00:00:000 - 00:10:052 - no change, LNs represent points in piano noting where there's dissonant bass chords; shorter 1/6 ones represent that dissonant chord changing from the usual bass to something more diminished, longer 1/2 LN represents the collision the extant diminished chord and a moderately higher pitched dissonant bass chord. 1/6s change position according to the closeness of the pitches [w]
00:10:052 - 00:20:104 - establishment of a proper structure (1)
bass-snare pairs are made into a jump-note jack, while double bass-airy snare pairs are made into a jack + glut? sort of thing on the same hand. other pieces of the puzzle are easy to pick up
00:20:104 - 00:28:900 - introduction of variance into (1), hereby now called (1a).
airy vocal synths are followed, all within the same column for further obviousness. background growing synth is lightly followed by breaking the usual 124312/other extant patterns with some anchored streams.
00:28:900 - 00:30:157 - first minor build-up of sounds.
remodelled to use both hands; each with their own purposes.
RHS deals with lighter, more electronic beat.
LHS deals with the descending piano pitch.
00:30:157 - 00:38:952 - further variance of (1a), now called (1b).
now the background synths are much more prominent; especially at 00:33:298 - places like these - further anchoring is introduced to touch on these synths.
the usual [12] [34] and related patterns for the bass-kick 00:36:439 - parts are also broken in this section, to touch on those synths.
00:38:952 - 00:40:209 - first big build-up
RHS focus - anchors leading into a single LN for emphasis on the growing crescendo of sounds.
00:39:581 - 00:40:052 - first times the synth is doubled (if i did this correctly) - since anchoring has already been used to demonstrate the rising synth i cannot use anchors again to represent the pitches of the piano thing.
hence, 00:39:581 (39581|0,39581|3,39738|3,39738|1,39895|0,39895|3,40052|3,40052|2) - chording was used to follow up with the jumping of piano pitches relevantly. chording also somewhat contributes to the build-up of intensity.
00:40:209 - 00:50:261 - no change. simple emphasis on the most extant synth sections, ignoring the airy vocals just for players to focus on those extant synths (2)
00:50:261 - 00:59:528 - same guiding principle of give and change. (2) is layered with additional sounds, guitar and some other synths. (2a).
00:59:528 - 01:00:314 - second minor buildup of sounds.
inverses a little following the pitches, then ends all LN ends at 01:00:157 - to make way for the last note.
01:00:314 - 01:10:366 - a step-up from (1b) - hereby now called (3). similar prinicples with the (1) family, except a bit thicker in its regard.
01:00:314 -
01:01:570 - minor differences in pew pew direction to emphasize on their differences in sound
01:02:356 - pitches are now separated into 144, with the last note being a double to touch on the difference in pitch. same occurrence should be evident throughout
01:10:366 - 01:11:308 - minor edits - 1/6 for second chord for two reasons:
1) further emphasis on decrease in pitch
2) 1/6 use for vocals
01:11:623 - 01:19:162 -
(3) same principles, except with additional emphasis on repeated hihats 01:18:691 - 01:19:005 - . all face the same direction because of left-right directionality emphasis
01:19:162 - intentional bias on the right, so the left-right directionality thing comes full circle
01:19:947 - 1/6s become anchored, further capping off the 3434 stream above
01:20:418 - 01:30:471 - snappings have completely changed - original were off by like 100000
01:30:471 - 01:50:575 -
completely changed, structure takes on a more clinical approach - the snares go from [14] to [23] to [24] and finally [34], where patterns have to be completely changed to accommodate. representative of "cornering" of the playfield, similar in fashion yet stronger in nature than the left-right discrimination gimmick (4)
01:50:575 - 02:00:628 - magic happens
anchor to 1 for the bass line synth - 1/6 LNs (outside of 01:53:089 (113089|0,113246|0,113560|0,113717|0,114031|0,114188|0) - ) are used for the 1st and 3rd beat, while 1/4s are used for the 2nd and 4th beat. there's a certain feeling of stepping up and down in the tonal structure of this section, and i thought the "stepping up and down" of LN ends reflected that feeling accurately (this was also done in the beginning)
01:57:486 - and relevant parts - the stepping down rule inverts here because of the pitches, listen carefully. 5th beat becomes higher than the 6th (i think they actually just swap pitches), hence the difference in LN length JUST FOR 01:57:486 - only.
01:53:089 (113089|0,113246|0,113560|0,113717|0,114031|0,114188|0) -
the first iteration of this anchors on 1 (as with the bass line synth), the LNs increase by 1/12 every iteration to reflect the thinning out of the density
01:58:115 (118115|0,118272|0,118586|0,118743|0,119057|0,119214|0) -
second iteration is more extreme than the first, starting out already thin and thinning out even further.
01:59:057 - a note was used for the very thinnest of synth sounds in this part
02:00:628 - 02:08:167 - should be obvious what the intruding notes go to. (5)
THE SNAPS SHOULD BE CORRECT
02:09:109 - the LNs just disappear here because i want the piano to take center stage here before entering into the next section
02:10:680 - 02:29:528 - (5a) if you pay attention, you can see that this section is just a very very smashed together rehash of (5) - the convolution is intentional, i wanted this part to peak in terms of stringent inherent backing structure, to a point where the snare = [13] rule and whatever breaks down and gives way to the piano. again, (if i may pray to god) An kept the snaps of the piano the same as (5) so the snaps should be fine
02:30:157 - 02:30:785 - the LNs only serve to put the players down for a while, due to how they encourage a right-left directionality. sort of like a untuning of the structure and convolution up to this point, given how i constantly touched on going left to right in pattern directionality (and implictly upwards in intensity, at least imo - stagehands enter the play from the left and exit from the right, left has been long associated with evil/bad and right with purity/goodness [Ecclesiastes 10:2; Matthew 25:33; Genesis 48:17-19, etc.]). this also explains why i kept the somewhat? right-sided bias, to just keep people on the edge. refer to diff name for more info.
02:30:785 - 02:39:424 - what better way to ensure absolute neutrality in hand balance than to put everything in the middle?
also the snaps should be correct, i'm 90% sure
02:38:599 (158599|2,159083|1) - these things go to the double bass in the music, i realised the 1/4s don't actually exist lolmao
the LNs again follow similar logic in the thinning out of density
02:40:837 - 02:50:890 - the percussion here is interesting, because i hear this sort of "pass the ball" sort of rhythm to it
kick and a kick snare ---- kick rim kick and-a snare
by presenting itself as a back-and-forth rhythm (much like a 131 pattern in charting, for example), i thought it'd be cool to actually reflect such a thing. hence there's pretty strict parity of kick ([12] for e.g.) and snare ([34] for e.g.), and the effect repeats itself for 4 rounds as with the song. i chose to go with the [14]-[23] pair in the second half because it's way more obvious to the player what i'm doing with them than [13]-[24]
02:42:722 - chord is different because bass kick is different
02:50:890 - 03:05:968 - the rules get crazier
the usual bass kick is [12] or [34], dependent on the direction of patterning in the measure. double bass kicks (e.g. 02:51:047 - ] have their second jack delegated to the snare, because that is what i wanted to emphasize here.
if you listen carefully, you can hear this movement of tonal structure in the music:
------------------
02:50:890 to 02:53:403 - down low
02:53:403 to 02:55:916 - a middle range increase, goes back down
02:55:916 to 02:58:429 - down low, increases at the end
02:58:429 to 03:00:942 - barely increases enough to reach the correct mark of pitch to end the journey, basically causing the listener to restart from the bottom
------------------
03:00:942 to 03:03:455 - down low again
03:03:455 to 03:05:968 - a middle range increase, this time it doesn't go back down
03:05:968 to 03:07:225 - maintains a steady pace in pitch
03:07:225 to 03:08:481 - a sudden jump, even closer to the "closing" of pitches than before; however An decides not to do that and lets the synth take over at the end of section - and we're left with this sense of non-closure
------------------
and the snares correspond roughly to this same journey - [23]s correspond to the lower portions of the structure, while [13]s and [24] correspond to a closer reach in "structural completeness", with the one that's more far to the right being the one that's closer to it. [14]s correspond to the mark of a sudden jump - signals that we're getting somewhere, since [14]s are more neutral in look than [13]/[24]s and are identifiably different in structure than [23]s, being perceived as more "open"
there's some other goings-on in this section, but this covers the overall gist of it
03:10:994 - 03:21:069 - lays out the foundation of the next section, very basic in the overall structure (6)
03:21:069 - 03:40:859 - so uh
1) (6) - borrows:
elements of vocals in the section very subtly, aside from the 1/6 LN glottal stops. main anchor is still on 3 predominantly for the vocals because pitch
03:22:639 (202639|0,202953|0) - the synth thing, now in 1/4s because An changed it here
2) new things include:
usual elements from (3), except 03:22:325 - timing is tighter for the grace
elements from (4), except 03:30:336 - timing is also tighter for the 1/4s, with the second LN being longer due to a longer relative pitch
+ a couple more things, i think you'll be able to see them if you look close
so the concept of the chart kinda ties into here greatly, since this section is pretty much a mash of all the previously introduced concepts and can be considered(?) to be the kiai part of the song, honestly. hence things ramp up here considerably
also if you noticed the RHS bias is (somewhat) gone, it's pretty much intentional since i think the song already built-up enough to the vocals at 02:30:179 -, and now we're just headed for a kinda like a mediatory state? imagine climbing a mountain and whilst you're not really there yet you already have this sense of accomplishment **thus far** and are able to (somewhat again) handle the things the song gives to you
this point is better illustrated in the next section
03:40:859 - 04:01:121 -
this part is (essentially) the same as before, it's piss easy because of that interim reason i gave above.
04:01:278 - 04:20:440 -
so the backbone of this structure is the percussion of the section
https://i.imgur.com/WqZbvhQ.png basically this layering repeats itself throughout the entire section
BUT
the directionality of the chordings for bass kicks change in both magnitude and direction depending on the general direction of tone in the track
case 1) 04:01:278 (241278|1,241278|0,241592|2,241592|1,242378|1,242378|2,242849|2,242849|3) - goes higher, hence to the right
case 2) 04:03:791 (243791|2,243791|3,244105|1,244105|2,244891|1,244891|2,245362|0,245362|1) - higher to low contrast, hence to the left
case 3) 04:06:304 (246304|1,246304|0,246618|2,246618|0,247404|1,247404|2,247875|1,247875|3) - the tone is slightly more ambiguous here, but the general direction is still higher - the magnitude of the force of direction is reduced, however, given how the even kicks are more spaced out
case 4) 04:18:870 (258870|0,258870|1,259184|1,259184|2,259969|1,259969|0,260440|1,260440|2) - the tone repeats itself, hence the kicks repeat themselves as well
this section somewhat borrows the ideas from the previous one regarding the snares, but fleshes it out even more meticulously
original section samples that were present beforehand will also be present in this section
from here on out i would be repeating myself a lot so i'll just provide an overview of what the section is doing
04:21:383 - 04:31:435
it's not too obvious but the general structure of the section repeats itself every 4 measures, with each successive one being more concentrated on the left (in terms of mental effort). vocal samples are also subtly used in this section, and it's built to be innocuous as well. not much else to say since most of the other specifics should be obvious at this point, but keep in mind the change in directionality of the chart right around here.
04:22:247 (262247|2,262325|2) - jacks in this section are already clearly indicated by the jarring change of pace at 04:20:781 -
04:31:435 - 04:40:231 -
the only stacks in this section are dedicated to the synth sound (which generally decreases in tonality) - hence the aforementioned allusion to right to left directionality. the patterning in this section are built to accent these stacks to make the synth sound more obvious to the player - this required me to break the chording rules though.
04:33:634 (273634|1) -
04:35:990 (275990|1) - difference in LN lengths for these two LNs boils down to how the second one actually seems to have two sounds rather than 1 long sound - to compensate for that i made the intervals between the LNs tighter
04:39:917 (279917|3,280074|3,280231|3) - LNs extend in length, corresponding to the stretching of the synths themselves
again, the remaining ideas are what are already in the chart itself
04:40:388 (280388|3,280388|2) - the LNs here are less in your facey because the section loses its background track in this part
04:41:173 - 04:51:383 -
revamped the logic here, the 1/6 LNs are the center-stage of the section, following the piano.
the 1/1 + 1/2 LN pairs 04:41:330 (281330|2,281802|0) - e.g. also follow the tonality of the section, going upwards and downwards/opening up as per the music. however, they never change their chording sequence [13][24] since those chords are meant to follow the bassy bass
the kicks here are [12]/[34] so they actually stand out amongst the crowd here - i think it's a much better alternative than to make those LN pairs [12]/[34] anyway.
subtler things include: 04:46:985 - the first two percussion hits __always__ goes to the left.
section is meant to be a warm up to the next larger "chorus" type part
04:50:126 (290126|0,290597|0,291069|0) - why does the LN fade out again then? cause the focus here is shifting to the viola thing sound, not the piano
04:51:383 - 05:01:121 -
might be the weakest part since it's a intermediary state, but there's progression here at least. the trills get longer in length through the section (and hence the anchors get longer as time progresses), specifically meant for the winding up to the next section.
there's also a slight hint of right to left directionality.
05:01:278 - 05:21:697 -
it's a little hard to break down this section, so here's how i layered it to begin:
1) the 1/4 LNs for the main synth first, they take precedence above all else. hence, they will not budge according to the patterning - this produces pretty interesting results actually
2) a residual, background synth that only really comes out at 05:04:734 (304734|3,304891|2,305048|1,305205|0), because that's where the main synth stops doing its thing. mainly, this background synth is layered with normal notes with PR, but it does not take precedence above 1).
3) the remaining space is left for percussion and hihat fill-ins. a lot of the time you might see that the patterns are left-biased - this effect is pretty much accidental, but it's very useful for me since i do want this part to represent the "anti"thesis of the actual chorus of the song. examples of such left handed patterning can be found in 05:04:812 (304812|0,304891|1,304969|0,305048|1) / 05:07:325 (307325|1,307404|0,307482|1,307561|0), which both occur in sections where there's hihats AND a decrease in the pitches of 1) or 2).
05:20:440 - 05:21:697 -
2) is finally able to breathe here, since i gave it a 1/6. this ties into the next section
05:21:697 - 05:31:592 -
the first section here uses the background BASS synth as the central theme. i wish to transit from the major sounding chorus into the minor, more dimished sounding ending and this is one of the steps in the process.
the anchoring in this section is strictly dedicated to the repetition of the bass synth only as such
05:31:592 - 05:40:467 -
the second section, a double bass seems to intrude in the bass line of the given synth - it's still there of course (and hence remnants of the first section still exist), but the emphasis is now given to that double bass - much strongly in fact, since i used 1/6 LNs to introduce them to the player.
this section is also much more rough around the edges, with more anchors and trills and stuff like that. most of the time they're built to accommodate for the LNs.
as for 05:40:388 (340388|2,340467|1,340859|1,340859|2), these are meant to represent the convergence of the two melody lines shown; with the bass synth one on the left (3] bridging itself into a 1/4 LN (which is in preparation of the next section which utilizes 1/4 LNs 05:41:802 - 05:43:058 - to represent the bass melody line), and the doublebass sounding thing on the right (2] that dies out into a normal note.
in the whole part here, the only doubles i gave were to the obvious bass kicks, and the more touchy 05:30:650 - toms. other indications of the transformation into the diminished section include the tom doubles 05:23:111 - which go from [34] to [24] to [13] to [12], and very roughly the hihats that repeat themsleves before the toms, 05:25:309 (325309|0,325388|1) which occupy at the very least the first 2 columns.
05:41:330 (341330|1,341330|2,341487|0,341645|3) -
missing 2nd column LN cause of the bridging of the doublebass (see above). LN ends die out from right to left.
05:41:802 - 06:01:906 -
so, this section is meant to be the theoretical inverse of [w].
a few hints:
the melody line is now noted with an LN
the bass line still retains the 1/4 length to contrast with the other notes
05:59:707 - these things are now inverted in order of length
chording is less imposing, but the underlying logic should be the opposite of most of the chart -
05:42:430 -
05:44:158 - are the only two strong percussion sounds, the second one being more airy - but it's represented as a closed chord as compared to the first one. it's also on the left to lend more bias to the left.
the section repeats itself 4 times which is nice, since it hammers home the point about something odd/out of place. unless you've been reading this then i should expect players to feel like this section is a little outside of the general gist of the chart itself - this kinda ties in with the small code i've given in the desc. of the chart + it's the feeling i get from the song anyway (comfortably odd, maybe?)
06:01:906 (361906|1) - ends on the second most pitchy bell sounds, meant to be somewhat erratic in nature yet still coherent to hear.