LogFAQs > #963679951

41th
Game: Touhou 11 *Remix
Title: Hartmann's Youkai Girl ~ Todestrieb und Lebenstrieb
Composer: ZUN, Demetori
Nominator: @FL81
https://www.youtube.com/watch?v=yNT8cQvmj-M

Oh no!! Another TIME SIGNATURE song. this one's a lot simpler to follow though i think.

(counting at around quarter note = 111, a lot of people would prefer this written at 2x the tempo, which'd change the numbers below (all the /8s becoming /4, and stuff like that), but i have a hard time thinking that way for some reason in general. technically what i have makes more sense if in respect to the original track anyway)

(0:04 - 0:12) 7/8, 7/8, 7/8, 4/4
(0:12 - 0:28) [7/8 + 4/4]x4
(0:28 - 0:37) 4 bars of 4/4
(0:37 - 0:53) [7/8 + 4/4]x4
(0:53 - 1:25) [4/4, 17/16, 4/4, 5/4, 4/4, 13/8]x2, 2/4
(1:25 - 1:43) 8 bars of 4/4
(1:43 - 1:59) [7/8, 4/4, 4/4, 4/4]2
(1:59 - 2:16) 7 bars of 4/4
(2:16 - 2:18) 7/16, 5/16, 5/16, 9/16
(2:18 - 2:25) 4 bars of 7/8
(2:25 - 3:23) 25 bars of 4/4, 1 bar of 5/4
(3:23 - 3:31) [7/8 + 4/4]2
(3:31 - 3:40) 4 bars of 4/4
(3:40 - 3:54) 8 bars of 6/8
(3:54 - 3:59) 6/8, 6/8, 6/8, 2/4
(3:59 - 4:15) 7 bars of 4/4, 1 bar of 7/8
(4:15 - end) 5/16, 5/16, 9/16

ok never mind that was not simpler to follow

my interpretation at :53-1:25 is based off of the 2&4 snare of the drums there. Theres lots of layers at once all with different accent patterns so definitely inteperperatable as polymeric (meaning multiple possible barlines to list). A lot of people say that you should always base transcriptions if ambiguous timesigs off the drums but I think djent---a whole genre centered around the drums stubbornly staying in 4/4 while the rest of the song does entirely different things---that's the last place where I wanna say the drums layer is the right way to feel things.

The other main layer in that section of note is the chuggy guitar highlighting accents in something like a [5+4+6+3+3]/8 pattern, which gets cut off and reset from the start every two bars, but it floats over the barline only adding to this airy multilayered feel I'm deeply in love with

Anyway this section of this track is one of the rhythmically most interesting portions of any song nominated for me in this topic. I'm super attracted to how hard it is to follow and just, obviously I like polymeter with lots layers on top of each other doing different things. And high king crimson esque echo guitar is a good trait too. but most of all it just feels floaty and cool~!

One thing actually typing these numbers out is making me notice, that I wouldn't have noticed on a casual listen, is how every one of the sections where its alternating between 7/8 and 4/4 has a different looping pattern in which their alternation occurs. It was easy for me to just kinda gloss over those sections and assume they were all like the first 7+8 one. But we've got 7+8+8+8 and stuff as well. it's funny that it's all sourced from a pretty simple memorable 7 pattern in the original touhou zun version of the song, this just tears it into various different cool deconstructed directions and that's something i always look for in proggy remixes of songs

A lot of why I like this is simply that it reminds me of other music I like. Prog metal but especially the djent aligned stuff like animals as leaders. The specific band id compare this track to might be Haken, especially because of the glitchy processing effects on the drums at a couple places

Haken - The Endless Knot
https://www.youtube.com/watch?v=IVZHNPyMhMo