Submission Information:
Series: Other
Game: Super Street Fighter II: The New Challengers
Console: Arcade
Title: Dee Jay Stage
Instrumentation Solo Piano
Arranger: Fantastic Ike (https://www.ninsheetmusic.org/forum/index.php?action=profile;u=3403)
For the new year, I thought it'd be fun to submit two variations of the same theme! This is the original one, probably the harder of the two. I think I did a pretty good job of balancing out all the rhythms and notes and making this into a cohesive sheet.
hey it's finale's default piano sound lol
In m2-13, the L.H. part looks a bit messy with both the piano and synth bass in it, and it's on the hard side to play the groove + melody in the middle part of the song. I went on a deep dive into this rhythm section's groove to see how I would tackle it.
The intro is pretty weird: in m2 and 3 it's close to what you have (leaving out the synth bass part for now):
Schermafbeelding 2024-01-21 133106.png
But from m4 on, the L.H. rhythm changes, apparently shifting a 16th earlier:
Schermafbeelding 2024-01-21 134735.png
And the rhythm stays that way until this groove stops at m14.
The synth bass plays this:
Schermafbeelding 2024-01-21 134135.png
Rhythmically this already pretty much coincides with whatever the R.H. or L.H. is doing. Not to forget, this all plays against a drumbeat that includes some syncopation, but most notably has a strong four on the floor rhythm in the bass drum, to keep everything hooked. The question now is how to mix these 3 different rhythms into something that plays logically and sounds similar to the original. Experimenting a bit, I ended up with this for m2-6:
Schermafbeelding 2024-01-21 135630.png
m7-13 can then be filled up similarly to m6. I think this might be a bit more intuitive to read and play, while still keeping the sound of the original. I kept the R.H. in m2-5 intact, while mixing the synth bass and low piano part a bit to create one line. The L.H. either plays together with the R.H. chords, or it plays something a 16th note before. I also tried to have a not on (most) downbeats, to anchor the rhythm a bit. In m6, I kept it fairly simple as a condensed version of all rhythms together.
What do you think? Feel free to copy it over if you like it, or make some small changes if you want ^^
Quotehey it's finale's default piano sound lol
Right? I thought so.
I figured we still have a ways to go with RH rhythms and chords, but I more or less implemented your suggestions for the LH. Definitely a lot cleaner and I don't think we're sacrificing much. Thanks!
Updated.
For m6-13, I actually was thinking about leaving out the lower layer in the R.H., as all harmonic and rhythmic information is already in the L.H. It'll make the R.H. a lot easier to play too.
-m1: Maybe you could move the L.H. down an octave for some extra power? (also the first note of m2)
-m6-13: I think the L.H. in beat 4.5 should always be G-C, except in m8 and 12 where it should be a G-Bb
-m9 and 13: The L.H. within beats 1-2 should be Bb major (Bb, D, F), and within beats 3-4 Cm/G (so G, C, Eb)
-m14: I think I hear a F# and An below the R.H. too on beat 4. Also, you could add another An below the L.H. for some extra power.
-m17: Beat 4 in the L.H.should be a Bn power chord, though you could also write it as a Cb power chord (so Cb, Gb, Cb, as well as Gb and Cb in the L.H.), since it's chromatically descending towards Bb.
-m20-21: These measures are a bit weird, haha, I hear some chords differently (see below), but some tips about m20 in general:
--I wouldn't suggest writing too much chords below the C in the middle of the L.H. staff, as it will start to sound blurry.
--The rhythm in beat 2 (16ths on only 2.25 and 2.75) reads a bit easier with a beam going over the rest
--The chord on beat 4 is a impossible to play without pedal, so I'd suggest adding a pedal and not tying over every note.
Schermafbeelding 2024-01-24 140625.png
QuoteFor m6-13, I actually was thinking about leaving out the lower layer in the R.H., as all harmonic and rhythmic information is already in the L.H. It'll make the R.H. a lot easier to play too.
Can do. Just figured it'd be easier to have an overcomplicated part than have to add chords and countermelodies on the fly.
Quote-m1: Maybe you could move the L.H. down an octave for some extra power? (also the first note of m2)
Yeah that sounds good.
Quote-m6-13: I think the L.H. in beat 4.5 should always be G-C, except in m8 and 12 where it should be a G-Bb
Sure. I was trying to capture how the bass alternates between high and low G each measure but that was the best I came up with.
Quote-m9 and 13: The L.H. within beats 1-2 should be Bb major (Bb, D, F), and within beats 3-4 Cm/G (so G, C, Eb)
Right, sounds good.
Quote-m14: I think I hear a F# and An below the R.H. too on beat 4. Also, you could add another An below the L.H. for some extra power.
Done.
Quote-m17: Beat 4 in the L.H.should be a Bn power chord, though you could also write it as a Cb power chord (so Cb, Gb, Cb, as well as Gb and Cb in the L.H.), since it's chromatically descending towards Bb.
I heard it this way at first, guess I changed my mind somewhere along the line. Fixed.
Quote-m20-21: These measures are a bit weird, haha, I hear some chords differently (see below), but some tips about m20 in general:
Right. This was the section I was worried about. Initially transcribing it, it sounded great, but had to crunch up some chords to make it fit on one hand.
Quote--The chord on beat 4 is a impossible to play without pedal, so I'd suggest adding a pedal and not tying over every note.
I knew that. Just wasn't sure how best to put it down, thanks. I'm not in love with that sixteenth figure in the last measure but otherwise I think we should be good.
Updated.
Quote from: Fantastic Ike on January 24, 2024, 06:22:11 AMSure. I was trying to capture how the bass alternates between high and low G each measure but that was the best I came up with.
Ahh I see, if you want, you could also just move up any G's that are in a higher octave ^^ My preference would probably be keeping it as is to have a consistent L.H. figure, but either way works!
A few tiny things left to mention:
-You don't need the courtesy accidental in m9 and 13 beat 1.5, since the Bb is already there less than a beat before it.
-Make sure to add the beam back in m20 beat 2.25-2.75 in the L.H., similarly to how it is in the R.H.
QuoteAhh I see, if you want, you could also just move up any G's that are in a higher octave ^^ My preference would probably be keeping it as is to have a consistent L.H. figure, but either way works
No worries. I'll keep it consistent. Updated
Awesome, I'll approve!
(https://cdn.discordapp.com/attachments/895351643024015360/906174785795522560/BloopActuallyApproves.png)
Awesome, thanks!
Generally seems like this is in a pretty good place I like the way m7-13's LH pulls down the piano part. Just a few here and there comments
• There's not an indication currently of what the performer should do for the percussion notes, what are you envisioning there? Could have a clap or slap direction a bit to the left and underneath where they are in m1.
- Another thought on m1 is it's not really a true full measure right? Could make this a pickup starting on current beat 2.5. I have not changed measure numbers in my feedback tho just fyi will leave this change up to you
• From a part perspective m3 beat 1 the G is really a part of the RH
• m5 RH missing a beam between 1.0 and 1.75
• m5 RH hearing the Gn down an octave on 1.0. Also I'm hearing beats 1-2 a little different in the LH. Like so (screenshot)
• m20 given the lower RH layer rest is hidden on a couple beats, I would lower the 16th rests to normal height. Refer to Bloop's second post screenshot
QuoteAnother thought on m1 is it's not really a true full measure right? Could make this a pickup starting on current beat 2.5. I have not changed measure numbers in my feedback tho just fyi will leave this change up to you
I'm not opposed to this. I'm just not sure how to have a pickup measure that lasts 2.5 beats. Can only select certain quavers in Finale it seems.
Also, random. But how do you feel about making m21 b2.25 a dotted eighth instead of the repeated E? Still not 100% satisfied with how the pedal section sounds and I think that might help.
All the other changes should be taken care of.
Quote from: Fantastic Ike on January 27, 2024, 06:34:11 AMI'm not opposed to this. I'm just not sure how to have a pickup measure that lasts 2.5 beats. Can only select certain quavers in Finale it seems.
I guess the easiest way would be to make the pickup a 3/4 bar, and you could hide the 8th rest on 1.0 before the taps in the RH. Play with the space a little from there so the bar doesn't look weird with an empty space (shrink measure space to the left)
QuoteAlso, random. But how do you feel about making m21 b2.25 a dotted eighth instead of the repeated E? Still not 100% satisfied with how the pedal section sounds and I think that might help.
I personally don't think it's necessary, restriking the Eb isn't that difficult and I didn't feel like it was different from the original.
Few things I spotted tonight: when you have a tie that is the to the right of whole notes in a separate layer, you can flip those ties to their normal orientation. Applies to m15-19 LH (m16, m19 beat 1.75-2.0 are good to go tho)
Hmm, okay. Updated.
To clarify, beat 2.5-3.0 should be flipped for those measures as well.
Oh, right. Updated.
Sorry one last thing I heard/saw, m13 beat 4 RH sounds a little different to me, hearing top to bottom Eb-Bn-Gb-Eb (screenshot)
Sure! Fixed
Thanks for making that, I will accept ;D
This submission has been accepted by Kricketune54 (https://www.ninsheetmusic.org/forum/index.php?action=profile;u=6528).
~Zeta, your friendly NSM-Bot