Somebody page MotK's Fightest. Some years ago there was this huge thread analysing characters by their theme music there.
The content in that thread is almost entirely subjective. That's fine, but that doesn't fit what's being done here. A suitable addition would be one like those found at http://gamemusictheory.tumblr.com/
Well I'm done tagging for today. I think I might have missed something but this should be enough for quite sometime. I don't know how to interpert the columns so I don't think I can help much there. Looks like all and more characters appear in post #1503223? Guess I'll move my tags there too.
Adding some TL notes, all TLs with interrogations represents that they need check. Also if you know please post information or links to the musical concepts here or there as TL notes/links.
Alright, here's a bit of explanation on some of the things that had question marks.
Just as a disclaimer, I know the language of music theory, but not the Japanese language, so I'm assuming the translators translated correctly. I don't completely know theory as I'm still an undergrad, but I have had one full year's worth of college level theory, and I can tell what the artist is talking about when given a translation.
Modal mixture (3rd from the left under melody) and using major and minor chords (Rightmost under chords): This means chords from both Major (I, ii, iii, IV, V, vi, vii°) and Minor^ (i, ii, III, iv, V, VI, vii°) modes are used, meaning it accounts for chords built on 10 of the possible 12 pitch classes. ^ This is assuming harmonic minor, which is used more often for voice leading reasons than natural minor.
Borrowing from Hemitonic scale (4th from left under melody): From what I can tell after looking up the definition of hemitonic, this basically means that the scale will have half steps in it, and usually applies to scales that aren't the basic Major or minor scales, like pentatonic. An example of this would be a Hemitonic Pentatonic scale which would have half steps and still be based off of five notes.
Bass keeps going up and down more than 3 times between a second interval (one over from the right under bass): My best guess is that this means the bass is moving up and down with the interval of a second, which is two half steps. The easiest way to see the interval of a second is two white keys on a piano next to each other unless it's from E to F or B to C or vice versa. The rightmost column under bass has no rough translation, so I cannot help with that one.
Using doppeldominante (2nd from left under chords): Based on the double dominant comment and the V/V lettering in the chart, this means secondary dominant, which is better explained here. http://www.teoria.com/tutorials/hf/domaux.php I can't help with the 4th one from the left under chords, there's no rough translation.
Using sus4 chords: This likely means that the chords have a 4-3 suspension, which means that a note that is a fourth above the bass is held over a change of harmony and then becomes a note that is a 3rd above the bass. If it's the bass that is changing, then it is relative to the key and is referring to scale degrees instead of intervals.
All the columns in modulations mention a minor third interval, meaning that the piece changes to a key that is a minor third away. An example of this would be modulating from the key of C to the key of E. This can be from Minor or Major to Minor or Major, it just needs to be the interval of a minor third to apply. Temporary modulation means it goes back to the original key eventually.
Although I had completely forgotten about this, I would still like to help you with translating this to the best of my ability.
I still here too and still studying music theory, if I learn something new I'll keep translating this picture and maybe exporting its content to a wiki someday...
I still here too and still studying music theory, if I learn something new I'll keep translating this picture and maybe exporting its content to a wiki someday...
Thanks :)
I managed to grab all of the get all of the untranslated text and make it all into well... copyable text. I will try to give a rough translation for these terms because I don't know music stuff. (Top Section)
バスが同一音程内を2回以上往復 Bass revolves in between no less than two musical intervals(?)
準固有のVI・VII度の長和音を使用 Uses semi-traditional long (Japanese) chords in VI/VII degrees.
属調で終止する(半終止) Ceasing Generic Tones (Half Stop)
(Side Section) ナポリまたはフリギア平行解決を使う強者 Powerful characters with parallel resolutions between Napoli and Fregia?
平行長調の|で解決するさわやか Invigorating Parallel Major Keys by way of Resolutions(?)
(特に神々恋した幻想郷はIV-I^6なので群を抜いてさわやか)
Especially 'The Gensokyo the Gods Loved', with its invigorating IV-IV^6 really stands out.
小節以下のモチーフが短三度転調を用いて繰り返しでてくる曲
Tune with a motif of measure that repeatedly modulates in minor third. (穣子様は回数が少ない上にカンデンツァを含むので、バルトークの基軸システムに近くなっている)
Because the candenza contains a low frequency, Minoriko-sama's theme is close to the Bartok standard system.
一時的に短三度転調をするがすぐにカンデンツァを経て戻ってくる曲(にとりと静葉が目立ってきれいだがアレンジしにくい。橙のみ転調が反対方向) Tune that temporarily does minor third through candenza and comes back.(?)
Vlm7を使うメランコリックコンビ(もみじもみもみ) Melancholic Combination used in Vlm7.
長和音・長音階と短和音・短音階が同時に鳴ってるマルチタスクな方々 Long (Japanese)chords, Major scale and short chords, and minor scale simultaneously ringing all over the place at the same time. (特に静葉様とてゐが顕著) Especially Tewi and Shizuha-sama.
(Bottom Section) 映姫(頭の分散和音の音数の12とポリリズムで9拍に1回入るサイン波の積が108) Eiki - Syllabic sounds at the beginning Arpeggio is 12 and Polyrhythm is 9 beats in 1 set, in a product of sine wave that 108. (?) (The mysterious number is 108.
諏訪子(空虚5度) Suwako - Vacant Fifths (?)
小傘(短調のDを長調のVと見なして逆進でIVに行き、IVをVと見なして短調のI、すなわち短2度下に転調して僕ぴっくり!) Kogasa (D Minor equates to Major Key V in a reverse advancement by going to IV, IV equates to V and Minor I. Namely, in Minor 2 modulation or less. That really surprised me!)(?)
The Capital City of Flowers in the SkyThe Doll Maker of BucurestiDiao Ye ZongThe Fantastic Tales from TōnoCrystallized SilverParadise ~ Deep MountainGhostly Dream ~ Snow or Cherry PetalParadise ~ Deep MountainGhostly Dream ~ Snow or Cherry PetalScarlet Tower ~ Eastern Dream...An Eternity More Transient than ScarletThe Centennial Festival for Magical GirlsThe Young Descendant of TepesThe Maid and the Pocket Watch of BloodShanghai Alice of Meiji 17A Soul as Scarlet as a Ground CherryA Dream More Scarlet than RedLunate ElfApparitions Stalk the NightUsing Fa in solmization (Most likely an error where it should say 'Fi' instead)Uses secondary dominants in a classical way here and there.3/4 time signature or a compound time signature.Using a different tuning from the modern one (440hz)Intro with a well-defined thematic statement.(Nitori modulation) Temporary modulation by a minor third interval.(Alice modulation) Minimal modulating by a minor third interval.Using sequenses.Using the picardy third-Using sus4 chords.Using sub-dominants in minor keyUsing the dominant.Using secondary dominants.Bass keep going up and down more than 3 times between the interval of a second.Using augmented second / diminished fourthBorrowing from a Hemitonic scale(Including exceptions) Using Mode MixtureTomboyish Girl in LoveAkutagawa Ryuunosuke's KappaLove-colored Master SparkMaiden's CapriccioBassEspecially important points are marked in red.Chord progressionBuddhist rhythm and unusually long songAwakening of the Earth SpiritsGreat Fairy WarsSakura SakuraChordUndefined Fantastic ObjectMr. ZUN changed his composing technique quite a bit after Double Spoiler, and made many themes unable to classify by this method.Old YuanshenModulationRural Makai City EsoteriaWalking the Streets of a Former HellPerfect Cherry BlossomSubterranean AnimismShoot the BulletCatastrophe in BhavaagraAn Ice Fairy in SpringTengu's NotebookEastern Judgement in the Sixtieth YearHeartfelt FancyRhythm, etc.Beware the Umbrella Left There ForeverFairy WarsAt the End of SpringWind CirculationThe Traditional Old Man and the Stylish GirlHartmann's Youkai GirlLast RemotePhantasmagoria of Flower ViewUsing Dorian 6thA bit unique ones who use Dorian 6th and Fa at the same times.provisional extracted editionBroken MoonU.N. Owen Was Her?Ghost LeadThe Tiger-Patterned BishamontenHellfire MantleSleepless Night of the Eastern CountryRoad of the Misfortune GodTrial of classifying Touhou characters by the composing techniques used in their original themes.Nuclear......Immaterial and Missing PowerTen DesiresWind God GirlGreen-Eyed JealousyLullaby of a Deserted HellYoukai DominationImperishable NightMelodyWith rubatoLet's Live in a Lovely CemeteryMagus NightMysterious chordsWelcome to Youkai TempleSky of Scarlet PerceptionCrimson in the Black SeaMusical form and othersSomehow in major keysHeian AlienSatori MaidenLegend of the Great GodsRigid ParadiseSolar Sect of Mystic WisdomSeptette for a Dead PrincessThe Sealed Cloud RouteThe Sealed-Away YoukaiThe Dark BlowholeRetrospective KyotoA Tiny, Tiny, Clever CommanderThe Bridge People No Longer CrossCorpse VoyageA Flower-Studded Sake Dish on Mt. OoeTengu is WatchingMountain of FaithLunar Clock ~ Luna DialEmbodiment of Scarlet DevilArranger-killers who use chromatic scales in their theme melodies.Scarlet Weather RhapsodyLong punkt
Long kontrapunkt? (counterpoint)Twisted clichéEastern Sky of Scarlet PerceptionBloom Nobly, Ink-Black Cherry BlossomOni's Island in the FairylandNative FaithThe Primal Scene of Japan the Girl SawNight FallsDark Side of FateVoyageCemetery of OnbashiraLocked Girl ~ The Girl's Secret RoomHina-chan and Kanako-san have a bit different properties.VoyageThe Youkai MountainRaging pianoFall of Fall ~ Autumnal WaterfallThe Venerable Ancient BattlefieldPlayer's ScoreThe Gensokyo the Gods LovedVoile, the Magic LibrarySealed GodsExtend Ash ~ Person of HouraiBecause Princess Inada is Scolding MeYoukai DominationShanghai TeahouseA God that Misses PeopleDoll Judgment ~ The Girl Who Played with People's ShapesFaith is for the Transient PeopleTomorrow Will be Special, Yesterday was Not(Without Tension) Using Major and Minor Chords (?)Has an exotic way of adding major seconds and forthsBass moves up in the same direction more than 4 timesTheme counterpointing the melody.Suika-san and Yuuka-san thereafter, have a different resolution.Using chromatic notes on melodyUsing I chordUsing diminished fifthUsing chords equivalent to Neapolitan onesAddition 6 Japanese style melodies are done right above IV. (?)Just the directions of Letty's theme is somewhat different (?)Using VI6Surprised me as a music makerAbout the table / For beginners too!Dreamer maidens that uses VIb-VIIb chord progression(Aya modulation) Modulating to the relative key signature by a minor third. (?)Bass moves down in the same direction more than 4 timesUses diminished fifths bridges there and here (?)Using Fixed Cadential form (I-V-I)(Including cliches) Using augmented fitth(Including cliches) Using sixthBecause Nazrin's theme is improptu-like, it's a little bit of a special casePolyrhythm or rhythm changingOnly the tree fairies solves the progression using a major chord (?)Speaking of Yuyuko's TD theme.Mass of cool mystery cliches. Suika=san is addition 6 of V, Yuuka-san has a sus4 (?)Nitori and her cheerful gangAlice and her cheerful gangAya and her cheerful gangSomebody should write a book about these couplings.The fourth trioMake a contract with me and become a magical girl!It’s possible that some pieces are not on the chart… If one of them has slipped my mind please forgive me!