[SNES] Super Metroid - "Small Boss Confrontation BGM" by Olimar12345

Started by Zeta, November 06, 2014, 02:49:14 PM

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Zeta

Submission Information:

Series: Metroid
Game: Super Metroid
Console: Super Nintendo Entertainment System
Title: Small Boss Confrontation BGM
Instrumentation Solo Piano
Arranger: Olimar12345

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Maelstrom

Yep. It's good. Except there are two places where it crescendo and diminuendos different that everywhere else.
Measure 11, 24, and 33 if I remember correctly.

Olimar12345

I'm not sure what it is you're trying to say, but those places are correct in my arrangement.
Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!

Maelstrom

nvm, it's fine. I could have sworn I heard it earlier, but it just sounds like it's crescendoing earlier.

Bespinben

Dang. This is really good. Love the choice of octave registration.

This question is really more for me than it is for your arrangement, but I find your accidental spellings... inconsistent. Measure 5, for instance, you have an F# in the LH but yet a Gb simultaneously in the RH. Measure 9 too with the E# against the F. Again, you'd probably know more about this sort of atonal, chromatic stuff than I would, but it just doesn't gel in my brain.
Set of notes: {C, C#, D, D#, E, F(E#), Gb (F#), G#, A, B}
Unfortunately, I'm not sure how to remedy this either, because if we, say, make all the F#'s to Gb's, then you would get some nasty intervals like D and Gb - m.8, hypothetically. At the same time though, m.5 looks a whole lot better with the LH dyad as Gb and Ab, rather than F# and G#. I really don't know which to recommend. Enlighten me.
Quote from: Nebbles on July 04, 2015, 12:05:12 PM
Someone beat Bespinben to making PMD music?! GASP!

MLF for Chatroom Mod next Tuesday

Olimar12345

This piece has no functional harmony, so the spelling of chromatic pitches does not have that to fall back on. Knowing this, lets proceed with an analysis:

Lets agree that the RH is an ostinato. Makes sense, right? It is one measure long (two measures, if we include the dynamics) and repeats constantly and consistently throughout. The first thing to do would be to find a logical way of notating it. Since the pattern is three descending half steps, followed by three ascending half steps (separated by an enharmonic major third in both directions) you'd want to notate it in a way where you would use as few accidentals as possible, while still displaying the intervals of seconds. Now let's set that aside.

For the LH, I have combined the other two parts: the long tones and the rhythmic layer. Let's cover the long tones first. This is a brief line. It is always a major third condensing to a major second by contrary motion (inwards). If I were writing this for two instrumentalists to play (each with one of the two pitches) I would write the A going down to an Ab for one player and the F going up to the F# for the other, showing off the direction of the line in a very clear way (sharps going up, flats going down). Since this is for one player, though, it would be much more beneficial for them to show that interval of a second rather than each line's motion (major second is more friendly to read than a diminished third!).

As for the rhythmic layer, consistency is the key. Since it is planning tritones, the only thing you really have to do is keep the interval consistent. In this case, augmented fourths seemed to be the way to go, being that there are fewer accidentals that way which means less confusion elsewhere.

And that is how I see this piece.
Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!

Bespinben

Okay! That makes a lot of sense. Thank you.  I dub thee Sir. PumpyHeart the II.

Going along with what you said now, I still see room for variability in the spelling with the major 3rd long tones condensing to major 2nd. What lent to you making the decision for the spelling of that major 2nd to be F# + G# as opposed to Gb + Ab (at measure 5)? My first instinct is think that you did that because F#, C#, G#, and D# are close together in the circle of 5ths, but that's thinking tonally, which already went out the window for this song, as you said.

Quote from: Nebbles on July 04, 2015, 12:05:12 PM
Someone beat Bespinben to making PMD music?! GASP!

MLF for Chatroom Mod next Tuesday

Olimar12345

Quote from: Bespinben on November 07, 2014, 01:08:01 PMWhat lent to you making the decision for the spelling of that major 2nd to be F# + G# as opposed to Gb + Ab (at measure 5)? My first instinct is think that you did that because F#, C#, G#, and D# are close together in the circle of 5ths, but that's thinking tonally, which already went out the window for this song, as you said.

Like you said, that's thinking tonally. In reality, it doesn't matter how I spell it, as no one way is quite "perfect." I chose that way because the lower voices' half step motion was preserved without moving to another base note (F to F#, for example).
Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!