Cashwarrior1's Aquatic Update Sheets

[cashwarrior1]

Splatoon sheets baby

Splatoon 2
Riptide Rupture
[musx] [mus] [midi] [pdf]

So the performance in this one is kinda sloppy, there's a lot of rushing (on the sixteenth notes) and dragging (on the eighth notes, and triplets), but the general tempo is 172. It's pretty difficult to play, so any suggestions for making it easier I'm open to.

Comments:

• Kazoo notation. I have no reference for what it should look like so I just estimated.
• LH m6 last sixteenth note to m7 b3, I moved this part down an octave to make it easier to reach the octaves. But when it repeats in m10-11, I left it up the octave.
• m24-31, I have the lh octaves crossing staves since I find it easier to play that way.
• There are a lot of spots where the lh has a lot of ledger lines, but I was having trouble figuring out if/where I should put 8vb
• It is really hard for me to tell what a lot of the chords are, and in some places (like m8 rh) where it sounds like theres an unintended note. I thought it'd be cool to write down chord names so it can be somewhat treated as a lead sheet, I just dunno how to name stuff

Splatoon 3
Seasource
[musx] [mus] [midi] [pdf]

TLDR; Asuka Hayazaki is the composer

Since this song was added to the game this month, we don't have the official soundtrack for composer credits. However, the in-universe band that made this is Sashimori, who previously had two songs in splatoon 2 and Asuka Hayazaki was credited for those (link) and those are literally the only songs she wrote. With the release of side order, Asuka Hayazaki is listed in the credits (but not in the base game) and while it could be because she made music for side order, it's more likely that the sashimori songs will be on the soundtrack release of side order.

[close]

There are spots in this with shouts that I tried to capture (m6, 8, 10, 44) and some that has more pitch to it, so I just followed the general motion and followed the supporting harmonies (m20, 28). The section at m29-35 is really weird, I tried to give each note its own spot on the scale (hence all the double sharps) but I don't know if theres any harmonic reasoning here

[Fantastic Ike]

Wow, this is a fun one. Props for you for figuring out how to put all that on a sheet.

[Kricketune54]

Riptide Rupture
• I have no idea about kazoo notation but it looks like what is here gets the point across.
• m2 the gliss sounds like it starts on an Fn, not an An. You could add an 8va above it so it doesn't have to be so high on the page.
• m6 and m10 RH 4.75 hearing a Db
• m7 and m11 LH and RH 2.5 hearing a Db
• m8 LH 2.0 sounds like Gn's

[cashwarrior1]

• m2 the gliss sounds like it starts on an Fn, not an An. You could add an 8va above it so it doesn't have to be so high on the page.

I made the same changes to the gliss on m48

• m6 and m10 RH 4.75 hearing a Db

Made the same change to the LH

Updated.

[Kricketune54]

• Relistened to kazoo, in m2 I'm hearing the kazoo is in triplet 8th notes for beat 1+2, but no note on first 8th note triplet of beat 1.
• m28-31 what's the reasoning for Fbb instead of Gn? I guess I would think Gn would be easier to read and mean for fewer accidentals (not like you have to do a natural accidental within the same measure after the Gb).
• And at m31 it does sound sort of like Fn is the closest actual pitch for the end of the gliss.
• RH m45 RH do not hear Fb, hearing it as Fn.
• LH m48 3.0 is a restruck Fn

[cashwarrior1]

• m28-31 what's the reasoning for Fbb instead of Gn? I guess I would think Gn would be easier to read and mean for fewer accidentals (not like you have to do a natural accidental within the same measure after the Gb).

I think I wanted to keep it visually the same as the previous 4 measures but it isn't necessary.

• LH m48 3.0 is a restruck Fn

Not quite sure what you are referring to?

Updated.

[Kricketune54]

Not quite sure what you are referring to?

Oh sorry correction m47

• m14 LH I listened a bit closer here and hearing a walking quarter note bassline Cn-Gn-Fn-Cn.
• Then on m15 LH it's same pattern but Bb-Fn-Bb-Fn to spell out each quarter beat
• Note also m16 does this too, but I think it would be more difficult considering the parts you've pulled in
• m28-m31 LH the lower LH octave I'm actually hearing a repeat of the notes from m24-m27. So instead of two octaves of Fn's at m28 I hear the Fn on top, with a Dn underneath. Let me know if more clarity needed but basically hearing the upper octave notes of the LH in m24-m27 repeat in m28-31

[cashwarrior1]

• Note also m16 does this too, but I think it would be more difficult considering the parts you've pulled in

Yeah, I did leave that part out for this reason

• m28-m31 LH the lower LH octave I'm actually hearing a repeat of the notes from m24-m27. So instead of two octaves of Fn's at m28 I hear the Fn on top, with a Dn underneath. Let me know if more clarity needed but basically hearing the upper octave notes of the LH in m24-m27 repeat in m28-31

I think I understood that, let me know if I did it wrong lol

Updated.

[Kricketune54]

I think I understood that, let me know if I did it wrong lol

That looks like I meant!

• m15 I was hearing those LH notes as Bb-Fn-Bb-Fn each a quarter note not 8th notes going between octaves
• m24-m27 beat 2.0 LH I was looking at this again, is there a reason to have beat 2 and 3 raised like that?
• m43 RH 1st voice you could lower this half rest to the standard height

Took a while to digest this one but I think that's all of my commentary

[cashwarrior1]

• m24-m27 beat 2.0 LH I was looking at this again, is there a reason to have beat 2 and 3 raised like that?

Yeah, I wanted to indicate the RH play those notes. I kept those notes attached to the lower staff just because it felt more consistent with the voices being played. I do think that it'll be fine to change though if desired.

Took a while to digest this one but I think that's all of my commentary

Thanks for taking the time to tackle a hard piece!

Updated.

[Bloop]

Seasource
-I think the key signature could be C#m instead (4 sharps)? Most of the piece is in a phrygian mode, but the part at 37 is pretty clearly in C#m.
-m1-3: I hear the guitar crunchies at beat 4 as minor seconds (A#-B, B#-C#, and D#-E)
-m6: I hear the B# on L.H. beat 3.5 an octave lower
-m8: I hear the Dn on L.H. beat 3 an octave lower
-m5-12: If you want, I think you could add an octave above the L.H. for some more metal power (except for when there's a shout on beat 4, as that would probably clash with the R.H.)
-m16: You could write the Bb power chord on beat 4 as A# too, as you used A# in m8 and 12 too
-m17: The B's on R.H. beat 4.25-4.5 should be one 16th note later (so starting on beat 4.5)
-m18: I don't hear the R.H. B on beat 1, and hear R.H. beat 1.75 as a B instead of A#
-m19: Also hear the Gn-A on beat 4.25 starting on beat 4.5 instead
-m20: Maybe you could add bass notes below the fourths in the L.H. too, to make them full power chords?
-m21-28: I feel like you could add some more drive in the L.H. here: the guitars seem to be playing some more dead notes or other in-between notes to fill it up, and the drums are going wild too. It seems to continue in a sort of similar rhythm as in the m13 section for the uneven measures, at least
-m30, 32 and 34: Instead of double sharps, it's fine to use naturals here. In 30 and 34 you could give the B's a cautionary accidental, or you could even write the B# in the measure before as Cn, because it chromatically descends to the B.
-m34: I think I hear a Dn on beat 2 instead of the G# (the Dn below the G#, not the one in beat 1.5)
-m37: This section is quite jumpy for the L.H.: especially measures like m39 span a very big section of the piano (3 full octaves). Maybe you could try to keep parts a bit closer together? I'm assuming the player will use a pedal here, so that will help to make the section sound grander already.
-m52: The guitars (L.H.) also plays B# on beat 4.5
-m53-56: If you haven't already, the same things as before apply to here

[cashwarrior1]

-m5-12: If you want, I think you could add an octave above the L.H. for some more metal power (except for when there's a shout on beat 4, as that would probably clash with the R.H.)

I think I'll leave it as is. I like putting as much power into a single note as I can while also having it be comparatively less dense compared to the opening (and the climax later)

-m21-28: I feel like you could add some more drive in the L.H. here: the guitars seem to be playing some more dead notes or other in-between notes to fill it up, and the drums are going wild too. It seems to continue in a sort of similar rhythm as in the m13 section for the uneven measures, at least

I added some constant offbeats to match the rhythm of the snare and made them minor seconds to get the texture of the guitar. Also added some extra rhythm to the LH to vaguely match some of those record scratches and the ghost notes.

-m37: This section is quite jumpy for the L.H.: especially measures like m39 span a very big section of the piano (3 full octaves). Maybe you could try to keep parts a bit closer together? I'm assuming the player will use a pedal here, so that will help to make the section sound grander already.

Yeahhh I really wanted to match that kind of virtuosic playing that you see in a lot of anime covers, and specifically taking inspiration from Lattice. I adjusted it to have less jumps and focused the low notes on chord changes and emphasis.

Updated.

[Kricketune54]

Okay, just did a last check through, I approve of this sheet, but I am just going to make comment that I think the composer's name should be spelled Ryo, not "Ryou". I understand the intent, as that is technically how the Romaji would be spelled out, but in every release and available resource the name for this composer is anglicized to Ryo. Just think it would be odd to be out of step with how his name is officially listed/credited

[cashwarrior1]

Oh yeah. I think I type Ryou out of habit 😅 Updated.

[Bloop]

I added some constant offbeats to match the rhythm of the snare and made them minor seconds to get the texture of the guitar. Also added some extra rhythm to the LH to vaguely match some of those record scratches and the ghost notes.

That works pretty well yeah! I think it's fine to re-beam beat 2 and 2.5 though, as un-beaming it doesn't necessarily make the rhythm much clearer.
 
The rest looks good like this though!