[N64] F-Zero X - "All Need is 30 Deaths" by Yug Guy

[Zeta]

Submission Information:
Series: Other
Game: F-Zero X
Console: Nintendo 64
Title: All Need is 30 Deaths
Instrumentation Solo Piano
Arranger: Yug Guy

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[Yug_Guy]

Yes, that is the actual title of the song.

[Libera]

That is ... such a strange name since the Japanese track is called something completely different.

Not checking notes at the moment because my keyboard stand broke and now my keyboard is just lying on the floor why, but just some things to say from looking at the sheet.

-In bar 4 and 8, presumably you don't want pedal here, so I'd cut the semibreve down to a quaver.  (It's probably pretty much rung out by that point anyway.)
-Ab in bar 12 would be better written as a G# to keep in line with the contour in the previous bar, also it's easier to read that way.
-Bars 15-18 should be written in flats.  Not so obvious from the melody, but the bass line makes way more sense that way.
-Maybe try incorporating the drum rhythms in the transition from bar 14-15?  The transition has a lot of energy in the original and we're losing that at the moment.

I'll probably have more to say later, but that's enough for the moment.  Nice work, and thanks for getting me to listen to more F-Zero stuff.

 

[Yug_Guy]

Not checking notes at the moment because my keyboard stand broke and now my keyboard is just lying on the floor why

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-In bar 4 and 8, presumably you don't want pedal here, so I'd cut the semibreve down to a quaver.  (It's probably pretty much rung out by that point anyway.)
-Ab in bar 12 would be better written as a G# to keep in line with the contour in the previous bar, also it's easier to read that way.
-Bars 15-18 should be written in flats.  Not so obvious from the melody, but the bass line makes way more sense that way.

Fixed.

-Maybe try incorporating the drum rhythms in the transition from bar 14-15?  The transition has a lot of energy in the original and we're losing that at the moment.

While I do feel similarly to you about this, unfortunately, there's not really much to latch onto in the drum fill that I could add at the end (aside from maybe some sixteenth notes in the 2/4 measure? idk).

[Libera]

I meant all of the Abs in bar 12, sorry if that wasn't clear.  There's another in the right hand and also one in the left hand.  Also, you should probably drop the key signature change in bar 15 now that we're writing in flats rather than sharps.

[LeviR.star]

"All Need is 30 Deaths"

↑ ↑ ↓ ↓ ← → ← → B A

[Yug_Guy]

I meant all of the Abs in bar 12, sorry if that wasn't clear.  There's another in the right hand and also one in the left hand.  Also, you should probably drop the key signature change in bar 15 now that we're writing in flats rather than sharps.

cool cool

[Libera]

Got a new keyboard stand last night woo, so I can check notes now.

Notes:
-They look good.
-Apart from that run at the end;  I'm not sure on that bit.  I'm hearing four notes, and maybe there's two parts and one comes in a little later than the first.  I'm also hearing it ending on a D rather than an F.  Certainly a tricky bit.

Other things:
-The bit where you play the right hand in the bottom stave, is that because you want it an octave lower?  If not then it'd be better to write it in the top stave.  If that is what you want, I'd make it little clearer by changing the marking at the start to say 'Play bottom stave one octave lower' because at the moment I don't think it's entirely clear since you've marked that bit 'R.H.'
-I know I said to change to flats from 14, but I think the Ab at the start of bar 17 in just the right hand should be written as a G# to preserve the melodic line.  Also in the left hand of bars 14,15 and 16 I'd change the Gb to an F# to preserve the intervals in that chromatic descent.

[Yug_Guy]

-The bit where you play the right hand in the bottom stave, is that because you want it an octave lower?  If not then it'd be better to write it in the top stave.  If that is what you want, I'd make it little clearer by changing the marking at the start to say 'Play bottom stave one octave lower' because at the moment I don't think it's entirely clear since you've marked that bit 'R.H.'
-I know I said to change to flats from 14, but I think the Ab at the start of bar 17 in just the right hand should be written as a G# to preserve the melodic line.  Also in the left hand of bars 14,15 and 16 I'd change the Gb to an F# to preserve the intervals in that chromatic descent.

Fixed. lmk what you think

-Apart from that run at the end;  I'm not sure on that bit.  I'm hearing four notes, and maybe there's two parts and one comes in a little later than the first.  I'm also hearing it ending on a D rather than an F.  Certainly a tricky bit.

I'm just as unsure as you are - let's see what other people think.

[Libera]

I'm just as unsure as you are - let's see what other people think.

What you've written certainly works, but yeah let's see if anyone else has anything to say on that bit.  Once we've come to a conclusion on that section I'm happy with this.

[Khunjund]

There's an Eb above the Bb in measures 1 and 5.

You could fit the layer one rests in measures 4 and 8 closer to the notes, but in reality the chord is sustained through the whole measure, so you could use a whole note. Alternatively, you could remove the chords in those measures, so you'd no longer require two layers. If you do decide to keep two layers, make the layer two eighth rest visible under the chord on beat one. If you decide to remove the layer one chords, you could right layer two in bass clef and avoid using 8va lines.

Measure 13 is missing an Ab below the Bn.

The measure 19 arpeggio is indeed a quintuplet diminished chord, but it goes down from Ab to Dn at the end, not F. I also recommend putting courtesy naturals in front of the right-hand Ds because of the bass.

[Yug_Guy]

There's an Eb above the Bb in measures 1 and 5.
Measure 13 is missing an Ab below the Bn.
The measure 19 arpeggio is indeed a quintuplet diminished chord, but it goes down from Ab to Dn at the end, not F. I also recommend putting courtesy naturals in front of the right-hand Ds because of the bass.

Fixed.

You could fit the layer one rests in measures 4 and 8 closer to the notes, but in reality the chord is sustained through the whole measure, so you could use a whole note. Alternatively, you could remove the chords in those measures, so you'd no longer require two layers. If you do decide to keep two layers, make the layer two eighth rest visible under the chord on beat one. If you decide to remove the layer one chords, you could right layer two in bass clef and avoid using 8va lines.

Well, I originally had them as whole notes but was told to change them so idk what to say, man.

[Libera]

You could fit the layer one rests in measures 4 and 8 closer to the notes, but in reality the chord is sustained through the whole measure, so you could use a whole note. Alternatively, you could remove the chords in those measures, so you'd no longer require two layers. If you do decide to keep two layers, make the layer two eighth rest visible under the chord on beat one. If you decide to remove the layer one chords, you could right layer two in bass clef and avoid using 8va lines.

Well, I originally had them as whole notes but was told to change them so idk what to say, man.

My reasoning for removing the semibreves there was so that the sheet actually reflected the performance.  If we were writing a transcription of the original with all of the parts, then yes clearly it'd be a semibreve there but this is a piano arrangement.  Those are my thoughts, anyway.  I do agree with making the quaver rest visible though.

[Khunjund]

The A in measure 13 is flat, not natural.

For measures 4 and 8, personally, I'd drop the chord completely. While it is sustained in the original, there's no way to do that on the piano, since you'll have to raise the pedal frequently (if you even use it) because of the left hand motif. While I understand Libera's intention having you write to hold down the chord for as long as realistically possible, I think this adds way too much clutter just to have the chord sound for half a beat longer, which frankly, is quite negligible at this tempo—especially since you're likely to drop the chord a little early to accomodate for the octave leap downwards. I believe the sheet would look cleaner if you made the chords in measures 3 and 7 straight whole notes and put measures 4 and 8 in bass clef, but that's just me.

[Yug_Guy]

The A in measure 13 is flat, not natural.

My mistake. Fixed.

For measures 4 and 8, personally, I'd drop the chord completely. While it is sustained in the original, there's no way to do that on the piano, since you'll have to raise the pedal frequently (if you even use it) because of the left hand motif. While I understand Libera's intention having you write to hold down the chord for as long as realistically possible, I think this adds way too much clutter just to have the chord sound for half a beat longer, which frankly, is quite negligible at this tempo—especially since you're likely to drop the chord a little early to accomodate for the octave leap downwards. I believe the sheet would look cleaner if you made the chords in measures 3 and 7 straight whole notes and put measures 4 and 8 in bass clef, but that's just me.

Okay. Fixed.