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[Zeta]

Submission Information:
Series: Other
Game: Tekken
Console: PlayStation
Title: King George Island, Antarctica
Instrumentation Solo Piano
Arranger: Fantastic Ike

[Fantastic Ike]

Fun fact, even though Tekken was originally released for arcade, the PS1 version has an almost completely different soundtrack...and nobody knows who rearranged the arcade tracks, it seems

[Kricketune54]

Formatting
- I think that's the right choice for the composer credit.
- I would suggest removing the curtesy accidental in m36. The parentheses are a bit tight, and it's not necessary given this key has C# already and the natural in the next measure already has the natural accidental so you know you're changing from a C# to a Cn. Honestly you could probably get rid of all the curtesy accidentals just to be consistent.
- m4 LH lower slur is a bit awkward but tug the center down a bit so it isn't crossing into/touching the D on beat 4.
- m33 technically it's only the RH part that is decreasing dynamics. You could put the mp above the RH notes here and at m35, or leave as is, up to you.
- LH m41-44 beats 3.5 and 4.5 should be beamed together, like lower layer of m46 LH beats 3.5 and 4.5.
- I think m44 goes better on the last system. Typically the last system grouping of the song would have more measures than the previous if there is an uneven amount and it also just looks bit better in this instance, if still a little crammed.

Notes
m1-2 loop - any place where this part is it is up an octave from the original. However, I think this was a good arranging choice so that the RH and LH pitches aren't too close.
- m5 and similar LH - I think An would be a better choice than the G
   - this would also apply for m9 3.5 and 4.5 and similar, An would go better with D major chords
- m13 LH and similar - beat 2 is 16th rest-Bn-Bn-Bn. So all are 16th length. I guess you could decide to either combine the last two 16ths into an 8th as is but as a Bn instead of C#, or have the 2nd Bn be up an octave.
   - beat 4 of this measure is the C# 16th note and an F# at 16th length. Beat 4.5 would be an 8th rest.
   - beat 3 and 3.5 sound short for 8th notes so put staccatos on them.
All together this measure would look like:

Spoiler

[close]

- m27-28 there is no D# in the tied notes but there is an En. Also, I think it would be best to split those last notes in m27 into two layers; that way you can tie them over to m28. Unfortunately you can't just drag the ties with the Tie Mover tool.
- m29-32 RH notes are not different from the other parts of this track with the same rhythm (A-A-D-D and F#-F#-C#-C#). It's a little harder to make out

-m35 and m37 RH, there are vocal notes here you could have as a response pattern to the m33 and m34 notes.

m39-40 RH have been written up an octave, and in this instance, they would work a little better down to their original octave
- m39 RH first cluster is good as is, but the G# on the bottom should be a Bn. It's hard to hear but the lower A in the first half note ascends to the Bn in the next one.
- m40 RH there's a C# in between the F# and the lower An

[Fantastic Ike]

Thanks! Should be all updated

[Bloop]

Sorry for the long wait on this one!

-The intro is pretty quiet in the original, especially the L.H. voice: maybe p or mp works better as dynamic here?
-I personally don't think the long synth pad voice that enters in m13 works in the L.H. in this octave, combined with the L.H. It makes the L.H. a bit awkward to play, which in turn makes it even harder to combine the L.H. bassline with whatever happens in the R.H. I think it might be better if you forgo the R.H. voice here and put the new voice in the R.H. (you could even add some of the other chords back in), and leave it out at m21 when the melody takes the foreground.
-m27: The F# dotted half note isn't holdable throughout this measure, and I don't suppose using a pedal would work with the busy staccato-ish bass part.
-m28: The half rest should be a bit higher up, currently it looks like it's part of both voices.
-m34 and 36: The D# in the R.H. shouldn't be there (it clashes a lot in the context too), I hear C# and E instead.
-m37: I hear two C#'s in 16ths on beat 2.5 in the L.H. (instead of an 8th)
-m45-48: The upper layer in the R.H. can't be played legato with the octave transposing bass F#'s, though I'm not sure how well it works with some more F#'s transposed up an octave too. I'll let you decide what you think looks and sounds best ^^

[Fantastic Ike]

I personally don't think the long synth pad voice that enters in m13 works in the L.H. in this octave, combined with the L.H. It makes the L.H. a bit awkward to play, which in turn makes it even harder to combine the L.H. bassline with whatever happens in the R.H. I think it might be better if you forgo the R.H. voice here and put the new voice in the R.H. (you could even add some of the other chords back in), and leave it out at m21 when the melody takes the foreground.

Yeah, this was the best compromise I could come up with and it doesn't sound great. I wanna know before I make a huge change, though: are you talking about completely getting rid of the RH from m13-20? And replacing it with chords? Or just adding chords to what's already there? (Which might be tricky)

-m45-48: The upper layer in the R.H. can't be played legato with the octave transposing bass F#'s, though I'm not sure how well it works with some more F#'s transposed up an octave too. I'll let you decide what you think looks and sounds best ^^

I'll just get rid of the legato if that works.

Everything else should be fixed, but I won't update until I hear from you. For such a simple song, it's really hard to arrange for piano lol.

[Bloop]

are you talking about completely getting rid of the RH from m13-20? And replacing it with chords?

Yep, that's what I meant ^^ If you like that better too, of course

[Fantastic Ike]

Sure thing, updated.

[Bloop]

This works a bit better already ^^ However, in m13-20, the R.H. is currently playing in the same register as the L.H. sometimes (most notably in bars like m14, the C# and F# get repeated halfway through the bar). You might wanna check if you wanna change the R.H. chords to something a bit higher, or move the bass down an octave throughout the song. m29-35 still has that old voice in the L.H. too, which you could change to the chords again.

[Fantastic Ike]

Sure thing. Normally wouldn't bump down the bass, but I like the RH chords where they are. Plus, it makes a contrast with other sections. Fixed

[Bloop]

Normally wouldn't bump down the bass, but I like the RH chords where they are.

I wouldn't usually either, but it works better here than in other pieces I think. Maybe because the bass isn't too melodic, so the notes stand out a bit better.

The bass is still unaltered in m33-35, make sure to change those too. You could consider having the bass down an octave fully throughout m13-40, so it doesn't octave jump too much, but I'll leave that up to you ^^
Some other tiny things as well:
-m13: You could move the start of the 8va left a bit, so the 8 is before the first note.
-m35: Don't know if this was like this before, but the R.H. (with the pick-up in m34) aren't the right notes. Also, I'd suggest removing the note on beat 4, because the jump from beat 3.75 is too quick to make, and the voice that it's from isn't that noticeable.
-m36: You could move the forte to above the staff like it has been before, or at least up close and personal below the R.H. instead of the middle. Unless you wanted the L.H. to be forte here too instead of mf, then you can leave it :p

[Fantastic Ike]

Sure thing, updated.

[Bloop]

Awesome! I'll approve!

[Fantastic Ike]

Awesome, thanks!