I am super exhausted from arranging and practising and recording for this theme. I have to say I love both phase 1 and 2 so much.

I invited Jasper Hu to write the description this time about this arrangement

“Scott and I agree that it is very difficult to arrange the EDM elements and the only way to do it is by, as we have done with all the Honkai Impact pieces, abusing RH runs and LH syncopation. Not much can be done to make these stuff easier to play but we still do it, because you never know how much time and effort you can save in recording stage just by changing a few notes that alters your hand positions.

The opening 4 bars were actually the last to finalise, because we really had no idea how to recreate the pressure of seeing the giant Scaramouche Gundam raging in front of you, in a way that is not so monotonous on piano but still playable. In the end Scott decided to go with some machine-gun repeated notes followed by an upward and downward run. It is worth noting that when the teenager male voice (probably embodying Scara's inner tone) first appeared Scott tried to borrow the texture from Chopin's Ocean Etude. Other sections of the arrangement are, as mentioned, just runs that take sheer time and effort to formulate and optimise, but just a few words to describe.

In addition to all those craziness, we still need to take care of Scaramouche's background and emotions conveyed in the piece. There are probably only two places in the piece where we have more wiggle room to do this: the Shakuhachi section shortly after the beginning of the piece, and the other Shakuhachi section when the structure of the piece gets repeated. They underpin Scara's intimate relation with Inazuma, and his retrospect to the land. The problem is that it gets very difficult to put additional elements in arranging these sections, when they are meant to be sound more straightforward than what has come before. In the first time I started off attempting to write a canon in LH that imitates the Shakuhachi line in RH but I failed. Scott was not supportive of the idea either because polyphony is always nasty to play. We sticked to simple 3-hand technique. After the 8 bars of 3-hand technique comes a notably long gradual crescendo that spans 16 bars, with many voices interlocking with one another and spanning the keyboard.

In the repeated Shakuhachi section, however, we were thinking how we could go more lyrical and romantic. I sent to Scott a draft with quaver triplets in the LH and the teenage male voice would magically arise among other notes in the triplet run. Scott somehow fancied combining this melody with the theme in The Divine Will trailer, but he wasn't sure how exactly to convert the theme from 6/8 to 4/4 so he played me a demo with just the two lines, and asked me whether ai could apply the triplets to this setting. I thought upon hearing that just the two lines would suffice, if it acts as a fragile restart after all the tempestuous runs comes to a halt. We immediately thought of Scott's Dvalin Battle arrangement where he inserted a cantabile section of melodies from the Dvalin's Nest, and the battle theme returned in a very Rachmaninoff way. So Scott rushed into fitting our idea to this style, and modifying both lines so that they sound like a unity. I still wanted to make a difference in texture, so I showed him a piece by Yu-Peng titled Dream of Rachmaninoff which featured banging chords in 2 against 3. Scott took that idea and did an amazing feat: he managed to squeeze the original battle theme in the middle register with LH, while playing the modified theme higher up with RH. This would be the single outstanding section even if one finds the rest of the piece unimpressive.”


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Sheet Music:
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Difficulty 5/5
(The difficulty is only rated according to my OWN arrangements so people can know it before they tried to learn it. I set my hardest arrangements as 5/5 and the easist as 1/5. It doesn't represent the difficulty of average piano arrangements on Youtube.)

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