[SNES] Star Fox - "Out of This Dimension" by Kricketune54

[Zeta]

Submission Information:
Series: Star Fox
Game: Star Fox
Console: Super Nintendo Entertainment System
Title: Out of This Dimension
Instrumentation Solo Piano
Arranger: Kricketune54

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[Kricketune54]

Star Fox 30th anniversary it is

I did a lot to make this arrangement of Strauss's "Voices of Spring" work. 

Looking at the LH pattern, it is constructed of the lower bass notes and the harmony notes on beat 2 and 3... bassline was pushed up and harmoney pulled down an octave

If you saw my first go through of this track from last year, I decided to up the melody an octave as to avoid collisions with the LH. I think it works pretty well this way.

Only other thing I want to mention was m24 LH the descending pattern lower notes are not exact but were selected to fit under the main notes (if you listen to this part you'll understand what I mean). Also LH beat 3.5 is up a couple octaves for convenience

[Fantastic Ike]

Wow, this does not sound like a fun time arranging. Definitely a lot of compromises to make it work.

I don't have much to add, but I think some courtesy accidentals in general could help. This is a very fast piece to play and it might be best to have so you don't just have to rely on assumptions and such.

Also don't know why there's a Bb in the LH at m6, at least compared to the A#s throughout the rest of the piece. The chord shape isn't really different than in the other instances, and while the key signature is more forgiving to flats it'd probably be best for consistency. (And again since it's a fast piece, one might assume that the chord is crunchier than it is. Just guessing here, I'm a hack at actually playing piano)

Now I'm definitely not sure about this one, but maybe you could incorporate some more of the blips and bloops (incredibly academic term there) in rests like m20 and m28. I could definitely see a valid argument for leaving those out, but food for thought.

Anyway those are my thoughts, hope they helped

[Kricketune54]

Wow, this does not sound like a fun time arranging. Definitely a lot of compromises to make it work.

It was definitely less fun than I expected...

I think some courtesy accidentals in general could help. This is a very fast piece to play and it might be best to have so you don't just have to rely on assumptions and such.

Whereabouts do you envision specifically? I apologize if this isn't something easy to figure out since it's been a good bit of time. I am not sure I see a place where courtesies are needed necessarily. I did make some accidental changes in a few places, ex. Bb to A# or Ab to G#.

Also don't know why there's a Bb in the LH at m6, at least compared to the A#s throughout the rest of the piece.

I think I just forgot this one, sorry! Went back and forth on accidentals a few times.

Now I'm definitely not sure about this one, but maybe you could incorporate some more of the blips and bloops (incredibly academic term there) in rests like m20 and m28. I could definitely see a valid argument for leaving those out, but food for thought.

I think I'm going to stick with what I've got on this. I think they're a bit too out there to replicate in a meaningful way, no pun intended

Anyway those are my thoughts, hope they helped

Thanks for checking! Updated.

[Fantastic Ike]

Whereabouts do you envision specifically? I apologize if this isn't something easy to figure out since it's been a good bit of time. I am not sure I see a place where courtesies are needed necessarily. I did make some accidental changes in a few places, ex. Bb to A# or Ab to G#.

Like maybe m17 and 18 with the chromatic stuff? I dunno. But I don't think I have anything else to add on my part

[Kricketune54]

Like maybe m17 and 18 with the chromatic stuff? I dunno. But I don't think I have anything else to add on my part

Ah, I see a few places where this makes sense; I added accidentals to m17-19 RH beat 1, as well as m27. Thanks Ike!

In addition this, I decided to go back on some of the octave choices, and made some edits to the LH so that the collision I was initially concerned about at measure 13 for example wouldn't happen (I removed the D from the LH there).

[XiaoMigros]

Wow, this certainly

• One idea I had for m3-4 RH and similar is to use clusters? Would spice up the sheet a little
• It might make more sense to indicate the tempo relative to a dotted half here? q=220 is pretty large
• I would capitalise the 'piano' in 'Arranged for piano...', to follow standard capitalisation conventions
• m11 b3 LH should be A# not Bb
• I think the LH in m40 should be G and not B? It's hard to tell though
• A lot of your notes need respelling, particularly upward chromatic ones in m17 and m18. It's also okay to use Db in the current key signature, so m16 can also be respelled for example. Can you take a look over all of these?
• Around the top half of page 2 you could consider moving some of the LH dyads to the RH (or at least, parts of them)?

[Kricketune54]

Wow, this certainly

yes.

• One idea I had for m3-4 RH and similar is to use clusters? Would spice up the sheet a little

Not sure I fully understand this bit do you mean put note clusters as opposed to text instruction? Not sure where m3 would fit into this as well. I took as stab at m4, not a true cluster, but would be interested to see your thoughts

• It might make more sense to indicate the tempo relative to a dotted half here? q=220 is pretty large

Totally agreed. q.=73 it is

• I would capitalise the 'piano' in 'Arranged for piano...', to follow standard capitalisation conventions

tehehe you know i love to do that. Fixed

• m11 b3 LH should be A# not Bb

Fixed

• I think the LH in m40 should be G and not B? It's hard to tell though

I think you're right. Fixed

• A lot of your notes need respelling, particularly upward chromatic ones in m17 and m18. It's also okay to use Db in the current key signature, so m16 can also be respelled for example. Can you take a look over all of these?

Took additional look at the chromatics, hopefully didn't do too much with regard to m1-2

• Around the top half of page 2 you could consider moving some of the LH dyads to the RH (or at least, parts of them)?

tried some stuff on the keyboard and made changes

Thanks! Updated[/list]

[XiaoMigros]

Not sure I fully understand this bit do you mean put note clusters as opposed to text instruction?

I meant something like this:

Spoiler

You cannot view this attachment.

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Took additional look at the chromatics, hopefully didn't do too much with regard to m1-2

They certainly are better, but let me give you a few more tips:

• For cases like m17, m18, and even m22, where you have an chromatic leading note just below the main note, these would be better written as sharps
• m25 is probably better as C#, to avoid clashing with the D in the LH

tried some stuff on the keyboard and made changes

works for me! optional is to use more than one layer but I'm not sure if that just adds unnecessary clutter.

[Kricketune54]

Made some fixes, added the clusters but kept the top part of page 2 the same. Thanks!

[XiaoMigros]

Looks good now, I have nothing to add

[Latios212]

Wow, this is sure a wonky piece

I meant something like this:

Spoiler

You cannot view this attachment.

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If you're going to use clusters, I agree with Xiao's suggestion above, with the top of the clusters aligning with the original melody. What you have right now has all the clusters up a half step. Same applies for m. 39

Other stuff:
- Best to remove the LH D on beat 2 of m. 29 similar to m. 13
- I don't think it makes sense to put a courtesy natural on the C in m. 17. Conversely, m. 14/30 beat 2 RH could use one since it's directly above a C# in the LH.
- Thought about lowering m. 36 beats 1-2 RH as in the original ?
- The glissando in m. 19 and 27 is rather ambiguous. While it's passable to leave it up to interpretation given the speed, it's unclear as written when exactly to make the descent and where to end it. Based on the sound of the original, I'd suggest something like this:
You cannot view this attachment.
The endpoint of Fn isn't as marked in the original, but this way the performer does have a better idea that the descent is quicker closer to beat 3 and ends roughly on that Fn on beat 3. If you decide to implement this, similar comment for m. 27 ending on Gn and 35 ending on... En?

[Kricketune54]

Wow, this is sure a wonky piece

Fitting for the level https://youtu.be/heanbi_oDUE?t=85

If you're going to use clusters, I agree with Xiao's suggestion above, with the top of the clusters aligning with the original melody. What you have right now has all the clusters up a half step. Same applies for m. 39

Oh, looks like I misread the screenshot. Fixed

- Best to remove the LH D on beat 2 of m. 29 similar to m. 13

Fixed

- I don't think it makes sense to put a courtesy natural on the C in m. 17. Conversely, m. 14/30 beat 2 RH could use one since it's directly above a C# in the LH.

Removed for m17, added an accidental for the other two measures.

- Thought about lowering m. 36 beats 1-2 RH as in the original ?

Oh I thought at the time that beat 3 would be difficult to play but now makes sense that it would be easier to play the original octave from the the gliss. Fixed.

- The glissando in m. 19 and 27 is rather ambiguous. While it's passable to leave it up to interpretation given the speed, it's unclear as written when exactly to make the descent and where to end it. Based on the sound of the original, I'd suggest something like this:

Good point! I have update all 3 spots. I think m35 technically slides past En to Eb but it doesn't sound good on a C major chord. Only two grace notes there though

Thanks for checking have updated files! Glad to finally get this out of the Submission Dimension 

[Latios212]

Thanks for checking have updated files! Glad to finally get this out of the Submission Dimension 

Fantastic! Just two extremely minor things before I smash that accept button!

- There's a random 3 sticking out of the bottom of the second page in your PDF. I sometimes see this using Finale's default export when there are triplets... but there aren't any here? In any case, try using an external printer (your computer might have a print to PDF function)
- For the chromatic descent in m. 35, Gb is fine to show the descending contour of the notes, but F# might be marginally better. It's already part of the key signature and there's a Gn on beat 3 in the left hand.

[Kricketune54]

- There's a random 3 sticking out of the bottom of the second page in your PDF. I sometimes see this using Finale's default export when there are triplets... but there aren't any here? In any case, try using an external printer (your computer might have a print to PDF function)

Weird, I don't think I've ever intentionally used the PDF export haha (always do ctrl+p for print pdf).

Edit: it was actually something I suspected, I had made one of the grace note groups triplets on accident, and while it wasn't showing up on the sheet, it was somehow showing up at the bottom of the page. Went away from PDF when I fixed.


Updated to F# as well!