[ARCADE] Street Fighter Alpha: Warriors' Dreams - "Charlie Stage" by Fantastic Ike

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Submission Information:
Series: Other
Game: Street Fighter Alpha: Warriors' Dreams
Console: Arcade
Title: Charlie Stage
Instrumentation Solo Piano
Arranger: Fantastic Ike

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[Fantastic Ike]

In the (admittedly slow) process of fixing up old sheets and getting them up to NSM standards. Also yes I'm going to keep submitting Street Fighter sheets until it becomes its own series page

[Kricketune54]

Also yes I'm going to keep submitting Street Fighter sheets until it becomes its own series page

I dig this energy.  Plus this is a neat one, really a fan of that solo that starts at m26

Onto commentary

Formatting
-Widen the system a bit for m1-3 so the forte isn't quite as snug on beat 1 m1
-The system that consists of m23-25 could get widened a bit so the ties aren't so close to the LH staff.  I would consider the same for m21-22 as well
-m26 move the forte a smidgen right
 
Notes
-m2 RH beat 3.5 I don't think there's an En in there
-m4 RH beat beat 3.25 and on in this measure - I hear it as F#-D-F# no B or C#
-The rhythm at m4 does not actually continue into m5 -  m4 goes like this

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-m6 RH beat 2.5 the C# is a Dn
-m8 LH beat 2.5 consider putting the A under the D rather than over?  I think it sounds like this more in the original and would give this part some more oomph imo
-For m9 LH, I also hear the following rhythm... it's a bass descending line similar to ones we hear in the second page.  I would note I'm not sure if the beat 4 is notated how it should be for piano - maybe a staccato eighth note is preferable to 16th note, 16th rest

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-m14-15 As a means of consistency with previous measures I get the decision to put a whole note in the second RH.  However, I don't think it adds much having them considering the way the player is restriking the D (in m15) an eighth note later, and ascending upwards in such a way that it would be awkward if not impossible to maintain these pitches.  My suggestion is to either remove those layers, or make them an eighth note in the the first layer so you can delete the second layer for these two measures.
-This is how I hear m17, maybe want to do some alternating octaves on beat 3 though, and add A's above and below beat 1's notes

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-m19 RH beat 4 is an Fn rather than F#
-m26 RH I hear the phrase as follows

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-m32 LH, change the F#'s to F naturals
-If m33 beat 4 is going to be a gliss, it should start on En rather than Cn... but only do this for the RH.  For the LH, I hear the bass go on beat 4 E-D-C-B in the original (16th notes)

Misc. Items
-Do you have a source for the composer?  I checked vgmdb and didn't see a composer listed for the tracks and wikipedia lists 6 composers for the OST.
-The tempo is actually slightly faster at 144 bpm


On the subject of the optional ending, is this meant to be like a stage clear theme or is this something custom?  I watched gameplay of this game and couldn't make out if this was an actual theme or if this is just a custom ending because I wasn't hearing it.  I don't think it's a necessary addition, given all fighting game stages I've seen on Ninsheet just loop as they would unless there is an actual ending part to a piece

[Fantastic Ike]

Thanks! This is a pretty old sheet (my first actually), even though I did fix it up it's probably bound to have a bit more errors than the average sheet. I think that should be everything you suggested.

Do you have a source for the composer?  I checked vgmdb and didn't see a composer listed for the tracks and wikipedia lists 6 composers for the OST.

So on VGMDB there's nothing concrete. However, through a little digging I was able to find a credit for Yuko Takehara on a wiki called "Capcom Database." I don't know how trustworthy this site is deemed, so I can add a more generic credit if deemed necessary. https://capcom.fandom.com/wiki/Yuko_Takehara (Also it says that she's listed in the credits for that game as  Kadota "pop'n" Yuko which is pretty funny regardless of its accuracy)

On the subject of the optional ending, is this meant to be like a stage clear theme or is this something custom?  I watched gameplay of this game and couldn't make out if this was an actual theme or if this is just a custom ending because I wasn't hearing it.  I don't think it's a necessary addition, given all fighting game stages I've seen on Ninsheet just loop as they would unless there is an actual ending part to a piece

This is just a custom ending. I'll admit, I've never really understood why the majority of NSM sheets loop infinitely without a clear ending, given that they're meant to be played by actual people. I generally just like giving simple endings so the performance doesn't end awkwardly, but I removed what I had nonetheless.

Thanks for the feedback!

[Kricketune54]

Yeah I see that credit, and while I don't think going off the unsourced Capcom wiki is 💯, I did find Takehara listed on the credits for X-MEN vs. STREET FIGHTER for (Charlie) Nash's theme.  So I think that you're good to have her as the credit!

I think the first two sforzandos can go a little to the left of where they are so they are centered under the notehead, and that the first system of pages 1 and 3 could go down a little bit, just to give the arranger credits and header of page 3 respectively a little more room.

[Fantastic Ike]

Okay, fixed!

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• m5 RH beat 3: It sounds like the lower voice is playing an E here.
• m6 RH beat 2: Lower voice should be B.
• m8 LH beat 2.5: I would make the lower voice a low D instead, to emphasize the D bass - D major in root position has a very different feel than when it's inverted.
• m9 LH should look like this:
  
• m10+ LH beats 1-2: For the pattern here, the stuff on beat 2 starts a 16th note beat later than you have written. Also, both the bass and rhythm guitar parts play on both of those notes. It should look like this:
  
  If you wanted to make it a bit easier to play (i.e. no repeated 16th notes), you could do this as well:
  
• m10+ LH beats 3-4: The bass is sometimes a bit different than what you have. Here's what I'm getting for m10-11. I would go through the rest of the bass part, and, if you haven't yet, listening to the track up an octave in AudioStretch/Audacity. This particular bassline is pretty clear when it's raised up.
  
• m13 RH is harmonized with 3 voices, and the top voice in beats 1-2 is actually one chord tone higher, like this:
  
• m14 RH beats 1-2: The first 3 dyads should be (bottom-top): C-F, C-G, F-A.
• m15 RH beats 1-2: The first 3 dyads should be: D-G, D-A, G-B.
• m16 RH beat 3 should be flipped upwards.
• m17 RH: Last 16th note should be F# (the bass is still G).
• m21 RH: The rhythm on beat 1 is slightly different, and like m13 this is harmonized with just 3 voices the whole way though. The top note on beat 4.25 is a D:
  
• m24 RH: Kind of nitpicky, but groups of 2 grace notes should use 16th notes (3 or more use 32nds) - this is completely a visual thing and doesn't affect how it would be performed. Also, not strictly required, but having a slur on the grace notes leading to the main note is also preferred.
• m27-28 RH: Usually, these rhythms are more commonly written as just sextuplets. There are instances where splitting them into distinct triplets is preferable, but it depends on the phrasing (see m7-8 of this as an example). In my opinion, it's fine either way, but if you write them as triplets I'd recommend breaking the inner beam like in the sheet I linked. You can do that with the Beam Break Tool, under Special Tools.
• m29 RH: I hear that high C as just a held note, not rearticulated. Beat 3.5 should have an E on top.
• m30-32 RH: This melody is harmonized a 3rd below, but I would leave out the harmonies on beat 4 of m32 so that it's easier to jump up to the chords in m33.

Pretty solid arrangement, just watch that bassline and accompaniment pattern.

[Fantastic Ike]

Thanks for looking this over! I know it's a lot to fix so I hope I got everything. I didn't even think about changing the pitch in Audacity, that helped me a lot so thanks! The synths are muddy so it took me a lot of time to figure this stuff out but I appreciate your help. Let me know if I need to change anything else!

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Edit: Accidentally posted in the wrong sub lol, hold on a sec for a real post...

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Lookin good, just some more details before I'm through with this one:

• m5 RH: Sorry, I meant beat 4, not 3. The tied note in the lower voice should still be A, but the F# on beat 4 should be E.
• m15 RH beats 1-2: You can unbeam this to be consistent with m14 and 22.
• m18: The mf should be centered more.
• m26-32 LH: You have all of these chords inverted, which makes the chords sound a bit different compared to the original. In any kind of jazz/funk/rock-based music (or really almost any kind of music), the bass voice is very important since it can dramatically change the feel of chords. You have the bassline transcribed correctly, but it should be the bottom LH voice, not the middle one.
• m33: For these chords to sound more impactful, I'd recommend changing the middle LH notes to just Bs. Generally speaking, chords sound more sonorous when the lower notes are spaced apart more - this applies to basically any combination of instruments.
• For repeats that begin at the beginning of a piece, you don't need to include the repeat mark at m1.

[Fantastic Ike]

For repeats that begin at the beginning of a piece, you don't need to include the repeat mark at m1.

Oof yeah, that was a holdover from when I had the optional ending.

Okay, should be all fixed. This sheet has come a long way since I first started arranging it in 2017 haha

[Fantastic Ike]

More added changes real quick

[Static]

Looks great, I approve

[Fantastic Ike]

Awesome thanks!

[Bloop]

Looking good! Just a few additional comments:

-m6: In the R.H. on beat 2, I think I hear a C instead of a B, but only barely. It's very hard to hear the actual note because of the snare hit.
-m9: In the L.H., I hear G instead of F# on beat 4.75.
-m17: Same as m9 but in the R.H., G instead of F# on beat 4.75. Also, maybe you can add accents on the notes on beats 1 and 2? These have the same loud orchestra hits as in the intro, where you used accents as well as sfz markings.
-m23-25: Is there a specific reason you added the bottom G and A, and top E on beat 2.75 in these bars? Pianistically, I think it'd work better to leave those out, like you did in all previous bars.
-m24: The C# grace note in the R.H. should be a Db (because it's descending towards the Cn)
-m26-29: The ties on the top notes on beat 1.75 in these bars are missing.
-m29: I hear the lead guitar restrike on beats 1.75 and 2.5 as well.
-m33: Same suggestion as in m17, maybe accents on beats 1 and 2 because of the orchestra hits?