[ARCADE] Street Fighter II: The World Warrior - "Guile's Theme" by Renaud Bergeron

[Zeta]

Submission Information:
Series: Other
Game: Street Fighter II: The World Warrior
Console: ARCADE
Title: Guile's Theme
Instrumentation Solo Piano
Arranger: Renaud Bergeron

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[Khunjund]

Well, I was going to submit some sheets from Final Fantasy, but when I saw that this had never been done, I dropped everything.

Here's the original:

I also used the SNES port for reference (the arcade version can get a bit muddy); as far as I can tell, they're identical (except for the sound chips)

It goes with everything!™
Certain conditions may apply. Details in store.

[Maelstrom]

I'm so glad someone finally arranged this.

[Tobbeh99]

M.1-2, 4-5 (and maybe other places) Make the second slur go all the way to the final note which is tied.
Like this:

Spoiler

[close]

Also maybe use some 8vb instead of those low bass notes. Might make it look better and easier to read.

[Khunjund]

M.1-2, 4-5 (and maybe other places) Make the second slur go all the way to the final note which is tied.

Yea, that's how I used to do things, and I know it to be the theoretically "proper" way to write it, but I've seen a number of professional editions only slur the first note, which is what made me reconsider. I'll give it some thought.

Also maybe use some 8vb instead of those low bass notes. Might make it look better and easier to read.

The majority of the piece stays within three ledger lines which does not warrant an 8va bassa line, in my opinion, and therefore I aim to keep the sheet consistent visually by not putting one under the sections which go up to four four ledgers lines. Also, this is subjective, but I really dislike the appearance of 8va lines, and I find it looks much better this way.

[mastersuperfan]

Wait.

How has this track never been arranged before...

Also maybe use some 8vb instead of those low bass notes. Might make it look better and easier to read.

Personally, I second this, but with a note at the beginning that says "play left hand one octave lower than written" or something to that effect (so you don't have the line throughout the whole sheet). It might just be my limited playing experience, but I'm not comfortable or fluent in reading notes anywhere below two ledger lines from the bass clef, so this left hand part would definitely not be easy for me to learn.

[Libera]

Also maybe use some 8vb instead of those low bass notes. Might make it look better and easier to read.

Personally, I second this, but with a note at the beginning that says "play left hand one octave lower than written" or something to that effect (so you don't have the line throughout the whole sheet). It might just be my limited playing experience, but I'm not comfortable or fluent in reading notes anywhere below two ledger lines from the bass clef, so this left hand part would definitely not be easy for me to learn.

Another reason to do this would be that having all of those ledger lines adds an awful lot of volume to the arrangement visually.  Particularly the second page is getting very crowded and getting rid of all of those ledger lines (by using a generic marking as msf suggested) would make the whole sheet a lot cleaner.

[Tobbeh99]

Wait.

How has this track never been arranged before...

Personally, I second this, but with a note at the beginning that says "play left hand one octave lower than written" or something to that effect (so you don't have the line throughout the whole sheet). It might just be my limited playing experience, but I'm not comfortable or fluent in reading notes anywhere below two ledger lines from the bass clef, so this left hand part would definitely not be easy for me to learn.

Or just write and 8vb. There is a loco sign to use to end the 8vb. Or something like 8vb sempre, or 8vb sempre (and only some of the line (like this:

Spoiler

[close]

)) or something like that, if you don't like the line. Like I have on this sheet: https://www.ninsheetmusic.org/download/pdf/2694

[Latios212]

I agree as well with the 8vb suggestions, though it's up to you in the end.

M.1-2, 4-5 (and maybe other places) Make the second slur go all the way to the final note which is tied.

Yea, that's how I used to do things, and I know it to be the theoretically "proper" way to write it, but I've seen a number of professional editions only slur the first note, which is what made me reconsider. I'll give it some thought.

I'd also strongly recommend this; it covers the whole group you're slurring and helps visually differentiate the slur from the ties.

• Second triad in measure 3 (and other similar places) - hearing a prominent C rather than the D you wrote in.
• For measures 15-16 and 19, why not have the beat 2 sixteenth notes in the same place as beat 1? It'd be easier to play and it'd better preserve the contour of the original line. (Same with beat 3 of 19.)
• Measure 18: raise the 16th rest to normal height

I think that's all I've got. Neat to finally have this arranged.

[Latios212]

poke

[Khunjund]

Sorry, I said I would get to this much earlier than I ended up being able to because of University, but here I am, finally.

I agree as well with the 8vb suggestions, though it's up to you in the end.

I decided not to go with this change. While it may make the sheet look a little intimidating at first, the left hand usually plays around the same notes, and the more active sections have smaller intervals, which should help in sight-reading. Additionally, raising everything by an octave would require me to space out some systems (e.g. 4 and 5) a little too much for my tastes (I think I'm already stretching it as is), on top of making some other sections where the right hand plays low look a little off, and cutting an 8va line or adding loco just for the treble clef interventions in measures 17 and 21 doesn't seem great to me.

I'd also strongly recommend this; it covers the whole group you're slurring and helps visually differentiate the slur from the ties.

Done.

• Second triad in measure 3 (and other similar places) - hearing a prominent C rather than the D you wrote in.
• For measures 15-16 and 19, why not have the beat 2 sixteenth notes in the same place as beat 1? It'd be easier to play and it'd better preserve the contour of the original line. (Same with beat 3 of 19.)
• Measure 18: raise the 16th rest to normal height

• There's a C for the first two beats, but it goes up to D on the third. Combining it with the melody, I just found it convenient to anticipate it by a sixteenth note to keep the rhythm clean.
• The reason I changed the arpeggios this way was to give more room to the melody; this way, the long C isn't buried as much, and the D-Eb-F walk up stands out more, because of the lower register of the preceding beat. I find this particularly noticeable in measure 19, where the G in the melody really loses its identity if the arpeggio G from the preceding beat is heard at the same octave. Also, while it is slightly more difficult to execute, this arrangement is rather tricky to play in general, and I don't think this particular arpeggio pattern stands out in terms of challenge.
• Done.

[Latios212]

No worries. All the above sounds good, so I approve!

[Maelstrom]

I still like the hyper SF2 version better.

Accepted. Fantastic job.

[Zeta]

This submission has been accepted by Maelstrom.

~Zeta, your friendly NSM-Bot