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  • Writer's pictureJonathan Shaw

BIG SHOT | Deltarune Orchestral Cover | Sheet Music, MIDI, XML & more!

With the greatly anticipated release of Deltarune Chapter 2, here is an orchestral arrangement, orchestral cover and orchestral remix for the secret boss, Spamton NEO (Big Shot), originally composed by Toby Fox (developer of Undertale), as well as a short musical analysis below.

If you're after the sheet music, score, XML or MIDI for BIG SHOT (Vs Spamton NEO) from Deltarune, you can find links here!

The sheet music includes individual part scores for:

  • Full Score

  • Piccolo

  • 2 Flutes

  • 2 Oboes

  • 2 Clarinets in Bb

  • 2 Bassoons

  • 4 Horns in F

  • 3 Trumpets in Bb

  • 2 Trombones

  • Bass Trombone

  • Tuba

  • Timpani

  • Drum Kit

  • Bass Drum

  • Suspended Cymbal

  • Clash Cymbals / Piatti

  • Tam-tam

  • Guiro

  • Shaker

  • Tubular Bells

  • Crotales

  • Glockenspiel

  • Xylophone

  • Piano

  • Harp

  • Bass Guitar

  • SATB Choir

  • Organ (optional)

  • Violin I

  • Violin II

  • Viola

  • Violoncello

  • Contrabass

If you are one of my Patrons, you can now find the MIDI, XML, SIB files, I created for this now available to download from your Patreon Google Drive folders!

 
 

Arranger's Note:

"BIG SHOT opens in bombastic fanfare with a motif from the track "Spamton Battle", which BIG SHOT is based off of. This motif, in wonderful Toby fashion, is heavily syncopated (off-beat) which is where it conjures most of its excitement and energy. This syncopation is similarly found throughout Toby Fox's Undertale, particularly this similarly purposed track, "Power of -NEO-".


Complementing this motif, the harmony is swirling chromatically from a minor triad (B♭-D♭-F) to a chromatic tritone triad (B♭-C-E), instilling a sense of uneasiness and instability that the tritone interval can effortlessly achieve (hence why it is named the "Diabolus in Musica" / "The Devil in Music").


Following the opening 8 bars (0:16), we transition to a fast energetic section utilizing Spamton's leitmotif at a substantially inflated tempo. Underneath this sits a new intense bass ostinato that persists largely for the entire track.


After Spamton's leitmotif has been played in full, it is repeated (0:23) with extra melodic doublings and countermelodies in the winds, strings and mallets. At 0:28, we also hear the first of many vocal samples, here exclaiming "Now's your chance to be a big shot", from which the title of this track is drawn. Spamton's life is all about the success and failure of a salesman, persistently offering others the chance to become a "BIG SHOT" (hence why this phrase is used).


At the close of this 8-bar phrase (0:30), we return to another statement of the opening material, now also with the bass ostinato and drums that were previously absent.


Following this (0:43) there is a chromatic shift from B♭ to D♭ to C to F♭ (enharmonically E). Both of these pairs of shifts are tertiary modulations (e.g. shifting a 3rd; B♭ to D♭, and C to E). The last of these chords (E) then resolves surprisingly to B♭ - a tritone away from E - once more demonstrating this use of the tritone interval throughout.


At 0:57, we transition into a new section, though still in the tonic of B♭ minor. Here, a tenor saxophone takes the melodic role, which is taken over by the trumpets at 1:11. This is followed by another statement of Spamton's leitmotif at 1:24, with some additional development in the 4th bar (1:30). This new development continues in the next 4-bars (1:31) through a new trumpet countermelody that is deliciously chromatic in nature.


Our tenor sax returns at 1:39 for another solo, here outlining (you guessed it) the tritone interval (B♭-E). At the close of this phrase (1:50), all the instruments drop out abruptly and we are given a solo piano motif that is seemingly disconnected from the rest of the track. This melody is actually a direct quote from Undertale's "Dummy!", which may very well be a cheeky commentary from Toby alluding to Spamton's nature.


Following this, we slam back in to the introductory material (1:51), now with even greater force and aggression. Then at 2:06, miraculously, we get a modulation. Up until this point, the track has largely been tethered to B♭ minor, but now we progress via a perfect cadence into E♭ minor (E♭-G♭-B♭). Clearly the track is reaching it's climax. And at 2:17, as everything slides up chromatically, we get another cut to silence with nothing but the piano playing our familiar "Dummy!" motif.


Originally, the track would then repeat, but I added a little conclusion to the track should it be needed, if ever performed (good luck!)"

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