. Implied harmony is one reason why every Touhou song sounds unique and different even though they use similar chord progressions like the infamous VI > VII > i. Let me give you another example where I shall play a small part of Concealed Four Seasons and Invisible Full Moon which contains the VI > VII > i chord progression for comparison. I played an extra VII for Invisible Full Moon lol. Even though both songs use VI > VII > i for that section, Concealed Four Seasons sound "jazzier", doesn't it? The melody of Concealed Four Season implied a more complex and tastier harmony (7ths and 2nds) while the melody of Invisible Full Moon mainly uses the chord tones of the basic triads. It's something that hs the potential to be further analysed on but I don't think I will expand on it because its more complicated and I can see from the comment section that most of yall are struggling to understand the basic music terms I talk about (Maybe it's just me that sucks lmao). This part of Keiki's theme is also the intro of Electric Heritage. It has a nice catchy rhythm to it but its mostly just revolving around the tonic chord. For this section, it uses the chord progression of i > V > III > ii > VI > v sus4 > IV add 6 > V (I included the added chord tones because I feel the colour the add to the song is significant enough). I have seen people commenting that the chord progression is another rip off from Junko's theme (Chromatic descending bassline). Though it does have some aspect of chromatic descending bassline being used, it uses an entirely different chord progression compared to Junko's theme. Depending on how you invert the chords in your progression, you can obtain many different type of basslines. In this case, ZUN managed to obtain a chromatic descending bassline by inverting the chords that was initially in root position. Wait, actually no. For songs that has bassline with a clear sense of direction (Like this theme with a descending bassline direction), I feel that the way ZUN composes its chord progression is by first adding the bassline notes and then filling the rest of the notes which would make up the chords. It's easier for him from a composer's perspective. And this section ends with an implied Picardy Third from the melody. Now this part of Keiki's theme is also the section right after the intro of Electric Heritage. It has a similar catchy rhythm to it and uses some form of VI > VII > i.

The same section as before but this time being transposed a semitone down and the 'Theme of Eastern Story' motif being slammed on it. The Touhou motif really gives this 'home' and 'non hostile' feel to it. The main melody! It uses a simple chord progression of VI > VII > V > i. Melody is pretty simple here. It's simple in a sense that for this section, ZUN keeps repeating that first 3 notes motif throughout the melody which really helps etch that mini motif into your brain. A simple yet effective method. I like the added grace notes here (also in the previous section). It seems that ZUN has been embellishing (or spamming) quite a few of his later game music melody with grace notes. Here, ZUN mashes that Touhou motif into the main melody again, just like the previous section, giving off that 'home' feel while reinforcing that Keiki is just a chill and non-hostile opponent. Just like in Unlocated Hell, you can really see that ZUN just copy paste and mashes his motif here without any regard because of the really obvious minor 2nd dissonances. So good job ZUN.

Touhou 17 Extra Stage Theme: The Shining Law of the Strong Eating the Weak
Sound like a really generic stage theme I guess? Nothing really special. This intro sounds similar to 'Now, Until the Moment You Die' because the first 2bars use the exact same pattern as it but the chord progressions used for both songs are different anyway. The intro sounds very generic probably because the intro is just repeating commonly used Touhou patterns everywhere and mainly revolving around the tonic chord which doesn't make it very interesting. By the way, this part uses the 'Upper Harmony' technique discussed in the previous video where ZUN adds harmonies (mainly thirds) above the previous "melody". Melody is very syncopated here and chord progression used is i > VII > VI > VII > #vii. Quite a descent amount of grace notes added here. For this part, it seems that the 'Upper Melody' technique is used where new harmonies are added above the previous melody. Now the new harmonies behave like the melody now. Great for increasing the song's energy. Also, ZUN went crazy on the embellishment of the melody here. For this melody section, it uses the chord progression of VI > VII > V > i. Nothing really special about the melody but I believe that this song has one of the craziest melody embellishment which really spice things up. I guess the only redeeming factor of this song is its melody embellishment yeah. Also, isn't this bass pattern commonly used throughout Touhou music too? Okay, I have skipped to the last melody section. It uses the chord progression of VI > VII > i VI > VII > #vii dim > i. I have nothing else to say so just enjoy the song.

Touhou 17 Extra Stage Boss Theme: Prince Shoutoku's Pegasus ∼ Dark Pegasus
1st melody feels cheerful while the 2nd chromatic melody feels villainous. Just like a lot of his other songs, this intro alternates between the i and VI. Nothing really interesting here. Harmonies consisting of thirds are now added below the riff to 'thicken' the song. Nothing really interesting here too. The first melody, the chord progression used here is i > VII > VI > VII. The melody is a bit syncopated here and feels quite cheerful to me because of the 'skippy' bass pattern being used. Also, the melody occasionally leaps into the higher notes which also helps to bring said vibe. Also, doesn't the 2nd bar reminds you of a bit of Necrofantasia? lol Anyway just stare at the screen because there's nothing much to talk about here. For the first 4 bar of this section, the melody is chromatic and seems to follow the chord progression of i > i dim > VI (add 6) > #vi > vi in F# minor. As you can see, the first 4 bars is chromatic and the chord progression that I have listed makes no sense (non functional, many chords not found in F# minor). But the reason why I listed the "chord progression" down is because unlike Mayumi and Nue's theme where it is purely chromatic, Saki's theme feels as though ZUN added tons of chromaticisims in a minor scale. Although chromaticisims do help to achieve that dark and villainous vibe as the title suggests "Dark Pegasus", I feel that for this case, the main reason why it sounds dark is because of the emphasis of the note a tritone away (raised 4th) from the key (C natural note and F# minor key), especially on the 2nd bar. Like Junko and Okina's theme do use a chromatic descending bassline but you don't hear anyone saying they receive a creepy vibe from their songs right? This is because their melodies did not include the raised 4th note. I would compare this song to Magus Night where it has a similar chord progression for the 1st 4 chords and also the emphasis on the raised 4th. For the next 4 bars, it seems to have shifted to F minor, as heard from the F major tonic chord at the end of 8th bar and the chord progression is as follows: iv > VI > #vii dim > I. (Opps, I have talked so much that I have eaten into the intro) For this repeated intro part, the "Upper Harmony/Melody" technique is used here. I guess it's more of Upper Melody because it sounds more like a melody? Oh no, we are back into the chromatic melody section again. Why? Because at the end, there is a weird melody alteration. Lets hear it. Now the melody is being transposed one semitone up and although the rhythm and chord progression remains the same, it seems that a new melody is being created. I have now transposed the original melody to the same key as the new melody and removed any harmonies so you can hear the differences clearer. After this, I guess I will give random comments on Touhou 17 Stage 4 Theme to Extra Boss Theme. I feel that I might have rushed down on a lot of stuff as I was trying to fit everything before each section of the song ends. Forming of unusual/uncommon chord progressions (This is just a speculation). First, ZUN will add the bassline along with the melody first before filling the rest that makes up the chord. Are there any rules ZUN follow for filling up the chords? I don't think so, he usually just use triads. There are some signs of sus4 and triads with added 6th in this chord progression though. Perhaps he was experimenting and preferred the sound of it compared to triads. Same with the chromatic melody section of Saki's theme (Bassline with melody first). Same with the chromatic melody section of Saki's theme (And then fill up the chords). Same with Keiki's Theme Intro. I believe he just creates the melody and adds the chord progression below it and the implied harmony happens to contains a lot of suspensions. I don't think ZUN actually considered having these added harmonies when composing.

About Saki's theme... It feels especially dark on the 2nd bar thanks to the raised 4th used on the strong beat. Magus Night and Satori Maiden has the emphasis on the raised 4th on the strong beat too! Intended dissonances? Or is ZUN trying to copy paste? Unlocated Hell. Notice the minor 2nd dissonances. Intended dissonances? Part2. It feels as though there is a minor 2nd dissonance clash here, like a major chord being mashed with a minor chord. Perhaps ZUN got drunk and used a minor choir chord instead of a major when his melody is trying to imply a Picardy Third? Random comments on the triplet melody in Joutounin of Ceramics. ZUN does use triplets but mostly on songs with some kind of fast solo like the 3 songs above. So a song with its melody almost entirely made from triplets is definitely new and interesting!

Summary/Conclusion
Unlocated Hell - Interesting voicing interaction & counter melodies, experimental piano section, nice bass, energy level (tension, climax & etc) done well, weird instrumental choice.
Tortoise Dragon - Interesting time signature and polymeter, really good voicings interactions.
Beast Metropolis - Excellent melody, good grace notes, interesting counter melodies.
Joutounin of Ceramics - Epic triplets, chromatic section too repetitive, 1st entrance of melody too short.
Electric Heritage - Excellent instrument choice, literally the same as Keiki's theme composition wise.
Entrusting this World to Idols - Good intro buildup, good main melody, good usage of grace notes, interesting 1st melody section chord progression, copypasta Touhou motif.
The Shining Law of the Strong Eating the Weak - Generic stage theme vibe, excellent usage of grace notes.
Dark Pegasus - Weird chromatic melody but I like it, even weirder altered chromatic melody, nice 1st melody, interesting upper melody on the repeated intro.

Common Techniques used
Upper Melody/Harmony - Quite commonly used here, earlier games use this technique too.
Copypasta - I guess it's fine if the dissonances aren't too obvious.
Chromaticisms & Tritones - Used in Mayumi & Saki's theme, earlier games use this technique for creepy songs too.
"VI > VII > i"/"VI > VII > V > i"Chord Progression - Used pretty often here as always.
Fully quaver notes "dreamy" like counter melody - Used in Beast Metropolis, also used quite commonly in recent games (Lucid Dreamer, DDC Stage 5, Everlasting Spider Lily).
Transposing a section 1 semitone or a third apart - Everywhere, super common in earlier games too.
Section revolving either only on the tonic chord or around i and VI - Pretty common here too, used frequently in earlier games too.
Picardy Third - Used in Tortoise Dragon & Keiki's Theme to give a happy resolution, used quite often in later games like (Concealed Four Seasons & Pure Furies).
You can also consider it as a plagal cadence too if the melody line jumps from a 4th to a raised 3rd with the chords happening to move from a subdominant to a major tonic chord.

That's it. Bye

I will repost after correcting some typos.

When, where, who, what, why and how to pre-install "that" on us?

In the first place, it is too cold to fap before the discussion of fapability.

One interpretation of "the benefits of not being beautiful" is that you are freed from making yourself look more beautiful than you need to be.

Isn't it amount of your daytime activity...?

Hi...
I am looking forward to your posts.
Are you really from an English speaking country? How did you come to know about leaf heaven?
Also, why did you decide to write a novel that is too original around >15?
Sorry for the translation. I'm waiting for your reply.

>>131
Good morning. Sorry for the late reply. I'm Japanese living in Japan and used to use this site in Japanese before. Most of my posts are with the help of Google Translate because my own English proficiency is extremely poor. So you don't have to apologize for using a translator at all.

That 'novel' wasn't originally written by me. The original is a sensual novel written in Japanese that I found while browsing. >>15 and after that is an English translation of it I personally made.

In short, these are all my stupid pastime.

No one must want someone to commit suicide physically and ideologically.

Let me know what is Urasuji Stamp

Alright. It's time.

Today I will be reviewing and analysing the music of Touhou 17 demo. I've been reading comments over the internet and many have felt that the music sounds experimental, weird, interesting and etc. So I guess I will be dissecting the music up and comment on what I find interesting and stuff like that. Note that there might be some inaccuracies in this analysis as the the featured music sheets are transcribed by me and I ain't have perfect ears. OK?

Touhou 17 Title Screen Theme: Silent Beast Spirits
Definitely gives off that mysterious yet menacing vibe which is not surprising for a Hell themed game. In the intro, ZUN placed G# (1 semitone away from the tonic) on every 4th beat of the bar. The leading tone packs a lot of tension and really wants to resolve upwards to the tonic note (A) but ZUN decides to keep that tension there. But I will resolve it for you so you guys can hear what it sounds like. And the next section, the theme of eastern story comes into play but this time sounding creepy. The diminished chord (red) played at every 4th beat helps to give off that darkish feel. While that C natural note (blue) in the melody functions as a chromatic note also contributes to that creepy/darkish feel. You may argue that this section of the OST is in C# harmonic minor scale because of the raised 7th (B# being enharmonic to C natural) But I feel that chromaticisms would fit better in this context because ZUN usually uses chromaticisms to make his music sound creepy. The same technique is used as the previous section but this time I want to show you the aggressive bass being used. Not to mention that pretty aggressive instrumentations are also being used in this OST too. For the next section, ZUN adds and extra layer of melody ontop of the pre-existing melody from the intro. And now he mashes the theme of eastern story with that intro motif which is one of the common techniques ZUN uses to have both melody playing : (mashing up pre-existing melodies together). Definitely one of the more complex and interesting title screen theme ZUN has composed. But I still prefer Mysterious Purification Rod.

Touhou 17 Stage 1 Theme: The Lamentations Known Only by Jizo
Gives me a melancholic yet captivating feel. Yes, the doll maker of Bucuresti motif is back along with the 'even beat same note pattern' (apparently this technique is called 'Pedal'). This technique is commonly used by ZUN in stage themes to give off that atmospheric vibe (?) [don't really know how explain the feeling lol]. Since the repeated note is the dominant note of the key, it's called a dominant pedal here. Really love the bass and choir here. They seem to be played independently. So there are like at least 4 voicings being effectively played in the intro: Melody, Bass, Choir and Guitar spam which I did note transcribe. It uses a chord progression of VI > VII > vii dim > i which is played by the guitar strumming (Didn't add it in due to space constraint and I'm lazy to learn how to display my MuseScore sheet music horizontally instead of vertically lol). And it's not really an uncommon chord progression used by ZUN. But I feel that because of how prominent the choir (and maybe bass) are, it's really easy to divert your attention onto them instead of the guitar chords playing the common Touhou chord progression. Not to mention that the combination of these all voicings would make some interesting harmonies. Hence, in my opinion, the intro doesn't really sound Touhou-like although it uses common Touhou chord progression. Also feel free to refer back to the original OST to hear parts that I did not transcribe or when I talk about instrumentations later on (I won't replicate them because it will take me effort to get those VSTs and experiment with them). Or you can refer to Williatico's transcriptions (He makes pretty accurate transcriptions and tries to replicate the sound and usually post the VST instruments he used in the description). Next section is just a simple Touhou melody with the chord progression of VI > VII > vii dim > i. Sounds pretty Touhou-like. I really like the spooky lead instrument used for the melody. It gives off that captivating (?) vibe here. Next section, we can hear that ZUN is trying something new here. Taking both bass and choir into our harmonic analysis, we can see that ZUN is trying to modulate from a minor key to a major key. And here are the chords notated down in root position (for easier analysis). However, G# major chord (V) does not exist in C# minor and neither does Bb dim chord (ii dim) exist in Ab major. So ZUN borrowed the V chord from C# minor's parallel key (C# major) and that V chord (G# B# D#) happens to be the I chord of Ab major. (G# B# D# is enharmonic to Ab C Eb) Likewise, ZUN borrowed from Ab major's parallel key (Ab minor) to obtain that (ii dim) Bb dim chord (Bb Dd Fb). To summarise, ZUN tries to modulate from C# minor to Ab major using the same chord found in C# minor parallel key (C# major) and Ab major. As for why ZUN tries to borrow from Ab minor while trying to establish a Ab major tonic, I have no idea why (To trick listeners to think that the song is still in the minor key?). Eb note in melody when the chord has a E natural note instead of Eb note? Weird. Either way, those 2 bars sound pretty weird to me. I guess ZUN is still on the experimentation stage. Maybe in the future we can hear some smooth and sick modulation from him. Do note that I might have transcribed that part wrongly which would deemed my analysis futile but the key point is that ZUN is trying to modulate from C# minor to Ab major, something that you don't see often from ZUN. Why Ab major though?

Because the next section is in F minor which is the relative key of Ab major and the range of the melody fits just nice in the middle (not too low or high). In the last section, the chord progression is just the usual VI > VII > i with a simple melody. Typical Touhou sounding part. Parts of this section really sound like Egoistic Flower. I have compared them off- screen and the general motion of both melodies is really similar, and not to mention the melody structure and phrasing is also really similar. But I have decided not to mash them up and showcase it here because I have already spent so much time on this stage theme and parts of both melodies do clash too so might need to rework on the mashup arrangement if I ever work on it. Same spooky lead instrument is used here. Choice of instrumentations is really important in deriving a song's mood. Even though it uses a simple melody and the usual Touhou chord progression, it really gives off a different mood from other OST's that use the same technique. In my opinion, the intro and the section after the 1st melody stands out from this OST.

Touhou 17 Stage 1 Boss: Jelly Stone
Probably one of the more popular OSTs in Th17 demo. Really catchy and melodious. To be honest , I don't really have much to talk about this song so I will go through it quickly (Nice bass riff at 3rd-4th bar by the way). Quite a drum focused song, which of course helps to contribute to its catchiness. Uses the common Touhou chord progression : VI > VII > v > I and has quite a simple yet melodious melody. Spooky lead instrument is used here again. Has a fast tempo of around 174 BPM and uses pretty short value notes (many quavers). Really makes the OST feel energetic and lively. Really suited for a rock arrangement or.... a.... STONE ARRANGE.

Touhou 17 Stage 2 Theme: Lost River
Gives me this unstable and lost feeling. A music in 3/4 time signature. Not really an uncommon time signature but I guess it's nice to have something other than 4/4. It's probably pretty obvious to any listeners that some interesting chords are being used. So lets jump into the chords and harmonies of the intro. The first thing to note that is that for the most part of the music, it alternates between 2 keys every 4 bars. By continuously looping between only 2 keys, the music doesn't seem to have an actual resolution. That makes the music feel like it's note going anywhere, which as the name of the music implies, a "Lost" feeling. Anyway lets go back to the chords and harmonies. Lets first look at the bass and the ostinato of the first 4 bars. We can see that it alternates between notes based on F# minor 2nd inversion chord and C# sus4 chord which is just literally just resolution > suspense > resolution > suspense ... Likewise, for the next 4 bars, it alternates between notes based on D minor 2nd inversion chord and A sus4 chord. And this repeat for the most part of the music. And because this progression is pretty dull, ZUN tries to add some spice to the song with those arpeggio chords (curly symbol). Here are the chords notated in root position (Easier to digest for you guys). And overall it invokes this sad feeling using minor chords, tenseness using suspended chords. I really like that D(b5) chord, feels eerie yet suspenseful (The chord has Tritone interval and Major 2nd interval). Personally, I wouldn't analyse the chords together with the bass because the bass suggests that the music isn't progressing harmonically so I'm stopping here. And the purpose of inversion is to have a nice motion in the upper chord voicing and also to connect the chords smoother. Interestingly, the melody alternates between 2 keys. Note the first time ZUN has done this though. Music like "No More Going Through Doors" and "Doll Judgement" have its melody played over 5 changing keys/chords. The usage of acciaccatura really gives an 'unstable' feeling. And parts of the main melody beat keep landing on the offbeat, creating this 'unexpected' feeling. The main melody is pretty simple and follows the common Touhou chord progression of VI > VII > i. I love that Oboe instrument used here. Really sweet and smoothing. This melody really sounds like it could be part of Aya's theme lol. Next part is my favourite. Now, instead of doing his plain old boring direct modulation to transpose the melody up to a higher key so as to increase the energy of the song. He now adds harmonies ABOVE the melody. You can say that the new harmony is now the new melody while the old melody functions as harmonies. The combination of the Oboe and the added Lead instrument is really nice too.

Touhou 17 Stage 2 Boss Theme: The Stone Baby and the Underwater Cow
Weird yet catchy theme. I love the bass lol. First, I want to talk about the bass. Honestly, only the first 6 bars sounds weird. That's because the bass is played 1 higher than the usual range and around Bar 3-5, it sounds really dissonant and weird because it intersects with the melody. And after 6 bars, the bass range drops 1 octave lower and it doesn't sound that bad anymore. lol look at all those dissonant intervals from bar 3-6 (with respect to melody and harmony). The intro and pre-melody section contains many non-diatonic notes with respect to G# minor key. I did try to look for other alternatives to explain for those non-diatonic notes such as modal scales. But my end conclusion would be to think of ZUN adding non-diatonic notes in a minor scale in an attempt to make this music sound weird. Which is honestly not surprising with so many dissonances and that bass. Just like Lost River, this section has quite a few syncopations. The bass is also really similar to the doll maker of Bucuresti motif but with like the 7th note pushed up a semitone. The melody section contains a moderately simple melody. To be honest, what really sets it apart from a simple melody is that there are a shit tons of syncopations here. It uses the chord progression (in root position) of VI > VII > i > VI > VII > vii# min > V which is a pretty interesting chord progression. And apparently ZUN uses some kind of clarinet in the lead melody to emulate the 'moo' sound. Befitting for a cow theme lol

Touhou 17 Stage 3 Theme: Everlasting Spider Lily
Gives me this dreamlike and relaxing feel. The music stars out with a counter melody where the motion seems to ascend and descend alternatingly every bar, creating this dreamlike feeling. It sounds similar to Eternal Spring Dream intro so I will be looking at that too later. The melody is pretty simple too. It follows the chord progression (in root position) of i > VII > vi# dim > VI > vii# dim and then i > VII > vi# dim > VI > III > IV > V. It's a pretty unique progression and it's based on the melodic minor scale (raised 6th and 7th). Really nice melody and countermelody relationship. Sadly, since the intro of Eternal Spring Dream is composed over different keys/chords, it will be inaccurate to compare by mashing the 2 music together. So we will be comparing via the motion of the 2 music instead. If we split the music into 2 notes per group, we can see that the 1st quaver tend to be higher than the 2nd note. So if we remove the 'not as important' lower note, we will be able to see the overall motion of the 2 music. And it doesn't seem like they follow the same motion. So my end conclusion would be that they are semi-similar. They do share similar patterns (1st note tend to be higher than 2nd) and sometimes even have the exact same notes/motion. But overall, their general motion is different. They do share the same dream-like emotion in my opinion though, due to the "1st note tend to be higher than 2nd" pattern. In this section, ZUNpet is used as the lead melody and a new counter melody is introduced. The counter melody sounds like 'The Shining Needle Castle Sinking in the Air' so I'll be looking at that later too. Really love how the ZUNpet is used here. It sounds surprisingly relaxing instead of blaring. It uses a chord progression (in root position) of VI > i > III > VI > VII >II VI > i > III > VI > VII > V and it's a pretty unique chord progression. And ZUN cleverly uses inversions to get that bassline progression that I have played before this. Interestingly, since this music is more bass oriented, I wasn't able to hear any form of 'filling' instruments such as choir and strings that are usually used to play the chord progressions. So I had to deduce the chord progression via the notes from the ZUN's funky bass and also play-testing whether it sounds correct on my piano. Kill me please. Sadly, Shining Needle Castle is in 3/4 while Everlasting Spider Lily is in 4/4 so not it's not really accurate to compare via mashing up so I'll be comparing via their motions instead. We can see that the 5 notes or both OSTs which are under the red arrows have almost exactly the same notes and motion, so yes, they sound very similar.

Touhou 17 Stage 3 Boss Theme: Seraphic Chicken
Sadly, I can't really tell what vibe this music is trying to emit. But it's nice to see ZUN experimenting with new time signatures. I have seen many people saying that the time signature of this music intro is in 7/8 or in 7/4 but in my opinion, I feel that 14/8 best fits the music. So lets compare between these 3.
7/8 I will accent on the first beat of every bar. Sounds off on the 1st beat of every 2nd, 4th, 6th, 8th bar.
7/4 I will group them as 3+3+1 and accent the first beat of every group. I will also accent the main melody beat so you guys can hear it clearer. Not as bad as 7/8 but you can hear that the 2nd, 3rd, 5th, 6th beat does not fall on the main melody beat.
14/8 I will group them as 3+3+3+3+2 and accent on every first beat of every group. Perfect.
How about the part with 7 groups of 2 quavers? Lets try 7/8 where I will accent on the first beat of every bar. I will also accent on the 1st note of every group of 2 quavers. Sounds pretty off like before.
7/4 Perfect.
14/8 Perfect. Both 14/8 and 7/4 fits nicely here.
To conclude, 14/8 best fits the time signature of "Seraphic Chicken". 7/4 is acceptable but 7/8 is a no no.
The intro pulse really reminds me "The Magic Straw Hat Jizo" lol
The main melody follows the chord progression of VI > VII > v > i. Pretty common Touhou chord progression. Melody is quite syncopated. Don't really have much to say about it but I guess it's nice. I think "Seraphic Chicken" is one of the popular Touhou 17 demo OSTs, but I find it meh mainly because of this section. Because it's mainly just copy pasting and direct modulations which is pretty uncreative in my opinion. At least ZUN made the effort to introduce some bass, piano and clavinet spam midway. So I guess just enjoy the rest of the music while I conclude Touhou 17 demo OSTs. In my opinion, ZUN has really experimented quite a lot in the new music, such as trying out new time signature, syncopated melodies, new chord progressions, harmonies, modulations, voicings and adding some nice bass riffs. And talking about bass, the bass is really prominent in the new OSTs. I guess like how people call Imperishable Night the piano game, I shall call Touhou 17 demo the bass game lol.

Here are the features I find interesting for each individual music from Touhou 17 demo
Title Screen - Interesting complexity for just a title screen
Stage 1 theme - Multi voicings for intro and interesting modulation
Stage 1 Boss theme : None
Stage 2 Theme - ZUN trying to use interesting chords, melody in 2 alternating keys, syncopated melody
Stage 2 Boss - Many non-diatonic notes and that bass
Stage 3 Theme - Interesting bassline, chord progression, good melody + counter melody relationship
Stage 3 Boss Theme - Time Signature, 2-3 instruments spamming simultaneously

To be honest, the music doesn't really appeal to me on the first listen. I had to listen a few more times to get used to the music. OSTs like Th15 Stage 6 Theme and 'No More Going Through Doors' are the ones that made me like them instantly. Will I continue doing these type of videos? If the future music are unique enough and they interest me enough, then maybe. To be honest, I'm pretty sick of repeating the same techniques used by ZUN. Haha chromaticism induce spookiness haha. And also transcribing every single music is a pain in the ass too. so... Bye

As usual, all the OSTs featured here are transcribed by me. There might be inaccuracies in the transcriptions but I don't think it will affect the overall analysis much. Also, I will be notating all chord progressions in root position.

Touhou 17 Stage 4 Theme: Unlocated Hell
A music composed for a Hell setting and ZUN's attempt in making a heavy metal music. It won't be surprising if harsh instruments like electric guitars are being used here. Dissonances might be common here too. In the intro, one of ZUN commonly used pattern (high low high low pattern) is used as the music motif. Although a single phrase of motif last for 2 bars of 4/4, it can be felt in 9/8 + 7/8 time signature. Chord prog wise, the intro revolves itself around the tonic chord (D minor) for the first 8 bars. While for the next 8 bars, it seems to be alternating between i and V7. ZUN also used chord tones to form additional voicing in the bass so that's pretty cool. I guess ZUN is aiming for this resolution > tension > resolution > tension feeling as the last 8 bars alternate between a tonic chord and a dominant seventh chord. One aspect of the intro I want to talk about is this. If you look at the last 4 bars of the intro, you can see that ZUN added some kind of harmony/melody (notated in blue) ABOVE the pre-existing motif (notated in both green and orange). A pretty common technique used by ZUN to increase the tension of the song without modulating the song to a higher key and most of the time, ZUN just adds an interval of third above the melody. I did talk about this in my previous video, but I am repeating this technique so that I can give a name to this technique for easier references in the future. I shall call it "Upper Harmony/Melody". For the next section, there is an interesting interaction between the piano melody and the electric guitar motif called the "Call and Response".
Call... (Piano)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Response... (Electric Guitar)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Call... (Piano)
(I really like the bass here)
Response... (Electric Guitar)
Those fast notes in the bass kinda imitate the feel of pitch blending.
Chord Progression is nothing unusual here, just your typical i > VI > i > VII > VI. The only thing unusual is ZUN choice of instruments. Using piano in an attempted heavy metal music and contrasting a pleasing instrument against a harsh instrument lol. Next section is just ZUN preparing for modulation from D minor to F minor, really common for ZUN to modulate his music a third or a semitone apart. You can also see his increasing usage of the sharpened 7th note in his music too. I feel that his main purpose of modulation is to modulate the music to a higher pitch to prepare for his next piano solo section. Because piano usually sounds cleaner and nicer at a higher pitch. This melody sounds pretty experimental because it uses quite a bit of chromatic passing notes. Bar 6 seems to have borrowed notes from the parallel F major, accounting for the natural A and E (to be honest bar 6 sounds weird to me, probably because of ZUN's "wrong" choice of melody notes?). It does sound nice though due to the acciaccaturas and semiquavers notes being added while also partially because piano instrument is used. Chord Progression for this section is VI > VII > v > i iv > V > VI > #vii min > V. The last section is pretty epic, two melodies playing concurrently. It seems that ZUN just adds a new melody layer above the piano solo because the chord progression is the same as the one used in the piano solo. However, I feel that the way ZUN composes the new melody is by creating a new melody line from his MIDI keyboard and then slamming the line above the piano solo. I say this because there are quite a lot of dissonances between the 2 melodies and if lets say ZUN were to create the new melody based on the piano solo, then there shouldn't be so much dissonances. Because ZUN would at least bother harmonising the 2 melody lines.

Now it's just chunks of dissonance intervals here and there (I will put both melodies in the same range after this so it will be easier to hear the dissonances). For the last section, it seems that ZUN is trying to let all the energy out with the held ZUNpet notes while also trying to build tension up for the very last time (as seen from the ascending bassline on the 2nd stave). I have put both melody lines together at the same pitch. Another reason why dissonances can be heard much easier is because I used piano for both the melodies. Because of the piano's natural timbre, colour and etc, its much easier to hear certain dissonances compared to like in electric guitar.

Touhou 17 Stage 4 Boss Theme: Tortoise Dragon
Hard to describe, but it feels floaty and draggy? The prominent choir voicing with its lengthly held note gives me this floaty and air-y vibe. Similar to Tenshi's theme, Wonderful Heaven I guess. While the draggy feel is mainly due to the music's time signature. A music in 6/4! It feels draggy because each bar lasts longer than the typical 4/4 (obviously). Same with Medicine's theme, I think these 2 are the only Touhou songs with time signature of 6/4. Chord Progression for intro is i > VI > iv > V. Also, did you notice that the intro motif comes in every 3/4 while the running notes comes in every 2/4? Epic 3/4 over 2/4 polymeter. For the next section, I feel the 'melody' pulse coming in every 2/4 while the staccato chords at comes in every 3/8, so a 2/4 over 3/8 polymeter. You can also just consider the staccato chords as syncopations relative to the melody. I really love the staccato chords to be honest, I think this song has a great potential for a Bossa Nova arrange. For this section, a chord progression of VI > VII > i iv > v > VI > I is used. You can hear the implied Picardy third (major tonic chord at the end of the musical phrase) in the melody as it resolves from the 4th to the raised 3rd. I really love the voicings composed by ZUN in this music as the running notes, staccato chords, choir and etc are used thoroughly in different timings of the music instead of just spamming it all over the place (It sounds more interesting to create a new voicing using choir rather than using choir as a block chord background filler). Rest of the song is just mostly copy pasting and adding a varied motif onto the main melody section so I don't think there's any need to discuss about that.

Touhou 17 Stage 5 Theme: Beast Metropolis
Piano is heavily used in this music. Pretty obvious ZUN is going for the relaxing and emotional vibe in this music. Intro motif is using arpeggios based on a G# min 9th chord. Nice suspension sound between the G# and the A#. For the melody section, it uses the chord progression of i > VII > IV > VI > VII > IV > V > VI > VII. Interesting chord progression. It uses mostly major chords in a minor key. I can see ZUN is trying to use the raised 6th and 7th from the G# melodic minor scale to convert the iv and v chord into IV and V respectively. Really love the grace note on bar 3 and 4. Also it uses arpeggios as the piano background which is a common way to beautify a song. For this part, it uses the chord progression of VI > VII > V > i VI > VII > i before modulating the song up a semitone from G# minor to A minor. For this section (I shall call it section D), it alternates between i and VI every 4 bars with an added counter melody. Alternating between 2 chords (usually a third apart) is also a very common technique used by ZUN which I personally feel is quite boring because there isn't much progression going on. Also, I do notice that ZUN likes to compose countermelodies with fully quaver notes in his recent games, similarly to the one in this section. This part is just the main melody with a varied form of the counter melody from the previous section (It sounds empty on the lower frequency because I got lazy to add a new stave for block chords xd). last part is nice, 3 concurrent melodies/voicings going on. ZUN just mash the intro motif onto section D. It works because the chord progression for he intro and section D is the same (chord remains unchanged for 4 bars). I got nothing else to say so just stare at the screen I guess.

Touhou 17 Stage 5 Boss Theme: Joutounin of Ceramics
Feels frightening and aggressive. Chord progression of intro: i > VI (D minor) > Temporarily shifts to the (i) of B minor > VI > VII (Back to D minor). This section has a chromatic progression of D > D# > D > C# Not using roman numerals to notate something with little harmonic function. The progression sounds similar to Nue and Koishi's theme so I will be doing a comparison later. I love this additional intentional chromatic dissonant voicing here, really adds the intimidating feel to this part. The progression in this whole section is chromatic here and chromaticisms is a technique ZUN often use to make his music sound creepy (eq. Koishi, Satori, Nue, Flandre's theme, Th16 EX Stage Theme). To be honest, this whole section feels super repetitive but ZUN tries to make it less boring by changing the bass rhythm and adding additional voicings to this section. Also, is this first time ZUN use triplet bass rhythm?! As you can hear, it's more similar to Koishi theme than Nue theme. The melody is made out of triplets and because how the quaver note triplets are three notes being squeezed into an area that two notes normally take up, it gives off this rushy feel to me. The crotchet same triplet note, however, emits an aggressive vibe because I can imagine a pianist mashing the 3 same notes repeatedly on the piano loudly. Remember the upper melody thing I talked about earlier in this video? For this part, unlike the ending of Unlocated Hell, ZUN seems to have built an upper melody based off the main melody. I guess you can say that the upper melody now functions as the new melody while the previous main melody functions as a counter melody. By the way, the bassline suggests a chord progression of VI > VII > i. Chord Progression of this section is VI > VII > V > i iv > VI > VII > V. Bye

To be honest, I was considering not to make Part 4 because only Keiki and Saki theme are worth talking about but I guess I will whip up something for the sake of completing anyway.

Touhou 17 Stage 6 Theme & Stage 6 Boss Theme: Electric Heritage & Entrusting this World to Idols
There isn't really much difference between these two songs in terms of their composition. The main difference is the type of instruments used. Electric Heritage uses a more synthy instrument, giving that disco-modern feel while Keiki's Theme uses more ensemble/orchestra instruments like horns, brass and zunpets to give that epic vibe to it. Which is a very good example of how the type of instruments you choose can affect the mood of the song greatly. Chord Progression used in this intro is i > VII > IV > VI > #vii dim. This chord progression appears in quite a few PC98 song like Complete Darkness and Vanishing Dream so it might sound PC98-ish to some of you. This intro feels very build-up-esque mainly because of the implied suspension harmony between the melody and chords while also using tension packing diminished chords. If we consider the implied harmony between the melody and chords, the derived harmonies can be seen notated in red. I shall try and emphasise the any tension between the chord tones using my piano. I played important chords of the intro and emphasised mostly on 2nds, 9ths and tritones. Don't mind the clucking sound, I didn't cut my fingernails when recording this video. You can hear a lot of tension between the melody and chords which is good for building up. Implied harmony is one reason why every Touhou song sounds unique and different even though they use similar chord progressions like the infamous VI > VII > i. Let me give you another example where I shall play a small part of Concealed Four Seasons and Invisible Full Moon which contains the VI > VII > i chord progression for comparison. I played an extra VII for Invisible Full Moon lol. Even though both songs use VI > VII > i for that section, Concealed Four Seasons sound "jazzier", doesn't it? The melody of Concealed Four Season implied a more complex and tastier harmony (7ths and 2nds) while the melody of Invisible Full Moon mainly uses the chord tones of the basic triads. It's something that hs the potential to be further analysed on but I don't think I will expand on it because its more complicated and I can see from the comment section that most of yall are struggling to understand the basic music terms I talk about (Maybe it's just me that sucks lmao). This part of Keiki's theme is also the intro of Electric Heritage. It has a nice catchy rhythm to it but its mostly just revolving around the tonic chord. For this section, it uses the chord progression of i > V > III > ii > VI > v sus4 > IV add 6 > V (I included the added chord tones because I feel the colour the add to the song is significant enough). I have seen people commenting that the chord progression is another rip off from Junko's theme (Chromatic descending bassline). Though it does have some aspect of chromatic descending bassline being used, it uses an entirely different chord progression compared to Junko's theme. Depending on how you invert the chords in your progression, you can obtain many different type of basslines. In this case, ZUN managed to obtain a chromatic descending bassline by inverting the chords that was initially in root position. Wait, actually no. For songs that has bassline with a clear sense of direction (Like this theme with a descending bassline direction), I feel that the way ZUN composes its chord progression is by first adding the bassline notes and then filling the rest of the notes which would make up the chords. It's easier for him from a composer's perspective. And this section ends with an implied Picardy Third from the melody. Now this part of Keiki's theme is also the section right after the intro of Electric Heritage.

It has a similar catchy rhythm to it and uses some form of VI > VII > i. The same section as before but this time being transposed a semitone down and the 'Theme of Eastern Story' motif being slammed on it. The Touhou motif really gives this 'home' and 'non hostile' feel to it. The main melody! It uses a simple chord progression of VI > VII > V > i. Melody is pretty simple here. It's simple in a sense that for this section, ZUN keeps repeating that first 3 notes motif throughout the melody which really helps etch that mini motif into your brain. A simple yet effective method. I like the added grace notes here (also in the previous section). It seems that ZUN has been embellishing (or spamming) quite a few of his later game music melody with grace notes. Here, ZUN mashes that Touhou motif into the main melody again, just like the previous section, giving off that 'home' feel while reinforcing that Keiki is just a chill and non-hostile opponent. Just like in Unlocated Hell, you can really see that ZUN just copy paste and mashes his motif here without any regard because of the really obvious minor 2nd dissonances. So good job ZUN.

Touhou 17 Extra Stage Theme: The Shining Law of the Strong Eating the Weak
Sound like a really generic stage theme I guess? Nothing really special. This intro sounds similar to 'Now, Until the Moment You Die' because the first 2bars use the exact same pattern as it but the chord progressions used for both songs are different anyway. The intro sounds very generic probably because the intro is just repeating commonly used Touhou patterns everywhere and mainly revolving around the tonic chord which doesn't make it very interesting. By the way, this part uses the 'Upper Harmony' technique discussed in the previous video where ZUN adds harmonies (mainly thirds) above the previous "melody". Melody is very syncopated here and chord progression used is i > VII > VI > VII > #vii. Quite a descent amount of grace notes added here. For this part, it seems that the 'Upper Melody' technique is used where new harmonies are added above the previous melody. Now the new harmonies behave like the melody now. Great for increasing the song's energy. Also, ZUN went crazy on the embellishment of the melody here. For this melody section, it uses the chord progression of VI > VII > V > i. Nothing really special about the melody but I believe that this song has one of the craziest melody embellishment which really spice things up. I guess the only redeeming factor of this song is its melody embellishment yeah. Also, isn't this bass pattern commonly used throughout Touhou music too? Okay, I have skipped to the last melody section. It uses the chord progression of VI > VII > i VI > VII > #vii dim > i. I have nothing else to say so just enjoy the song.

Touhou 17 Extra Stage Boss Theme: Prince Shoutoku's Pegasus ∼ Dark Pegasus
1st melody feels cheerful while the 2nd chromatic melody feels villainous. Just like a lot of his other songs, this intro alternates between the i and VI. Nothing really interesting here. Harmonies consisting of thirds are now added below the riff to 'thicken' the song. Nothing really interesting here too. The first melody, the chord progression used here is i > VII > VI > VII. The melody is a bit syncopated here and feels quite cheerful to me because of the 'skippy' bass pattern being used. Also, the melody occasionally leaps into the higher notes which also helps to bring said vibe. Also, doesn't the 2nd bar reminds you of a bit of Necrofantasia? lol Anyway just stare at the screen because there's nothing much to talk about here. For the first 4 bar of this section, the melody is chromatic and seems to follow the chord progression of i > i dim > VI (add 6) > #vi > vi in F# minor. As you can see, the first 4 bars is chromatic and the chord progression that I have listed makes no sense (non functional, many chords not found in F# minor). But the reason why I listed the "chord progression" down is because unlike Mayumi and Nue's theme where it is purely chromatic, Saki's theme feels as though ZUN added tons of chromaticisims in a minor scale. Although chromaticisims do help to achieve that dark and villainous vibe as the title suggests "Dark Pegasus", I feel that for this case, the main reason why it sounds dark is because of the emphasis of the note a tritone away (raised 4th) from the key (C natural note and F# minor key), especially on the 2nd bar. Like Junko and Okina's theme do use a chromatic descending bassline but you don't hear anyone saying they receive a creepy vibe from their songs right? This is because their melodies did not include the raised 4th note. I would compare this song to Magus Night where it has a similar chord progression for the 1st 4 chords and also the emphasis on the raised 4th. For the next 4 bars, it seems to have shifted to F minor, as heard from the F major tonic chord at the end of 8th bar and the chord progression is as follows: iv > VI > #vii dim > I. (Opps, I have talked so much that I have eaten into the intro) For this repeated intro part, the "Upper Harmony/Melody" technique is used here. I guess it's more of Upper Melody because it sounds more like a melody? Oh no, we are back into the chromatic melody section again. Why? Because at the end, there is a weird melody alteration. Lets hear it. Now the melody is being transposed one semitone up and although the rhythm and chord progression remains the same, it seems that a new melody is being created. I have now transposed the original melody to the same key as the new melody and removed any harmonies so you can hear the differences clearer. After this, I guess I will give random comments on Touhou 17 Stage 4 Theme to Extra Boss Theme. I feel that I might have rushed down on a lot of stuff as I was trying to fit everything before each section of the song ends. Forming of unusual/uncommon chord progressions (This is just a speculation). First, ZUN will add the bassline along with the melody first before filling the rest that makes up the chord. Are there any rules ZUN follow for filling up the chords? I don't think so, he usually just use triads. There are some signs of sus4 and triads with added 6th in this chord progression though. Perhaps he was experimenting and preferred the sound of it compared to triads. Same with the chromatic melody section of Saki's theme (Bassline with melody first). Same with the chromatic melody section of Saki's theme (And then fill up the chords). Same with Keiki's Theme Intro. I believe he just creates the melody and adds the chord progression below it and the implied harmony happens to contains a lot of suspensions. I don't think ZUN actually considered having these added harmonies when composing.

About Saki's theme... It feels especially dark on the 2nd bar thanks to the raised 4th used on the strong beat. Magus Night and Satori Maiden has the emphasis on the raised 4th on the strong beat too! Intended dissonances? Or is ZUN trying to copy paste? Unlocated Hell. Notice the minor 2nd dissonances. Intended dissonances? Part2. It feels as though there is a minor 2nd dissonance clash here, like a major chord being mashed with a minor chord. Perhaps ZUN got drunk and used a minor choir chord instead of a major when his melody is trying to imply a Picardy Third? Random comments on the triplet melody in Joutounin of Ceramics. ZUN does use triplets but mostly on songs with some kind of fast solo like the 3 songs above. So a song with its melody almost entirely made from triplets is definitely new and interesting!

Summary/Conclusion
Unlocated Hell - Interesting voicing interaction & counter melodies, experimental piano section, nice bass, energy level (tension, climax & etc) done well, weird instrumental choice.
Tortoise Dragon - Interesting time signature and polymeter, really good voicings interactions.
Beast Metropolis - Excellent melody, good grace notes, interesting counter melodies.
Joutounin of Ceramics - Epic triplets, chromatic section too repetitive, 1st entrance of melody too short.
Electric Heritage - Excellent instrument choice, literally the same as Keiki's theme composition wise.
Entrusting this World to Idols - Good intro buildup, good main melody, good usage of grace notes, interesting 1st melody section chord progression, copypasta Touhou motif.
The Shining Law of the Strong Eating the Weak - Generic stage theme vibe, excellent usage of grace notes.
Dark Pegasus - Weird chromatic melody but I like it, even weirder altered chromatic melody, nice 1st melody, interesting upper melody on the repeated intro.

Common Techniques used
Upper Melody/Harmony - Quite commonly used here, earlier games use this technique too.
Copypasta - I guess it's fine if the dissonances aren't too obvious.
Chromaticisms & Tritones - Used in Mayumi & Saki's theme, earlier games use this technique for creepy songs too.
"VI > VII > i"/"VI > VII > V > i"Chord Progression - Used pretty often here as always.
Fully quaver notes "dreamy" like counter melody - Used in Beast Metropolis, also used quite commonly in recent games (Lucid Dreamer, DDC Stage 5, Everlasting Spider Lily).
Transposing a section 1 semitone or a third apart - Everywhere, super common in earlier games too.
Section revolving either only on the tonic chord or around i and VI - Pretty common here too, used frequently in earlier games too.
Picardy Third - Used in Tortoise Dragon & Keiki's Theme to give a happy resolution, used quite often in later games like (Concealed Four Seasons & Pure Furies).
You can also consider it as a plagal cadence too if the melody line jumps from a 4th to a raised 3rd with the chords happening to move from a subdominant to a major tonic chord.

That's it. Bye

>>150 I apologize for first unnecessary line breaks.

NO! LINE BREAK. NOT LINE BREAKS. DO YOU HAVE FUCKING BRAIN?

>>155 I think I don't have the "FUCKING BRAIN".

>>156 Sir, please shut your stinky mouth and go to hell.

I was wondering how convenient it would be if the limit on the number of characters in Google Translate was lifted.

Calm down.

I think those dealing with things that have not been scientifically proven and are not supposed to be done for a while are commonly referred to as fantasy. Since they cannot be substantiated, they are basically not criticized for the facts of the content and are not seriously believed by the public. This is a pre-creation imagination. Design is essential to construction. A set of elements arbitrarily extracted from chaos is incarnated through filtration and tidying. The selection is ruthless, but it is also the reason for our existence. It is no exaggeration to say that the selection is the existence itself. There is no existence without selection.

A simple explanation is the public masturbation of a young man influenced by Kurzgesagt.

The nails eloquently scrape my surface will and consciousness.

We must admit the significance of ethnic cohesion today. The United States has demonstrated that a superficial diversified society creates strong divisions.

Shikkoku no Majutsushi (literally meaning jet-black magician) is a fictional incarnation of self-loathing.
He is characterized by reticence, introversion, autism spectrum disorder, poor grades, school refusal, irresponsibility, withdrawal, and lack of spontaneity.
He even treats his kind classmates coldly to avoid communication as much as possible. However, he is afraid of misunderstanding, so he tries to facilitate communication while using awkward humor. It often fails. He often shows such signs of emotional instability, even with his relatives.

Although he was temporarily hypersexual, he does not masturbate frequently because his libido is declining mainly due to a disturbed lifestyle. Most often once a day, three times is the best record in his life. He tends to be masochistic, but he doesn't love anything that relies solely on violence. Therefore, he regularly uses the appropriate ones selected by himself. His favorite media forms are, in order of frequency of use, manga ＞ Western videos ≧ Eroge videos ≧ Sensual novels ≧ ​​Japanese videos ＞ Anime, audio works and others. The video is basically uncensored only. He tended to avoid anime because he had few encounters with good quality works. Seto Yuuki's manga made him somewhat interested. One of the keywords about his sexual orientation is sexual maturity. In particular, thiccness is the most important indicator of fapability. fapability is undeveloped and is a very interdisciplinary field of study involving physiology, psychology, ethology, physics, economics, law, ethics, design science and more. Physiology, psychology and ethology are all essential to ejaculation management. Physics can move THICC objects on a plane in three-dimensional space. It will definitely help you to achieve more advanced effects like VFX using your computer. Today, pornography is a big industry and has enormous economic benefits. Economics to create a healthy economic soil for the development of countless (potential) creators is also significant. Can legislation wipe out illegal uploads drifting beyond the horizon on the ocean of the Internet? Administrator privacy intervention is also a field of ethics. However, design may be the most directly relevant to us. Even if the author has never been educated of any kind, those who make fappable things are highly respected. Those things are fruits of universality. So he liked titfuck/titjob/tityfuck/tityjob/boobfuck/boobjob/breastfuck/breastjob and so on and its creampie scene, but apparently he didn't find his one. He was addicted to succubus stuff, so the Succubus Prison was often his final destination. He must have been disappointed if he had foreseen the devastation that had fallen on the great Hub. He was plagued by his subversive fingernails and a kind of addiction. The water bill is his accumulation of disgrace. An electric shock-like silent roar ran and broke the sympathetic nervous system. It felt to him like a myriad of echoes ridiculing him. He distorted his face in pain, and he knew that the distorted face was humorous. It was a humorous torture for himself and a manifestation of the urge to self-destruct.

Possible candidates for the cause of itching were congenital factors, lifestyle-related habits including circadian rhythms, and stress caused by them. The predominant view was that each of them influenced each other and was compounded.

The aforementioned "irresponsibility" is one of his major characteristics. One of the most common actions is "procrastination" of deadlines and promises. He never hesitates to betray a deadline or promise. He often procrastinates on schools and cram schools, exacerbating household economic losses. His favorite excuses are the aforementioned itch and its fire-fighting activities, or unfinished homework. He made those excuses in order not to going to school or cram school. The history of escapism can probably be traced back to his childhood, cultivating introverted antisocial personality in the process of reluctance to go to kindergarten.
He rated himself as an extreme communication disorder. He had a shame and inferiority complex about not being able to speak clearly with others. In particular, he had a strong fear of women of his generation. He has tried to avoid looking at them, physically touching and talking.

In summary, these are issues of his shame. Using subjective expressions and exaggerations, he enthusiastically expressed his inferiority. Mainly about his body and mind. His physical problems can be solved realistically. Haircuts seem to be the most annoying because we can't get away from the hair except for frequent shaving, but it's actually the easiest problem he can solve. Buy hair clippers on Amazon. Diseases with known symptoms are like a familiar path. Medical institutions are available for each symptom. Habituation of daily activities, including brushing teeth, can seem extremely difficult until it gets on track. Mental problems are more annoying. They can change abruptly like the weather and are more difficult to predict. However, emotions are somewhat controllable, unlike roller coasters. This is one method, but basically it is better to have more options. The more emergency exits you make, the more likely you are to survive.

The works of doskoinpo may be a satire of the misanthropy that prevails in modern (Japanese) society.

Multitasking is inefficient. More precisely, true multitasking is virtually impossible. All we can do is single tasking and single tasking with jamming.

You should look into the definition of genius. However, I think it is a fact that there are many unexplained parts in the structure of the human body.

Unlike my previous impressions, places like this don't always seem to be full of despair.

Well, it seems that nihilism-based unwritten law is still going on.

How does the envy-based governance mechanism work? Does it have any weaknesses?

It is an ethical violation to unambiguously abandon these and all property rights that we humans should possess.

To be honest, femdom is part of the process, not the purpose. I can't clearly explain what we get through femdom, but at least it's not femdom itself. Nowadays my personal concern is exclusively the mechanism of sexual excitation. In a broad sense, the question is how every physical property works on an object. It should not be sexually limited in nature, but I feel that the approach from a sexual point of view is highly likely to be universalized. I haven't hidden my interest in supernormal stimuli for some time, and it's alive and well. Unfortunately, I can't think of a legal way to experiment with the effects of olfaction and touch, but I'm not impatient. It is appropriate for me to benefit from the fap invention of Cool Japan (practically Cold Japan). According to the featured snippet, the percentage of human perception by the five senses is 83% for vision, 11% for hearing, 3.5% for smell, 1.5% for touch, and 1% for taste. Of the information that humans receive, 80% is visual information.

Hmm I didn't know about that.

The Onkalo spent nuclear fuel repository is a planned deep geological repository for the final disposal of spent nuclear fuel. It is near the Olkiluoto Nuclear Power Plant in the municipality of Eurajoki, on the west coast of Finland. It is being constructed by Posiva, and is based on the KBS-3 method of nuclear waste burial developed in Sweden by Svensk Kärnbränslehantering AB (SKB). The facility is expected to be operational in 2023.

After the Finnish Nuclear Energy Act was amended in 1994 to specify that all nuclear waste produced in Finland must be disposed of in Finland, Olkiluoto was selected in 2000 as the site for a (very) long-term underground storage facility for Finland's spent nuclear fuel. The facility, named "Onkalo" (meaning "small cave" or "cavity") is being built in the granite bedrock at the Olkiluoto site, about five kilometers from the power plants. The municipality of Eurajoki issued a building permit for the facility in August 2003 and excavation began in 2004.

The site was selected after a long process, which started in 1983 with a screening of the whole Finnish territory. From 1993 until 2000, four prospective sites were examined: Romuvaara in Kuhmo, Kivetty in Äänekoski, Olkiluoto in Eurajoki and Hästholmen in Loviisa. Besides geological and environmental considerations, the opinions of local residents were also taken into account. Eurajoki and Loviisa were singled out for being the locations with the highest local support. The former also had more favorable geographic conditions, thus in 1999 Posiva proposed it to the Finnish government as the selected location. The municipality of Eurajoki confirmed its approval of the site, and the national government ratified the decision in May 2001.

Posiva started construction of the site in 2004. The Finnish government issued the company a licence for constructing the final disposal facility on 12 November 2015. As of June 2019 Posiva expects operations to begin in 2023.

The facility was constructed by and will be operated by Posiva, a company owned by the two existing producers of nuclear power in Finland, Fortum and TVO. (Fennovoima, a company which is currently planning its first nuclear reactor, is not a stockholder of Posiva.)

The facility's constructions plans are divided into four phases:[citation needed]

Phase 1 (2004–09) focused on excavation of the large access tunnel to the facility, spiraling downward to a depth of 420 metres (1,380 ft).
Phase 2 (2009–11) continued the excavation to a final depth of 520 metres (1,710 ft). The characteristics of the bedrock were studied in order to adapt the layout of the repository.
In 2012, Posiva submitted an application for a license to construct the repository. The license was granted in November 2015.
Phase 3 (2015–17) construction of the repository
Phase 4, the encapsulation and burial of areas filled with spent fuel, is projected to begin around 2020.

Once in operation, the disposal process will involve placing twelve fuel assemblies into a boron steel canister and enclosing it in a copper capsule. Each capsule will then be placed in its own hole in the repository and overpacked with bentonite clay. The estimated cost of this project is about €818 million, which includes construction, encapsulation, and operating costs. The State Nuclear Waste Management Fund has approximately €1.4 billion from charges for generated electricity.

The Onkalo repository is expected to be large enough to accept canisters of spent fuel for around one hundred years, i.e. until around 2120. At this point, the final encapsulation and burial will take place, and the access tunnel will be backfilled and sealed.

In 2012, a research group at the Royal Institute of Technology in Stockholm, Sweden, published research that suggests that the copper capsules are not as corrosion-proof as the companies planning the repositories claim (see KBS-3). In 2019, another study concluded that radiation effects should not significantly damage the canisters after 100,000 years.

Danish director Michael Madsen has co-written and directed a feature-length documentary Into Eternity where the initial phase of the excavation is featured and experts interviewed. The director's special emphasis is on the semantic difficulties in meaningfully marking the depository as dangerous for people in the distant future.

I wanted Kurzgesagt T-shirts, but there were some doubts about the validity of buying them here. I'm willing to pay for T-shirts, but I'm not willing to pay for illustrations. Even if those designs are very good and attractive. This may be strange, but it seems to have considerable influence as a kind of central doctrine within me. Perhaps this is due to my past, but some objectiveists may deny it. Unfortunately, this elderly centralized device can sleep at any time, so I'll temporarily round it up.

The entity does not have to make any confession. Social confession has been handed down as a preconceived notion, but there is no need to apologize to God for not following the laws of physics. Also, the existence of the personal god is very questionable. The only happiness we know is to rejoice. At present, everything else is nothing but happiness, or just a stepping stone to the joy of being happy.

The Personal God is an imaginary "Amazing Human", isn't it?

The long-term fatal factor for our civilization may be the hardcore radical antinatalists rather than the virus (I am not against antinatalism).

A finial or hip-knob is an element marking the top or end of some object, often formed to be a decorative feature.

In architecture, it is a small decorative device, employed to emphasize the apex of a dome, spire, tower, roof, or gable or any of various distinctive ornaments at the top, end, or corner of a building or structure. A finial is typically carved in stone. Where there are several such elements they may be called pinnacles. The very top of a finial can be a floral or foliated element called a bouquet.

Smaller finials in materials such as metal or wood are used as a decorative ornament on the tops or ends of poles or rods such as tent-poles or curtain rods or any object such as a piece of furniture. These are frequently seen on top of bed posts or clocks. Decorative finials are also commonly used to fasten lampshades, and as an ornamental element at the end of the handles of souvenir spoons. The charm at the end of a pull chain (such as for a ceiling fan or a lamp) is also known as a finial.

I see.

According to two anonymous users, those who like "Adventure Log 2" may also like Kazaky and Robin Schulz.

Extremely simple impulses emerge from extremely complex systems. Do we have to stop trying to unravel it for keeping our "mental health"?

Мне особенно нравится девушка-ёкай Хартманна!

Конечно, мне нравятся и другие песни. Никто не добавляет песню, которая ему не нравится, в их «любимый» плейлист, верно? Однако плейлист должен быть более сложным. Сначала удалите несколько аномальных видео. Они внезапно умирают в середине песни, и мне становится немного не по себе. Обратите внимание, что виноват загрузчик, и я не ненавижу музыку в видео. (Кстати, почему Twitch так уступает YouTube Live?)