[3DS] The Great Ace Attorney: Adventures - "Dance of Deduction (Type A)" by Latios212

[Zeta]

Submission Information:
Series: Ace Attorney
Game: The Great Ace Attorney: Adventures
Console: Nintendo 3DS
Title: Dance of Deduction (Type A)
Instrumentation Solo Piano
Arranger: Latios212

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[Latios212]

It's time for Herlock Sholmes's magnificent 'Logic and Reasoning Spectacular'!

- I haven't unlocked this song yet in the sound test of the Switch version, so I dunno what the official English title is (if there is one).
- I recall that the main and backstage version swap during gameplay. The ending part plays at the conclusion of the scene.

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[Kricketune54]

Likin the 7/8 feel with this 

As far as the OST listing, the only thing I can steer you towards is this CD which looks to be a concert performance of the soundtrack though.  Here it is listed as "Dance of Deduction Type A" and "Backstage Type A" though maybe at this point you have the sound test lol.  Also if this CD is to be believed it looks like this is by Yasumasa Kitagawa



For "Type A"

m.6 end/m.7 beginning: Have you considered making the RH Fn (the last note of m.6) a Fn and a Gn but as sixteenth notes instead of a grace note Gn on the Cn in m.7?  Same would also apply at m.10/11.  I personally think this sounds a little closer to the actual rhythm. 

Spoiler

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m.7 the last quarter note in this measure I do hear a Cn in between the An and Fn in the LH; I did verify that this is not the same C descending in the RH in this measure.  Similarly, I hear a D in between the Bb and Fn that is in the LH rhythm starting at m.8-11 (the last note in m.11 LH also has a Cn between the Fn and An).

m.21 LH would it be more accurate to have this as a Gn3 and the Gn2 instead of Gn2 and Dn3?  I don't hear the Dn but if this was done to make it a fuller chord it makes sense!  Same applies for the "Backstage" m.41


That's really all I got though!  Neat piece

[Latios212]

Thanks for looking! Yeah some cool rhythms in this one

As far as the OST listing, the only thing I can steer you towards is this CD which looks to be a concert performance of the soundtrack though.  Here it is listed as "Dance of Deduction Type A" and "Backstage Type A" though maybe at this point you have the sound test lol.  Also if this CD is to be believed it looks like this is by Yasumasa Kitagawa

That's better than what I have for reference, I finished the whole first half of the game that covers this 3DS release and idk why it isn't on the sound test in game yet. The titles on this CD may not match up exactly with what I see in the sound test but they're sensible and I think Dance of Deduction makes more sense for this one.

m.6 end/m.7 beginning: Have you considered making the RH Fn (the last note of m.6) a Fn and a Gn but as sixteenth notes instead of a grace note Gn on the Cn in m.7?  Same would also apply at m.10/11.  I personally think this sounds a little closer to the actual rhythm. 

Spoiler

[close]

I was a bit hesitant to do that since the G's don't exactly sound like melody notes but it is probably a bit easier to read that way and I realized I already did something similar with 16th notes in m. 32 and similar, so changed!

m.7 the last quarter note in this measure I do hear a Cn in between the An and Fn in the LH; I did verify that this is not the same C descending in the RH in this measure.  Similarly, I hear a D in between the Bb and Fn that is in the LH rhythm starting at m.8-11 (the last note in m.11 LH also has a Cn between the Fn and An).

That makes total sense, idk why I didn't already make these all triads before anyway lol. Sounds much more consistent now with the rest of the section

m.21 LH would it be more accurate to have this as a Gn3 and the Gn2 instead of Gn2 and Dn3?  I don't hear the Dn but if this was done to make it a fuller chord it makes sense!  Same applies for the "Backstage" m.41

Yeah, that was to give it a bit of a weightier sound than just the octave especially since the RH is so high up. Also there's a D above middle C in the original that's unreachable. Actually... I could just include both and make this a power chord

Files updated, thank you!

[Static]

Normal:

• Instead of a 7/8 bar, I would just write the first bar as a pickup measure.
• I think beaming 8th notes in groups of 4+4+6 would help with readability here, and may help the reader more clearly see the 4+3 quarter note pattern, but up to you.
• m2 LH beats 6-7 and similar: You could have the RH play the top Bb-A voice here instead of just leaving it on F. Though either way, the C on beat 7 should be a D.
• m22: I think this is a 6/8 or 3/4 bar. The rest sounds just a hair too long compared to the original.
• m20-22: Because of the above, I would probably just write m20-22 as two 7/4 bars. It switches up the downbeat with that held chord, but ultimately I think it's just all in 7.

Backstage:

• m2 RH beats 6-7: Like with the Normal version, there's a top string voice that goes Bb-A here
• m37 RH beat 5.5: This Bb sounds shorter to me in the original, like it's not tied.
• m38 RH beat 3.5: This En sounds like it's tied over to the next beat.
• m39 RH beats 2.5-3.5: The A and Bb sound like they should be tied as well.
• The time signature thing at the end still applies here; I'd just do 7/4 all the way through.

Reasoning Complete:

• Maybe write this as just another 7/4 measure to keep consistency with the rest of the sheet? I'm not really feeling it in 4 but I guess it's hard to tell with how short it is.

[Latios212]

I reworked everything into 7/4, with the pickups to each of the three pieces being as long as they are (7/4, 6/8, and 5/8 respectively). Measure numbers are shifted by one accordingly. I also adjusted the beaming to keep things in groups of 4 eighths+4 eighths but not grouping the last three beats together since that would look kind of odd in places like m. 5-6. I also didn't touch m. 19 and 38 since they utilize a 3+3+1 rhythm instead of 2+2+3.

Also about m. 2 (now m. 1, the first measure after the pickup) - I omitted the Bb-A voice in both the main and backstage versions because I think it distracts too much from the chords. I also still hear a C on beat 7 (might be a different voice but I think having that D move to a C gives it a good sound of movement instead of keeping it the same as D there).

The rest of the note duration related things in backstage should be fixed. Lemme know what you think about the updated sheet! I'm still not 100% on some of these rhythm grouping choices, but I think I'm pretty happy with what's there now.

[Static]

Makes sense to me, mostly. I'd prefer the inclusion of the Bb-A voice in m2, since those are part of the chords too (on the last chord, the upper F's don't actually play there - that's the voice that moves to Bb).
I also distinctly hear a D on beat 7 of m2; I'm not actually hearing a C in that chord at all, so this would be something like a Gm9/F. Maybe someone else can weigh in on this, but that's what I'm hearing at least.

Everything else looks good though, and while I don't agree with those voicings above, I think they work within the context of the sheet (I'd still prefer they be changed though). I'll approve.

[Libera]

The only Ace Attorney game I have played.  Looks pretty good overall.  The rhythms are pretty cool.

-Do you want to reset bar numbers between the different versions?  Since they're not being written to be performed in order I think that might make sense.
-Similar to the above point I think there should probably be dynamics at the start of 'Backstage' and at the start of 'Reasoning Complete'.  I think also a quieter dynamic for Backstage would be cool, but up to you.
-The E on beat 6 of bar 19 sounds like a D to me.
-Some of the low Ds in 'Backstage' sound like Gs but honestly I think this is fine after listening to it a bunch.  It seems pretty inconsistent and only low harpsichord is kind of a nightmare to tell pitch-wise so I think it's probably better to leave as is.
-I think it'd be cool to write in all three notes of the little piano 'roll' at the end of every bar starting in bar 30.  As in the D and G you have but then the D on beat 7 as well.  I know it's already there in a few bars being played in the right hand but I think it makes more sense to have each time and also for the left hand to play it so that the roll effect really comes off.  I think it's kind of cool.  Visually if you want to keep all the RH as dyads you can double the D and put the top one in brackets or something.
-I feel like there's an F missing from the final chord.

[Latios212]

-Do you want to reset bar numbers between the different versions?  Since they're not being written to be performed in order I think that might make sense.
-Similar to the above point I think there should probably be dynamics at the start of 'Backstage' and at the start of 'Reasoning Complete'.  I think also a quieter dynamic for Backstage would be cool, but up to you.

Ah yes. That solves my issue of having the other pickup measures being counted unlike the first made the dynamics for the three parts mf, mp, and f respectively.

-The E on beat 6 of bar 19 sounds like a D to me.

Oops, yep

-Some of the low Ds in 'Backstage' sound like Gs but honestly I think this is fine after listening to it a bunch.  It seems pretty inconsistent and only low harpsichord is kind of a nightmare to tell pitch-wise so I think it's probably better to leave as is.

Yeah, I found the backstage variant to be a little tricky to try and peel all the voices apart. In the end for most of it I ended up writing some combination of notes that made the most sense visually and when playing instead of trying to match the original's separation of voices. I think I'm pretty happy with the end product.

-I think it'd be cool to write in all three notes of the little piano 'roll' at the end of every bar starting in bar 30.  As in the D and G you have but then the D on beat 7 as well.  I know it's already there in a few bars being played in the right hand but I think it makes more sense to have each time and also for the left hand to play it so that the roll effect really comes off.  I think it's kind of cool.  Visually if you want to keep all the RH as dyads you can double the D and put the top one in brackets or something.

Yep, that works nicely!

-I feel like there's an F missing from the final chord.

Hmm, I'm not quite feeling it - it fits harmonically but I think the original sounds a bit more... open? I think what I wrote best matches the original when I play it on my keyboard at least.

I also realized that the end of the (15ma) in the last system didn't have the little end bracket at the end, so I adjusted that slightly.

Thanks for checking! Files updated~

[Libera]

Looks ... acceptable. :P

[Zeta]

This submission has been accepted by Libera.

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