Sakura Sakura

U.N. Owen Was Her?

Melody

Heartfelt Fancy

Extend Ash ~ Person of Hourai

Lunate Elf

Trial of classifying Touhou characters by the composing techniques used in their original themes.

Using Dorian 6th

A bit unique ones who use Dorian 6th and Fa at the same times.

Using Fa in solmization (Most likely an error where it should say 'Fi' instead)

Bass

Chord

Chord progression

Modulation

Musical form and others

Rhythm, etc.

Especially important points are marked in red.

Mr. ZUN changed his composing technique quite a bit after Double Spoiler, and made many themes unable to classify by this method.

With rubato

provisional extracted edition

Arranger-killers who use chromatic scales in their theme melodies.

Nuclear......

Embodiment of Scarlet Devil

Perfect Cherry Blossom

Immaterial and Missing Power

Imperishable Night

Phantasmagoria of Flower View

Shoot the Bullet

Mountain of Faith

Scarlet Weather Rhapsody

Subterranean Animism

Undefined Fantastic Object

Fairy Wars

Ten Desires

Mysterious chords

Long punkt Long kontrapunkt? (counterpoint)

Twisted cliché

Buddhist rhythm and unusually long song

Somehow in major keys

Old Yuanshen

The Traditional Old Man and the Stylish Girl

At the End of Spring

A Tiny, Tiny, Clever Commander

Great Fairy Wars

Ghost Lead

Let's Live in a Lovely Cemetery

Legend of the Great Gods

Rigid Paradise

Welcome to Youkai Temple

Magus Night

An Ice Fairy in Spring

Heian Alien

The Tiger-Patterned Bishamonten

Rural Makai City Esoteria

Beware the Umbrella Left There Forever

The Sealed Cloud Route

Hartmann's Youkai Girl

Last Remote

Solar Sect of Mystic Wisdom

Hellfire Mantle

Corpse Voyage

Lullaby of a Deserted Hell

Satori Maiden

A Flower-Studded Sake Dish on Mt. Ooe

Walking the Streets of a Former Hell

Green-Eyed Jealousy

The Bridge People No Longer Cross

The Sealed-Away Youkai

The Dark Blowhole

Awakening of the Earth Spirits

Sky of Scarlet Perception

Crimson in the Black Sea

Catastrophe in Bhavaagra

Eastern Sky of Scarlet Perception

Tengu's Notebook

Wind Circulation

Tengu is Watching

Sleepless Night of the Eastern Country

Retrospective Kyoto

Wind God Girl

Road of the Misfortune God

Bloom Nobly, Ink-Black Cherry Blossom

Oni's Island in the Fairyland

Eastern Judgement in the Sixtieth Year

Septette for a Dead Princess

Hina-chan and Kanako-san have a bit different properties.

Using the dominant.

Using secondary dominants.

Using sub-dominants in minor key

Using the picardy third-

Using sequenses.

Raging piano

Apparitions Stalk the Night

Shanghai Teahouse

Locked Girl ~ The Girl's Secret Room

Lunar Clock ~ Luna Dial

Doll Judgment ~ The Girl Who Played with People's Shapes

Youkai Domination

Youkai Domination

Voile, the Magic Library

Voyage

Voyage

Night Falls

Broken Moon

Sealed Gods

A God that Misses People

Because Princess Inada is Scolding Me

Dark Side of Fate

The Gensokyo the Gods Loved

Fall of Fall ~ Autumnal Waterfall

The Youkai Mountain

The Primal Scene of Japan the Girl Saw

Faith is for the Transient People

Cemetery of Onbashira

The Venerable Ancient Battlefield

Tomorrow Will be Special, Yesterday was Not

Native Faith

Player's Score

Tomboyish Girl in Love

Akutagawa Ryuunosuke's Kappa

Love-colored Master Spark

Maiden's Capriccio

About the table / For beginners too!

Surprised me as a music maker

Using VI6

Using augmented second / diminished fourth

(Including cliches) Using augmented fitth

(Including cliches) Using sixth

Using diminished fifth

(Including exceptions) Using Mode Mixture

Using chromatic notes on melody

Borrowing from a Hemitonic scale

Bass moves down in the same direction more than 4 times

Bass moves up in the same direction more than 4 times

Bass keep going up and down more than 3 times between the interval of a second.

Using chords equivalent to Neapolitan ones

Using I chord

Using sus4 chords.

(Without Tension) Using Major and Minor Chords (?)

Using Fixed Cadential form (I-V-I)

(Alice modulation) Minimal modulating by a minor third interval.

(Nitori modulation) Temporary modulation by a minor third interval.

(Aya modulation) Modulating to the relative key signature by a minor third. (?)

Intro with a well-defined thematic statement.

Theme counterpointing the melody.

Polyrhythm or rhythm changing

3/4 time signature or a compound time signature.

Using a different tuning from the modern one (440hz)

Japanese style done by adding a sixth in melody line above the IV chord.

Suika-san and Yuuka-san thereafter, have a different resolution.

Suika's resolution is that to the added sixth of V chord, and Yuuka's is to a sus4.

Has an exotic way of adding major seconds and diminished fourths.

Speaking of Yuyuko's TD theme.

Mass of cool mystery cliches.

Bluesy ones who use diminished fifths.

Just the directions of Letty's theme is somewhat different (?)

Uses secondary dominants in a classical way here and there.

Because Nazrin's theme is improptu-like, it's a little bit of a special case

Dreamer maidens that uses VIb-VIIb chord progression

Only the tree fairies solves the progression using a major chord (?)

Alice and her cheerful gang

Nitori and her cheerful gang

Aya and her cheerful gang

Somebody should write a book about these couplings.

Make a contract with me and become a magical girl!

The fourth trio

It’s possible that some pieces are not on the chart… If one of them has slipped my mind please forgive me!

A Dream More Scarlet than Red

A Soul as Scarlet as a Ground Cherry

Shanghai Alice of Meiji 17

The Maid and the Pocket Watch of Blood

The Young Descendant of Tepes

The Centennial Festival for Magical Girls

An Eternity More Transient than Scarlet

Scarlet Tower ~ Eastern Dream...

Ghostly Dream ~ Snow or Cherry Petal

Paradise ~ Deep Mountain

Ghostly Dream ~ Snow or Cherry Petal

Paradise ~ Deep Mountain

Crystallized Silver

The Fantastic Tales from Tōno

Diao Ye Zong

The Doll Maker of Bucuresti

The Capital City of Flowers in the Sky

The absolute Roman numeral notation is used in order to avoid confusion (e.g. C becomes IIIb in the key of A minor.)

The absolute Roman numeral notation is used in order to avoid confusion (e.g. C becomes IIIb in the key of A minor.)

The strong ones using Neapolitan or Phrygian cadence.

Refreshing resolution to the I chord from parallel major scale.

"The Gensokyo the Gods loved" is especially fresh due to its IV-I6 resolution.

Pieces that repeat a motif no longer than 4 measures using minor-third modulation.

Minoriko's is close to the axis system of Bartók because it does not repeat a lot and contains cadenza.

Pieces that modulate a minor third away and come back through a cadenza.

Nitori's and Shizuha's are beautiful but difficult for arrangements. Only Chen's modulation is in opposite direction.

Pieces that, based on the VI note or IV# note, go to IV#m (i.e. VIm/VI from the parallel scale of the same tonic) instead of VIm or II6 and soon come back.

Upon closer look, it turns out that Aya is in both Alice modulation and Nitori modulation.

Half-cadence girls whose themes end on dominant.

There are two types: the classic Shizuha's where dominant motion is done by common tones at the end of a phrase, and Kisume's where a semitone above the chord at the end of a phrase becomes IV of the original key.

The melancholic duo featuring VIm7.

Multitasking by playing major chord/key and minor chord/key simultaneously.

Especially Shizuha and Tewi.

Hollow fifth

This chart is based on solmization, with the help from of Nakasako Sakana, the leader of Machikado-Mapoze. There may be mistakes in the pieces which Sakana did not listen very carefully.

I don't have perfect pitch, so I don't understand any bit of tonality. Speaking of equal temperament (hour-long speech.) By the way, when naming notes, be consistent on the language you use, be it Italian, English, or German.

"Pieces that can hardly be made major," "pieces that are difficult for arrangement," "pieces that don't break no matter how I twist it," "guidance to classical arrangement," "passion for favorite pieces," "passion for Minoriko." If you are interested in any of the above, you can always contact me.

Actually, Machikado-Mapoze arrangements do not take such difficult things into consideration. If you are interested, please consider buying our CDs!

Making D from minor scale into V of a major scale and going to IV in opposite direct, then treating IV as V and modulates to minor I, which is a second below. This surprises me.

The product of 12, the number of notes in the arpeggio at the beginning, and 9, the number of measures after which a sine wave adds in polyrhythmically, is 108.