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[Wii] The Legend of Zelda: Twilight Princess - "Orchestra Piece #1" (Replacement) by Latios212

Started by Zeta, June 20, 2019, 05:06:10 PM

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Zeta

Submission Information:

Series: The Legend of Zelda
Game: The Legend of Zelda: Twilight Princess
Console: Nintendo Wii
Title: Orchestra Piece #1
Instrumentation Solo Piano
Arranger: Latios212


Replacement Information:

Links to Existing Sheet: MUS | MIDI | PDF
Replacement Type: Challenge (new arranger)

[attachment deleted by admin]

Latios212

My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

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turtle


cashwarrior1

Measure 8 looks weird, and I get that you were trying to separate the moving eighth notes from the pickups to the melody, but it looks awkward. Perhaps maybe the first 5 eighth notes should be stemmed down and the last 3 should be stemmed up, that way it stands out to the player more as a melodic line.

Code_Name_Geek

Quote from: cashwarrior1 on June 21, 2019, 04:34:51 AMMeasure 8 looks weird, and I get that you were trying to separate the moving eighth notes from the pickups to the melody, but it looks awkward. Perhaps maybe the first 5 eighth notes should be stemmed down and the last 3 should be stemmed up, that way it stands out to the player more as a melodic line.
Another way to do this would be with a breath mark. I'm not sure if that's common in piano music but I have seen it used for non-wind instruments before.

cashwarrior1

Quote from: Code_Name_Geek on June 22, 2019, 09:09:47 AMAnother way to do this would be with a breath mark. I'm not sure if that's common in piano music but I have seen it used for non-wind instruments before.
That would imply a break in the music, and there is no break here. It wouldn't be the right situation to include a breath mark.

Maelstrom


Zeila

This looks great! Thanks for replacing the old one (and also for reminding me about #2)

I don't have much to say and it's not necessary, but maybe you can add the oboe harmony in m16 that goes A - G on beat 4 (under the F# and En) as well as some accents in m19-34 (or just m27-34) when the low parts emphasize the left hand

Latios212

Thanks all for the comments! Sorry I've been away for a few days.

About the phrasing in measure 8: I thought about it a bit and I think flipping the two different phrases would look even odder. Although the demarcation from beats 3-3.5 becomes clearer, you lose the contour of both phrases with their connecting parts - as for the first melody it flips down with nothing above it, and the second melody is stemmed upwards even though the note in m. 9 stems down. I agree it looks kinda funny at a glance, but I think the beam break combined with the phrase marking AND the new dynamic make my intention clear enough. (Hopefully that makes sense to other people though? Hard to say when it's me reading my own sheet.) Not sold on the breath mark either because it's not a marked release of the first melody, it just happens to end there.

Quote from: Zeila on June 23, 2019, 02:11:45 PMThis looks great! Thanks for replacing the old one (and also for reminding me about #2)

I don't have much to say and it's not necessary, but maybe you can add the oboe harmony in m16 that goes A - G on beat 4 (under the F# and En) as well as some accents in m19-34 (or just m27-34) when the low parts emphasize the left hand
Thanks! Wow I didn't really even pick up on those sixths but they sound great, added. For the left hand on page 2 I don't think they're really necessary because they're mostly stressed on beat 1 which is implied (and it's when the bass changes anyway). Did you have any sort of particular accent pattern in mind, though?

Quote from: Maelstrom on June 23, 2019, 11:29:24 AMhow do you make this look so easy

approved
Despite being an orchestra piece (literally) this one actually wasn't so bad. Besides being short enough for my attention span, most harmonies are pretty clear and independent parts aren't bad to pick apart - nothing's terribly intertwined. There were a few parts I wasn't initially sure what I wanted to do with (two melodic lines in m. 19+ that were too distant to combine; the rapidly moving accompanying part in m. 41+) but I ended up writing what sounded natural enough on the piano keeping the essence of what you hear on a quick listen to the song.

That said, it was over a month between when I started and finished this haha in part due to being busy but also in part due to needing some time to think about it :P
My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

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[close]
turtle

Libera

Looks pretty good to me, just a few comments:

-In bar 10 I really think we should make it clear that the last two quavers in the right hand are a continuation of the left hand and not of the melody.  The way it's written currently implies that the melody does something that it 100% does nothing even vaguely like and I was very confused when I first looked at it.
-Bars 45-46 feel a little plain to me without the (du du - du du du- du) rhythm (I'm sure you know what I mean, you wrote it in bar 47. :P )
-Personally I think I'd write the left hand rhythm in bars 50, 52, 54, 56 as three crotchets rather than crotchet quaver tied quaver crotchet.  It's a simple enough syncopation to read.  But either option is valid, I just thought I'd put my opinion out there.
-Any reason not to the centre the dynamic at the start under the notes rather than the time signature?

Massive thanks for replacing this sheet, the current on-site version makes me cringe so badly.

Latios212

Thanks for looking! I'm also super glad to see the old sheet go :P

Quote from: Libera on June 29, 2019, 05:00:01 PM-In bar 10 I really think we should make it clear that the last two quavers in the right hand are a continuation of the left hand and not of the melody.  The way it's written currently implies that the melody does something that it 100% does nothing even vaguely like and I was very confused when I first looked at it.
I wasn't really sure if I wanted to split the layers for the left hand for the whole section here. I added a cross-staff line that I think suffices to clarify this a bit.

Quote from: Libera on June 29, 2019, 05:00:01 PM-Any reason not to the centre the dynamic at the start under the notes rather than the time signature?
Nope, moved!

Quote from: Libera on June 29, 2019, 05:00:01 PM-Bars 45-46 feel a little plain to me without the (du du - du du du- du) rhythm (I'm sure you know what I mean, you wrote it in bar 47. :P )
I'm a bit conflicted here. I definitely get what you mean (something I thought about briefly before as well) but on the other hand I feel like striking that rhythm on the piano distracts from the way the sound gradually swells up in the original. Also, the voice that uses that rhythm doesn't really mesh too well with the chords I've written so I think  feel inclined to leave it as is. Let me know if you feel strongly otherwise, though.

Quote from: Libera on June 29, 2019, 05:00:01 PM-Personally I think I'd write the left hand rhythm in bars 50, 52, 54, 56 as three crotchets rather than crotchet quaver tied quaver crotchet.  It's a simple enough syncopation to read.  But either option is valid, I just thought I'd put my opinion out there.
I think it's easy enough to align with the right hand visually so sounds good to me.

Also after looking at this again I added more dynamics in m. 26-27.
My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

Spoiler
[close]
turtle

Libera

Quote from: Latios212 on June 29, 2019, 05:55:15 PMI'm a bit conflicted here. I definitely get what you mean (something I thought about briefly before as well) but on the other hand I feel like striking that rhythm on the piano distracts from the way the sound gradually swells up in the original. Also, the voice that uses that rhythm doesn't really mesh too well with the chords I've written so I think  feel inclined to leave it as is. Let me know if you feel strongly otherwise, though.

All fair points, I guess it's one of those places where we have to make a sacrifice going from the original.

All the other edits look good to me and I think I can sign off on this now!


Zeta