[DELETED] [SNES] Bubsy in Claws Encounters of the Furred Kind - "Hill Stream Blues" by Yug Guy

[Zeta]

Submission Information:
Series: Other
Game: Bubsy in Claws Encounters of the Furred Kind
Console: Super Nintendo Entertainment System
Title: Hill Stream Blues
Instrumentation Solo Piano
Arranger: Yug Guy

[Yug_Guy]

https://www.youtube.com/watch?v=54Vn_R2cYag
Much like the actual Bubsy games, this arrangement has risen from obscurity, and into the public eye once more.

[Yug_Guy]

Hi

[Sebastian]

Hi.

Looks like a solid arrangement. Before we get too deep into the notes, I would like to talk about the formatting. I believe you're a Finale Notepad user? If that's the case, forgive me for forgetting.

I, personally, don't have Finale Notepad, so I don't know its limitations. I'm just gonna point out what I see for you to read and understand, and then I'll be very happy to do the fixes for you if that is was you so desire. : )

Formatting:
- For some reason, there is an extra expression text in the Finale version of your arrangement. One above the BPM marking and one below. The PDF looks just fine.
- At every key change, there should be a double bar line. These indicate a change or transition in the song from one part to the next. Nice to have these at each key change.
- Some spots (M. 31 for example) have the notes flipped the wrong way. When using layers, try not to let them clash with each other. Believe it or not, I sometimes struggle with that myself haha. Latios would love to tell you all about it :J
- For the page numbers, they should rotate between right and left as the pages advance. For example: Page 2/left, Page 3/right, Page 4/left, Page 5/right, etc.
- This is more of an optional thing, but might I recommend that you use 1 thing of text for both composer and arranger. This way, all your arrangements will have the same space between the arranger and composer name. All you have to do is click "Enter" in the composer block. This will make another line for the arranger name.

That's all the formatting issues I can see for now. Please give this a good read and then get back to me. Again, I don't know Finale Notepad's limitations, you may be able to fix all this stuff or you may not be able to fix any of it. It'd be my pleasure to help if that is the case : )

[Yug_Guy]

I believe you're a Finale Notepad user? If that's the case, forgive me for forgetting.

Yeah, though I do the arrangement in Musescore first, then import it into Notepad.

- For some reason, there is an extra expression text in the Finale version of your arrangement. One above the BPM marking and one below. The PDF looks just fine.

I hadn't noticed that, I've deleted it.

- At every key change, there should be a double bar line. These indicate a change or transition in the song from one part to the next. Nice to have these at each key change.

Yeah, that's some sort of formatting quirk that I don't think I can fix at all. It would be wonderful if you could fix that for me

- Some spots (M. 31 for example) have the notes flipped the wrong way. When using layers, try not to let them clash with each other.

Whoops. I do try to keep layers separated like that, though one or two sometimes get away from me. Should be fixed.

- For the page numbers, they should rotate between right and left as the pages advance. For example: Page 2/left, Page 3/right, Page 4/left, Page 5/right, etc.

Good catch. I believe this is my first arrangement over two pages, so that's not something I would've caught right away.

- This is more of an optional thing, but might I recommend that you use 1 thing of text for both composer and arranger. This way, all your arrangements will have the same space between the arranger and composer name. All you have to do is click "Enter" in the composer block. This will make another line for the arranger name.

While I certainly think there's merit to doing it this way, I usually prefer keeping them separate. Some sheets look better with the composer/arranger text positioned farther apart, and some that look better with them closer together (or, because there isn't much space to work with). It gives me the freedom to position them on a sheet-by-sheet basis.

I've updated the OP with the changes. If you've got suggestions for the actual music, I would love to hear them!

[FireArrow]

There's really no point in notating a key change that's only four measures long.

[Yug_Guy]

There's really no point in notating a key change that's only four measures long.

I think Latios explains my viewpoint on this well:

I try to avoid key changes for short sections, but one thing that immediately makes me want to use a key change is when a whole section is exactly the same, just transposed. See this sheet, for example.

In this case, m.22-25 is just m.18-21 transposed down a whole step. So, that section should be in Bb.

[Yug_Guy]

Bump

[Yug_Guy]

Since I recently got PrintMusic, I was able to fix a lot of the things Notepad wouldn't allow me do. The changes are as follows:

• Changed the system formatting to be strictly 4 measures a system (sans the last two which are 3 & 2 respectively)
• Added double bar lines before key changes
• Added a key change at m.38 to Bb major
• General formatting stuff here & there
• Added a new & improved tempo marking

[FireArrow]

I think Latios explains my viewpoint on this well:In this case, m.22-25 is just m.18-21 transposed down a whole step. So, that section should be in Bb.

(that's a whole step not a half step)

That's not really a rule though, it just happens to be the case a lot so it makes decent rule of thumb. Whether or not to notate a key change is pretty much entirely about readability so there's never a right answer but there's almost always a better answer (there's also a matter of genre but let's ignore that.) Key signatures are always very hard to read, you have to entirely reinvent how you think about the scale you're playing on, thus you should only use them when the accidentals you're avoiding are an even worse evil. So:

1) When the key change is for a seperate section. If the B section is in a different key than the A section, then notate the key change since the reader has to stop his previous pattern anyways.

2) When the key change covers a large section of the music. Reading D minor with a G minor key signature for two measures is pretty easy, doing it for thirty starts to feel pretty dumb.

These four measures, while technically in the key you notated them in are simply not significant enough to warrant a key sig change. The difficulty to the reader of having to change his thought process to a new scale is not worth the non-problematic accidentals you're getting rid of. (if you want examples of other similar pieces I have on at the top of my head and could probably come up with a few more.)

The best part about all this is though, I'm just spouting shit so you know for next time - the key change in this instance is totally fine by virtue that it happens again later. Even though it's such an insignificant key change you now have the argument of consistency on your side so it could easily swing either way :3

[Yug_Guy]

The best part about all this is though, I'm just spouting shit so you know for next time - the key change in this instance is totally fine by virtue that it happens again later. Even though it's such an insignificant key change you now have the argument of consistency on your side so it could easily swing either way :3

Yeah. I only just added that key signature for the C section, so your concerns with the key change were definitely valid.

Though, even if that weren't the case, and it was still only the one 4-measure key change for the entire song, I'd probably still keep it in anyway. It's just a personal preference for me; I'd prefer a bit less clutter over staying in a single key for the entire song. But, that's just how I see things. I can totally understand why someone might think it's a bit absurd.

[Yug_Guy]

Bump

[Yug_Guy]

Bump

[Yug_Guy]

Do three bumps in a row make a bingo?

[Yug_Guy]

Changed it so that the bass notes in the L.H. are all flipped downwards. Probably should've done that sooner...

Also, bump