Post for testing purposes.
101：匿名：2020/11/28(土) 17:50In other words, beautiful things tend to be fragile. Its brittleness also seems to be related to rarity.
102：匿名：2020/11/28(土) 17:55Décision inconstitutionnelle: tournez-vous toujours des vidéos sur un trépied?
103：Un homme qui a &◆Ag：2020/11/28(土) 18:01 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.
105：匿名：2020/12/02(水) 17:18Excuse me, can I hit Dacho?
106：匿名：2020/12/10(木) 14:48I just learned that the wreckage of Jun Moai had subscribing Nechorika, so I chuckled smugly.
107：匿名：2020/12/16(水) 22:37A product that is not essential but can improve convenience on a daily basis. Like wireless headphones.
108：匿名：2020/12/21(月) 16:41 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.
111：匿名：2020/12/21(月) 16:49 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.
118：匿名：2020/12/21(月) 16:54 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.
122：匿名：2020/12/21(月) 16:58 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!
125：匿名：2020/12/21(月) 17:01 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.
127：匿名：2020/12/22(火) 22:52When, where, who, what, why and how to pre-install "that" on us?
128：匿名：2020/12/26(土) 12:26In the first place, it is too cold to fap before the discussion of fapability.
129：匿名：2020/12/28(月) 04:19One interpretation of "the benefits of not being beautiful" is that you are freed from making yourself look more beautiful than you need to be.
130：匿名：2020/12/28(月) 04:46Isn't it amount of your daytime activity...?
131：Anonymous：2020/12/28(月) 04:54 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.
134：匿名：2020/12/29(火) 00:13Let me know what is Urasuji Stamp
135：匿名：2020/12/29(火) 01:01Alright. It's time.
136：匿名：2020/12/29(火) 01:03 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.
139：匿名：2020/12/29(火) 01:05 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.
146：匿名：2020/12/29(火) 01:12 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.
150：匿名：2020/12/29(火) 01:15
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!
153：匿名：2020/12/29(火) 01:17 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.
155：匿名：2020/12/29(火) 01:24NO! LINE BREAK. NOT LINE BREAKS. DO YOU HAVE FUCKING BRAIN?
156：匿名：2020/12/29(火) 01:26>>155 I think I don't have the "FUCKING BRAIN".
157：匿名：2020/12/29(火) 01:30>>156 Sir, please shut your stinky mouth and go to hell.
158：匿名：2020/12/29(火) 03:52I was wondering how convenient it would be if the limit on the number of characters in Google Translate was lifted.
159：匿名：2020/12/29(火) 04:26Calm down.
160：匿名：2020/12/29(火) 06:28I 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.
161：匿名：2020/12/29(火) 06:38A simple explanation is the public masturbation of a young man influenced by Kurzgesagt.
162：匿名：2020/12/29(火) 07:33The nails eloquently scrape my surface will and consciousness.
163：匿名：2020/12/29(火) 19:25We must admit the significance of ethnic cohesion today. The United States has demonstrated that a superficial diversified society creates strong divisions.
164：匿名 Retranslated：2020/12/30(水) 01:07 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.
167：匿名：2021/01/06(水) 22:43Multitasking is inefficient. More precisely, true multitasking is virtually impossible. All we can do is single tasking and single tasking with jamming.
168：匿名：2021/01/07(木) 10:11You 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.
169：匿名：2021/01/07(木) 10:12Unlike my previous impressions, places like this don't always seem to be full of despair.
170：匿名：2021/01/07(木) 10:15Well, it seems that nihilism-based unwritten law is still going on.
171：匿名：2021/01/11(月) 11:17How does the envy-based governance mechanism work? Does it have any weaknesses?
172：匿名：2021/01/11(月) 22:46It is an ethical violation to unambiguously abandon these and all property rights that we humans should possess.
173：匿名：2021/01/13(水) 01:52To 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.
174：匿名：2021/01/14(木) 13:28Hmm I didn't know about that.
175：匿名：2021/01/14(木) 13:33 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.
178：匿名：2021/01/16(土) 19:27The 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.
179：匿名：2021/01/16(土) 19:30The Personal God is an imaginary "Amazing Human", isn't it?
180：匿名：2021/01/20(水) 00:53The long-term fatal factor for our civilization may be the hardcore radical antinatalists rather than the virus (I am not against antinatalism).
181：匿名：2021/01/20(水) 00:57 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.
183：匿名：2021/01/21(木) 09:16According to two anonymous users, those who like "Adventure Log 2" may also like Kazaky and Robin Schulz.
184：匿名：2021/01/23(土) 09:18Extremely simple impulses emerge from extremely complex systems. Do we have to stop trying to unravel it for keeping our "mental health"?
185：匿名：2021/01/24(日) 04:13Мне особенно нравится девушка-ёкай Хартманна!
186：匿名：2021/01/24(日) 04:34Конечно, 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?)
187：匿名：2021/01/29(金) 13:59Since we did our video covering the different sizes of motherboards I have received a request to cover the same topic but for computer cases changed over time once upon a time even now those standards are really more like a pirate code than actual rules no one can decide on a standard category on their North American website but we're gonna do our best anyway so starting with the main traditional PC case sizes a mini tower is a great compromise between size and expansionAnd ATX motherboard usually but a large mountain could also be classified as a mini tower lost many towers are only suitable for use with a single graphics card with adequate cooling well Sam are OK for two towers are the most common PC cases for custom builders I have 3 to 4 external expansion phase 1017 to 21 inches tall and can almost always hold a full-size ATX motherboard but without a ton of extra space for drives and expect to find 6 to 8 Hour Dr. and enough cooling in space to comfortably handle two graphics cards in crossfire SOI Falls towers are the SUVs in the computer case world we can have five or more external 522 inches to 27 inches they always support. Almost always supportFactor as well the funny thing about Ful Towers is that other than excepting more Drive expansion providing better cooling for hot running any fission and having Apple space for superfluous they don't bring much to the table in terms of performance over I'm in Tower but they do tend to be easier to work and particularly if you've got big hands so back to the SUV analogy it's a luxury item only two more to go now before we get into some of the stuff and neither of them is really a well-established standard a super or ultra tower is loosely defined as anything taller than 27 inches and I'm on tower is a case system is actually difficult to determine because you can actually adjust it by stacking multiple cases on top of each other to add coolant capacity or drive mounting options desktops are our first non-tower size case I will do used to be the dominoWe will find them in a variety of sizes for ones that are so small they need an external power brick server class motherboards a large rate raise a hard drive small form factor or SSS cases can come in almost any shape from cubes to the towers to desktops normal towers but the one thing that I generally have in common and support for a mini ITX motherboard max with minimal drive mounting options and only sometimes support for an ad and graphics card and certainly only one of them our last case and the cube case is typically characterized by it's roughly 2 black sheep rather that's what they are if you think my job is so easy you try to do it anyway there is no real standard with respect to size and they're available in a wide variety of configurations are shaped like cubes deal with it that's all I can say anyway speaking of a wide righty of configurations this isTake a moment to thank her episode sponsor cooler master for giving us the precious resources we need to make these videos for y'all if you've been researching PC cases the odds that you've come across cooler master at some point is pretty good given their wide range of regular folks as well but if you appreciate what we do maybe you'll consider checking out the sponsor link in the video description and browsing their selection of cases to see if there's anything that tickles your fancy thanks for the master for sponsoring this episode of fast as possible guys like this video if you like to share it if you thought the information contained there and was useful and as always don't forget to subscribe for more fast as possible videos just like this one
188：匿名：2021/01/29(金) 14:08Like my grandma used to say a PC without a case it's like a peanut butter sandwich without bread it gets all over the place it looks nasty and it sticks to the roof of your mouth so that's avoid that scenario by choosing a PC case that keeps our components cool safe and looking awesome before you start your search it's helpful to decide what K size you're looking for there are four main categories to look at here very small cases that fit tiny mini ITX motherboards small S cases that fit slightly larger micro ATX sports med tower cases which can usually accommodate the most popular motherboard form factor ATX and full tower cases which gives you lots of room for all your components and cables so your bill doesn't have to look like grandma spaghetti another thing to consider what type of PC are you buildingWant to think about how much room we need for our components how to keep our components cool and whether we want extra features that make building and using your PC much easier once you've decided on a form factor it's important to consider a case of compatibility with your components first you'll want to make sure that your case has enough room for your graphics card typically higher and graphics cards are longer taller or even wider than budget friendly ones that can cause clearance issues in smaller cases similarly some air CPU coolers might be too tall to fit in the small cases so in both of these situations you want to check the dimensions of your graphics card and CPU cooler and cross-reference them with your cases clearance specifications now if you're liquid cooling your CPU do you want to make sure that your case has support for your coolers radiator size there's notWon't mount properly in your case because it's too big speaking of coolers well ventilated PC is happy PC most cases come with at least one fan installed but check how many other fans your case supports in case you want to upgrade your cooling later dust filters are also great to keep an eye out for these will keep lint and debris from accumulating on your components another great way to ensure proper airflow aside from just adding more fence is to make sure that you manage your cables properly some cases a rubber grommets hooks and even extra space behind the motherboard to help you out your cables and keep them out of the way taking a vantage of these features is an excellent way to make sure that your components stay clean and frosty like a fresh batch of grandma's ice cream now you may be wondering what price point you should be looking at well that's something that depends on your situation bare-bones budget casesAnd a less refined manufacturing process so you might see flimsy side panels and fewer quality of life features conversely pricier models are more likely to be built with higher quality materials and more dense manufacturing still also be less prone to deterioration like discoloration overtime furthermore they're more likely to have extra features like that or cable management or front USB type C some other extras to look for in a PC case include driveways and SSD mounting points for upgrading in the future Tulus elements like thumbscrews side panels with hinges that allow for easy access as well as accessible magnetic does filters additional features that help show off your awesome build a transparent side panels made of tempered glass or acrylic power supply shroud Hydro cables or even built-in RGB lightingControllers for example the course or lighting no pro included with the crystal series 6 ATX transforms what would be a normal enclosure into a smart case course is powerful IQ software or preconfigured or completely custom dynamic lighting set ups synchronized across all your IQ compatible components including fans
189：匿名：2021/01/29(金) 14:08RGBLED strips keyboards mice and more I mean you can make your PC look like a futuristic mystery box from space if you want however you want your case to look or perform they got options ranging from bare bones cases to the most high end feature rich and closures out there so beginners and enthusiasm so the next time you're building a PC make sure you check out Corsair
190：匿名：2021/01/29(金) 14:19I connected to the Internet is a lot like owning a car it's not enough to just drop $25,000 on the vehicle and drive off gas insurance oil changes and tank paint jobs just to be able to keep using it and so it is with a phone you can get online but increasingly more and more of the good stuff is hidden behind a pay wall and now there are two such options that are being provided directly by the phones operating system makers to unlock things that are literally already installed on your phone I'm talking about Google one and Apple one that actually does kind of remind me of the time the CFL had two different teams both called the Rough Riders so what do you get with this one services are they worth paying for let's start by looking at Google one since it was the first to appear on the scene apple coffee googled somethingIf you're willing to fork over the cash but now Google seems to be marketing it as a way to get extra little niceties with the cheapest here just two dollars a month giving you access to google experts to reduce confusion every time they mess with their UI along with extra member benefits such as hotel discounts more expensive teachers also give you cash back in the Google store as well as a Google VPN that is android only for the time being of course signing up for a service that promises unspecified benefit means that Google could put a growing number of things behind as time goes on in fact it's already come out that members will get three free months of stadia pro additionally an option in the pre-install Google photos app to use the colour pop filter on Photos without that information will only be available to google one subscribers this option was not already previously available for free but given how plenty of clouds areHe debuted in 2020 and in our opinion is a bit more appropriately named many things in one kind of service storage on iCloud but there are other services bundle that you might be home are used to like Apple Music Apple TV+ and Apple and surprisingly it's more expensive but at $15 a month is cheaper than buying each of those services separately that is assuming of course that you wanted all of them in the 1st Pl., Apple Arcade subscribers or raise your hands yeah is too pretty different models google seems to be trying to expand the functionality of court phone features and get you to pay for it while it looks like Apple is attempting to push more people to start using their additional services like iCloud on Apple Music already have very largeOver house sales for the iPhone and it's associated services have been stagnating a little bit lately it's a big drive to draw more people into the ecosystem and then lock them in with a suite of cloud services isn't too surprising as it worked on you guys or have you gone the other direction and purchased a Groupon subscription or do you just refuse to buy a subscription to use your phone let us know in the comments and I have to go sign up for a peacock premium membership for the one show over there that I want to watch thanks is the place to learn something new it's a website and app that makes learning accessible and fun their approach is based on problem-solving and active learning and it's all about seeing concepts visually and interacting with them and then answering questions they get you to think their courses are laid out like a story and broken down into pieces so that you can tackle them a little bit at a time there's no tests and no grades you just pick a course that you're interested in and get startedDo you want to brush up on the basics of algebra learn programming or learn about cutting edge topics like they're all networks there's even some advance stuff like differential equations if you're like into that the first 200 people who had the brilliant.org/tag Ricky are going to get 20% off and annual premium subscription so go check it out below thanks for watching guys like you can check out our other videos if you have a suggestion for a future fast as possible also don't forget to subscribe so you can see what we're doing
191：RE：2021/01/29(金) 18:33 ＞＞1
Your english is very good
Reading a sensual novel, I was a little excited
I'm just curious why I translated your English
We support you in the future
>>191 Unfortunately these are not "my" English. My own English proficiency is extremely low. I can pretend to understand English thanks to Google's talented engineers. And I would like to thank those who wrote unique novels. Anyway, thank you for having fun.
193：匿名：2021/01/29(金) 22:51I reread the first novel here. It's terrible translation quality and unbearable to read. I'll post a proofread version by the end of next month (By the way I'm notorious for breaking deadline lol).
194：RE：2021/01/30(土) 00:32Google is a god. By the way, why did you translate the sensual novel? I'm curious. And I am very much looking forward to the new continuation.
195：匿名：2021/01/30(土) 08:25>>194 Sorry for the late reply. I just got up. And the reason is the same as you. I was curious about it. I wanted to know how weird sentences would transform after going through Google Translate. As for the continuation of the novel, I retired because there was no compensation for my efforts. Until a few months ago, I was somehow motivated to do the silly work of translating the sensual novel, but at this point it's none. Another reason is that my document input environment is not very good. But if someone like you might give me an impression, it's possible to continue. I'm extremely lazy, so don't expect too much.
196：匿名：2021/01/30(土) 08:47>>194 And let me ask you an important question. Is the "novel" from >>15 to >>20 or from >>83 to >>85 or both? If both, which one do you want to read first?
197：RE：2021/01/30(土) 13:24 ＞＞196
I like 83 Because 83 is easy to understand. 15 is also very sensual and I like it, but I'm curious about the continuation of 83. Don't worry, I keep having small expectations.
>>197 Roger that. I will work on the continuation of Kunoichi for a while. Thank you for understanding my laziness.
199：匿名：2021/02/01(月) 21:03There are some parts that are not faithful to the original text to ensure readability after retranslation. I will try to keep the meaning unchanged as much as possible, but please understand that the exact same sentence cannot be reproduced.
200：匿名：2021/02/02(火) 01:07Ah, fuck.
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