There's this 8-bit Touhou mashup that I saw years ago that started grouping songs together based off of their similar chord progressions. I hope I can find it again, it was pretty neat!
I am NOT the target audience for such well made and well thought out videos, the knowledge contained in these videos is wasted on me :'( At least I get to enjoy some good Touhou music in a new light
One of my favorite chord progressions in touhou is i > iii > #i (or i > iii > #ii). You can hear them in "Onigashima in the Fairyland", "Lunatic Full Moon", "Eternal Spring Dream" and many others
the VI-VII-i chord progression is in minor, but if you look at it in a major perspective, it will look like this : IV-V-vi. now, there are 2 things going on here, being the half cadence (the IV-V) and the deceptive cadence (the V-vi). while for the VI-VII-vii°-i, the vii° here serves a purpose of an ascending bassline. however, if you look at the chord properly, the vii° (G# B D) chord is also a part of a V7 (E G# B D) chord. this combo of V7-i will form an authentic cadence, or more specifically, a leading tone imperfect authentic cadence.
I am not familiar with music theories like these but I like how the video inspired me to focus on different parts of touhou music, even the diminished chords.
Wow, good analysis for people to enjoy Touhou music! Can I translate all your opinion into Chinese and share this video together with translation to www.bilibili.com (the most famous ACG video website in China) with your video URL attached? I really want more Chinese Touhou fans to see this bacause most of us cannot use RUclips without VPN.
@@ElectroIl when yoor motivation comes back you should totally do some analysis on each games music, like a small series! Or something, just an idea. Hope you doing ok and the lack of motivation isnt getting to you!
Just the other day, I started trying to remix the stage 2 theme from PCB, "Fantastic Tales from Tono." NOTE: Now, I don't know much about music theory, just enough to know what these things mean but not quite enough for me to be able to pick things apart well. So I copied the main melody down and as I was doing it I noticed that the key was a little all over the place. When I got to trying to make some chords, I had no other choice than to try and figure out what was going on. Here is the main melody that I'm talking about for reference: ruclips.net/video/velo7TiNp2Y/видео.html It seems that it goes 3 measures in e minor but then a measure in E major, then it switches to the relative c# minor for 3 measures, and then the last measure before it repeats, it seems to be back to E major. This made it very difficult to make chords for, I couldn't find a good sounding progression. Since you're more experienced in this, could you tell me what is going on here as far as chord progression goes?
At around 4:30, what are you meaning by "V or V/i"? "Five" and "five of one" are the same thing. Or are you meaning it can be a polychord (resulting in a i9(#7))? Or do you mean something else?
the "classic chord progression" as you've called, would be for example F - G - Am, in the key of minor. it can not be noted as "VI - VII - i", since that would mean F# - G# - Am. the chord progression you mean is noted as bVI - bVII - i, since the roots of the first two chords are a minor 6th (b6) amd a minor 7th (b7) interval apart from the root respectively. that issue becomes very apparent when you notated the "VI - VII - vii° - i" progression. the VII and vii° clearly have different roots, however you're implying that they don't by saying they are both VII chords. it should be bVI - bVII - vii° - i.
@@ElectroIl i understand, however, all chords being named after the Ionian mode makes way more sense and is how it's used in practice. if i have a chord progression that's I - iii vii° in the key of C major for example, then the chords would be C - Em - Bdim. if i change keys to C minor, and still write them down as I - iii - vii°, then it would still be a C - Em - Bdim chord progression. this is practical because i only need the key center, in this case C, and i can see what the functions of each chord are in the key of C. If i want the chords to be diatonic to the C minor key, i would have to make that clear by flattening or sharpening the scale degrees. it would be written as i - bIII - bVII, meaning Cm - Eb - Bb. if the chords were diatonic to C locrian it would be a i° - biii - bvii progression, making it a Cdim - Ebm - Bbm. with your method all of these would be written as I - iii - vii -- and it works! but only as long as we stay in one key. what about mode mixture though? because with your way, a I - iii - vii could mean almost anything. it could be a C - Em - Bm in the key of C lydian. it could be a Cm - Eb - Bb in the key of C Dorian. or minor. it could even mean a Cdim - Ebdim - Bbbaug progression in the key of C Locrian bb7. and what if i have a C - D - G progression? it would be written down I - II - V the exact same way as C - Db - G# would be. making it rely on the key signature instead of just having it be relative to the major intervals is way more difficult to parse since it doesn't convey as much infornation, which hurts analysis. why would a I - II - III be written the same way as a I - bII - bIII when they are completely different things? also wow this got ranty, i'm sorry. it's also no hate, just clearing it up. because in the end it's just really confusing to everyone when two systems are used simultaneously that imply different things
singed360noscopefling probably cause of cultural differences. Most of us in the touhou music community speaks in respect to the minor key as 99% of touhou music are in the minor key. Why talk in respect to the major key when there are so little touhou songs in major key? Its like taking an additional step to flatten the notes from the major key when we can just say ‘oh, the VI in A minor means F A C’. But yeah, I get what you mean. If we are comparing songs from two different series, then its natural to speak in respect to the major key
![[Sakamoto, Hisaishi, et. al.] - Common Japanese Chord Progressions](http://i.ytimg.com/vi/yKV58VVGV9k/mqdefault.jpg)
Btw it should be #vii dim instead of vii dim
There's this 8-bit Touhou mashup that I saw years ago that started grouping songs together based off of their similar chord progressions. I hope I can find it again, it was pretty neat!
Did you find it ?
what the hell did you delete my reply?
So where is it? 8')
Could it have been my video? I made a crappy one long ago.
@@psych0185 We may never know, but your medley was super comfy to listen to. I just checked it out
I am NOT the target audience for such well made and well thought out videos, the knowledge contained in these videos is wasted on me :'(
At least I get to enjoy some good Touhou music in a new light
One of my favorite chord progressions in touhou is i > iii > #i (or i > iii > #ii). You can hear them in "Onigashima in the Fairyland", "Lunatic Full Moon", "Eternal Spring Dream" and many others
I really need an analysis towards Touhou 17 ost. I think the game has a VERY unique ost on its own. Especially Urumi's theme.
There's a reason why I'm transcribing most of the Touhou 17 osts benis
benis
the VI-VII-i chord progression is in minor, but if you look at it in a major perspective, it will look like this : IV-V-vi. now, there are 2 things going on here, being the half cadence (the IV-V) and the deceptive cadence (the V-vi).
while for the VI-VII-vii°-i, the vii° here serves a purpose of an ascending bassline. however, if you look at the chord properly, the vii° (G# B D) chord is also a part of a V7 (E G# B D) chord. this combo of V7-i will form an authentic cadence, or more specifically, a leading tone imperfect authentic cadence.
the chromatic descending bassline part is so true LOL i love all of the songs where zun uses it
VI-VII-v-i is IV-V-iii-vi in major, which is the royal roads. Also the VII chord is often a 42 chord/in third inversion.
This makes me want to make some music.
Even though I only have a little gasp of this video how good this is.
Btw, use your earpiece if you wanna hear the chord progression of original Touhou music easier
Year late, but what’s an earpiece?
@@alexthejapanfan7905 uh, Headset?
Lifhee maybe???
i need more, i really love these videos
I am not familiar with music theories like these but I like how the video inspired me to focus on different parts of touhou music, even the diminished chords.
Hard to remember the Roman numerals version of chord names...
i'll have to know this for the exam in a few weeks...
0:28 The second and fourth progressions reminds me of 90's and 2000's and it hurts
Haha yeah the fourth one is the same one used in nearly every 2000's pop song. I love that one
at 6:28 I knew EXACTLY what song you were gonna put as an example xD
soo goood
Don't forget those non diatonic IV and V chords that are usually in first inversion. I absolutely love those.
Wow this is basically the whole japanese chord progresion of
IV V iii vi
Vi VII v i
I II vii III
IV III
IV V I vi
Wow, good analysis for people to enjoy Touhou music! Can I translate all your opinion into Chinese and share this video together with translation to www.bilibili.com (the most famous ACG video website in China) with your video URL attached? I really want more Chinese Touhou fans to see this bacause most of us cannot use RUclips without VPN.
Alkairu ayy sure go ahead
this is really great! Are you going to do any more?
Hamish Whyte don’t have any motivation or ideas to do more for now sadly
@@ElectroIl when yoor motivation comes back you should totally do some analysis on each games music, like a small series! Or something, just an idea. Hope you doing ok and the lack of motivation isnt getting to you!
Awesome video and findings; thanks for sharing!
omg this is great, thank you.
Just the other day, I started trying to remix the stage 2 theme from PCB, "Fantastic Tales from Tono."
NOTE: Now, I don't know much about music theory, just enough to know what these things mean but not quite enough for me to be able to pick things apart well.
So I copied the main melody down and as I was doing it I noticed that the key was a little all over the place. When I got to trying to make some chords, I had no other choice than to try and figure out what was going on.
Here is the main melody that I'm talking about for reference: ruclips.net/video/velo7TiNp2Y/видео.html
It seems that it goes 3 measures in e minor but then a measure in E major, then it switches to the relative c# minor for 3 measures, and then the last measure before it repeats, it seems to be back to E major. This made it very difficult to make chords for, I couldn't find a good sounding progression.
Since you're more experienced in this, could you tell me what is going on here as far as chord progression goes?
I don't understand any of this yet I still watch it, still it's a nice video for a touhou fan
6:17 the famous U.N. Owen was her
where is it
Part 2??? When
I see maiden and spell profile picture, maybe some maiden and spell breakdowns? :)
At around 4:30, what are you meaning by "V or V/i"? "Five" and "five of one" are the same thing. Or are you meaning it can be a polychord (resulting in a i9(#7))? Or do you mean something else?
I will sound dump, but what do these v's and i's mean?
the "classic chord progression" as you've called, would be for example F - G - Am, in the key of minor. it can not be noted as "VI - VII - i", since that would mean F# - G# - Am. the chord progression you mean is noted as bVI - bVII - i, since the roots of the first two chords are a minor 6th (b6) amd a minor 7th (b7) interval apart from the root respectively. that issue becomes very apparent when you notated the "VI - VII - vii° - i" progression. the VII and vii° clearly have different roots, however you're implying that they don't by saying they are both VII chords. it should be bVI - bVII - vii° - i.
singed360noscopefling im speaking in relative to the minor key not the major key
@@ElectroIl i understand, however, all chords being named after the Ionian mode makes way more sense and is how it's used in practice.
if i have a chord progression that's I - iii vii° in the key of C major for example, then the chords would be C - Em - Bdim. if i change keys to C minor, and still write them down as I - iii - vii°, then it would still be a C - Em - Bdim chord progression. this is practical because i only need the key center, in this case C, and i can see what the functions of each chord are in the key of C. If i want the chords to be diatonic to the C minor key, i would have to make that clear by flattening or sharpening the scale degrees. it would be written as i - bIII - bVII, meaning Cm - Eb - Bb. if the chords were diatonic to C locrian it would be a i° - biii - bvii progression, making it a Cdim - Ebm - Bbm. with your method all of these would be written as I - iii - vii -- and it works! but only as long as we stay in one key. what about mode mixture though? because with your way, a I - iii - vii could mean almost anything. it could be a C - Em - Bm in the key of C lydian. it could be a Cm - Eb - Bb in the key of C Dorian. or minor. it could even mean a Cdim - Ebdim - Bbbaug progression in the key of C Locrian bb7. and what if i have a C - D - G progression? it would be written down I - II - V the exact same way as C - Db - G# would be. making it rely on the key signature instead of just having it be relative to the major intervals is way more difficult to parse since it doesn't convey as much infornation, which hurts analysis. why would a I - II - III be written the same way as a I - bII - bIII when they are completely different things?
also wow this got ranty, i'm sorry. it's also no hate, just clearing it up. because in the end it's just really confusing to everyone when two systems are used simultaneously that imply different things
singed360noscopefling probably cause of cultural differences. Most of us in the touhou music community speaks in respect to the minor key as 99% of touhou music are in the minor key. Why talk in respect to the major key when there are so little touhou songs in major key? Its like taking an additional step to flatten the notes from the major key when we can just say ‘oh, the VI in A minor means F A C’. But yeah, I get what you mean. If we are comparing songs from two different series, then its natural to speak in respect to the major key
@@ElectroIl ohh i get it, thanks for sharing! btw have you seen the video on touhou music by 8 bit music theory?
@@XENOGOD yeap
Some examples with the circle of fifths progression?
I don't understand everything
wheres part 2
lmao
-LMAO
what software is this
kceh dneS
Satori Maiden 3rd Eye is unusual because it sounds so similar to a song from Neon Genesis Evangelion: ruclips.net/video/tKOi2hbfX18/видео.html
whic song were you refferring to, the video is gone