ポリスピカデリー feat. 花鋏キョウ
5 Apr 2022
If you told me, first time listening, this song was originally sung by her – I’d 100% believe you.
About the Song
A few years ago, I was writing charts for SMA[SH]owdown! 2021, in what would’ve been a 52-song pack. 52 for each card in a set of playing cards – you could easily imagine what kind of crazy competition I was thinking about at that time. Too bad the Big C happened.
Each suit is based on a musical category, and one of them was Vocaloid songs (covers, ideally). So, I asked a few friends, and I was given some good recommendations from one who was an up-to-date follower of VTubers.
I still had a few spots left, so I browsed covers solely by searching for “歌ってみた”, then came across this gem by Hanabasami Kyou from Re:AcT. My chart was a short cut for the purposes of SMASH!, so definitely listen to the full song:
Like many comments have noted, her cover was so well done, it’s as if Police Piccadilly made it specifically for her.
Yeah, it’s my favourite SMASH! chart by a long mile. Most likely because I had a strong vision of what I wanted it to turn out to be before I even started.
The chorus is played out in a few distinct stages:
- The first four notes are a scale of ascending pitch (A3 B D B4), so there’s usually an appropriate staircase or an alternative pattern that fits it
- Then a jump with a hold (actually a roll) occurs on the ↓ or ↑, with the other foot ‘swinging’ around from one side to the other. These three notes are the same pitch (A4)
- Then it goes back down (G3 F♯), which I implemented by introducing a footswitch between the same notes of the hold and the tap, into reversing the direction of the swing. There’s a double mine here to hint it’s a footswitch
- This swing continues around into the final five notes (E E E D F♯), which involves some kind of crossover so we’re back into the normal axis
Other than that, there’s a few sprinkles of footswitches during parts where the lyrics have quick or paused emphasis.
- As always for v1.0s, there’s a few patterns that, axis-wise, feel a bit off. The second 16th note at 7’ is jarring in particular because it prolongs the left facing axis.
- I wasn’t vigilant about the consistency of telegraphed mines (i.e. no side-by-side scrutinising). This is because I didn’t copy paste anything for this song... or so I think. The verse sections feel uncannily similar.
- Likewise, I’m pretty sure those double step parts aren’t consistent either.
- I don’t know whether the mine during the first ‘swing’ (the singular one in the above pic) could be misinterpreted as a footswitch telegraph rather than a cue to crossover. I placed it a 16th earlier to attempt to differentiate it, but I honestly think that’s a bit too subtle.
- The final ↓↑ jump footswitch needs a lot of IQ to figure out. It’s also inconsistent with the foot order of the previous occurrences (the foot holding ↑ is forced to hit → to resolve, rather than the swing foot double stepping, which was what’s been the norm).
This is a chart I’d love to see in lower levelled events just for chill fun vibes, and it’d be awesome if it ended up being a staple in a player’s cooldown sessions. If there’s a demand for it some time in the future, I’m super keen to work on the full length.