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Submissions / Re: [NDS] The Legend of Zelda: Spirit Tracks - "Before the Final Battle" by Cashwarrior1
« on: December 01, 2023, 07:56:46 PM »
Updated, no comments/
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• m5 RH 3.5 and 4.0 are one quarter noteSo I'm hearing it as the top melody note is re-articulated for both measures (the flute for m5) while the bottom note is being held. I put them as separate layers to reflect that.
• m7 RH hearing 3.5 and 4.0 for the F's as quarter length, but the Bb above are individual 8th notes.
• m21 LH not hearing 4.5 An, but did you add this for consistency of the rhythms?I had thought I fixed m21 before uploading, but I guess not whoops. Also for 28, 30, and 32, I had the downbeat to reflect the bottom note of the guitar, but I think it wasn't very clear. I removed the staccatos and included them in the rolled chord.
- Same goes for m28 1.0 Dn, m30 1.0 Db, and m32 1.0 Cn.
Oh, I changed that to arpeggiating the F# minor chord- Thoughts about writing in a chord or something for the left hand of m. 58 instead of octave doubling the melody? It feels a bit harmonically empty thereKeeping this as is?
- I think the A section (and the last 4 bars leading back into the loop) would be better written with one flat. The few B naturals in m. 1-4 and 17-20 sound borrowed from D Lydian, and the Bb/C/F chords fit nicely into F major, which it resolves to a couple of times.So I just found out that if you change key and click keep pitches the same chromatically, you don't have to go back through and fix everything 🙃
- The melody on beat 4 of m. 2 sounds like a quarter rather than two eighths (in contrast to m. 18 where I do hear two eighths)omg that's just the delay playing there 😭
- I'm hearing the RH phrase in m. 17-18 as inverted upwards onceTo me that entire section sounds like it's voiced the same, so if I were to invert it there, I feel like I'd have to invert it for the rest of that part. I think I'd rather have the melody on top, though.
- You could spread out the systems on page 2 a bit more, you have some extra space at the bottom (compare to page 2)I'm assuming you meant to spread out systems on page 3
Also, thoughts on including the low altitude version?I went ahead and added the low altitude version
I originally arranged it without the high strings but it felt very empty, so I added them. And I only put the saxes in a separate layer because layer 2's stem naturally points down :p (but I don't really see a difference with changing their layers). I've tried including the high strings in the later parts but I found it to be too dynamically dense on the piano, so I excluded them to make it softer.
- I'm not super keen on including the high strings, as they're very quiet in the original and they seem to fall behind in the second half of the sheet. However, I assume you want to keep them (and that's why they're there), but maybe they would be better all in a separate layer than the saxophones?
It is, but there's another instrument that plays that note (it harmonizes with the melody)
- The F in the LH of m7 sounds tied to me
Also, thoughts on including the low altitude version?When including different versions, do I need to put another title for that page? I just changed the small title that shows up on every page to say low altitude, but is there another way I should communicate that? Also, should I just have both sections repeat, or repeat the whole sheet (I kinda wanna repeat the whole sheet because I think it'd make more sense musically but I'm not sure)
I'm not entirely sure if I know what you're talking about but it sounds like there might be something like a Dn, or maybe closer to a Db. I don't think that would sound good on piano but while I'm here you could make the dissonance of the DBmaj7 a bit more prominent by adding a C to the left hand on beat 1 a major seventh above the Db. There's also an Ab above the F you could write in as well.Yeah that's the one. I wasn't able to tell if that was a note being played or if it was just some kind of auditory illusion, but it does sound better without it.
No I meant three grace notes, but to further clarify, I meant Gn. The half note is G#Oop, so it is
• Just for clarification sake, I do hear an 8th note on 4.5 for most of the beat 4's for the m43-55 section (the measures like m43 or 44 with a quarter note on beat 4). Did you exclude those notes intentionally?So I did exclude those intentionally, but I think I could add in some of them.
• m11 RH lower layer technically the pitches move up a little here, you could have an A one octave up and a C below it.I'm not gonna have the C restrike because it already plays in the melody and having the octave felt unecessary.
• Additionally I don't hear the added pitches for m18 4.0-4.5 and m19 1.0-1.5So I relistened and didn't hear any different harmonies for b4-4.5, but I do hear the ones in m19 in the little bell instrument.
• m42 RH 4.0 G# is also above E on this beatI didn't add that one to keep the string melody as the top note (also I think the contrast between that and the next part sounds cool).
• m56 top layer beat 3 grace note, hearing 3 grace notes, F-F#-GI'm assuming you meant 2 grace notes? Unless you're saying the G restrikes?
• m57 RH top 4.5 this note isn't tied, restruck beat 1.0 in 58So it does!
LHomg i was reading bass clef wrong and was like "why are the notes you're saying not matching" 💀 Also, I'm assuming you meant beat 2.5? I chose to have the D play down the octave to continue that motion.
• Lower layer m5, m7, m21 and m23 LH 1.5 hearing a D (maybe make it same octave as the upper layer D?), and 3.5 hearing E, and beat 4 F
• m59-65 LH are these notes following the rhythms of the percussion specifically? If that is the case, I would give a relisten, I think each of the rhythms is off a little from the drum's actual rhythms.Yeah it was sort of a vague suggestion of the percussion. I didn't want to include any of the sixteenth notes because I think that'd get too busy, but I did try and match it a little closer.
Btw some font silliness on you first tempo.How does this keep happening LOL
*edit: I went to go listen to the PAL OST, and I found out that it's supposedly the version Follin originally composed for. I saw a direct comment from him, but it's for a different game's OST. Perhaps you could make a note that it could be performed at a slower tempo, or actually change it alongside the key signatures and base this off of the PAL version. OR you could put a range or something somewhere in between the two tempos if that were to be his "ideal" speed