[N64] Kirby 64: The Crystal Shards - "Pop Star" (Replacement) by Latios212 & LeviR.star

[Zeta]

Submission Information:
Series: Kirby
Game: Kirby 64: The Crystal Shards
Console: Nintendo 64
Title: Pop Star
Instrumentation Solo Piano
Arrangers: Latios212 & LeviR.star


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

[attachment deleted by admin]

[Latios212]

kirby 64 needs some more love

[Libera]

Looks pretty clean, just a few things:

-The rhythm at the start of bar 15 should be like the rhythm at the start of bar 16 (in the right hand).
-I'm hearing more of a D -> F  as the first two harmony notes in bar 60 rather than F -> G.
-There's a G underneath the two C chords in bar 61; I only say because it has the movement G -> Bb -> G and you wrote in the Bb.

[Latios212]

Fixed the first two things. For the third, I think I'd prefer to keep the lower octave G's out for difficulty reasons (wrote in the Bb since it's a new harmony note, but we can kick the lower G to make it a bit easier to play without losing anything harmonically)

[Libera]

Sounds good to me!

[LeviR.star]

Leaving a comment here about one thing I noticed: we could move the beat 2 slur in m. 54 back to the 16th to match the one in m. 55, just to keep slurs a little consistent. MSF, if you're reading this, do you see any other slurs that can be moved/changed in any way?

[mastersuperfan]

From the pickup to m22 to the beginning of m24, those notes sound like one complete, connected phrase, so I don't think it makes a lot of sense to split it up into different slurs when you can't really hear a break in the original. I think the same goes for the second half of m53 through the end of m54, the beginning of m55 through m56, the pickup to m58 through the end of m58, and the pickup to m60 until the triads in m61. (I recognize that there might not be space to put complete slurs across these larger phrases—in which case I think it would just be better to omit them instead of breaking up them arbitrarily.)

In the RH of m51, I would place a slur over notes 2-5 (beats 1.5-3) and then another slur for the last four notes (beats 3.5 onward) since an instrument change happens there.

I'm also not sure of the need to split up every dotted eighth - sixteenth pattern into an eighth - eighth rest - sixteenth and break up the slurs over this pattern. Sure, there's a tiny break sometimes, sometimes not, but the break is so small and the track is fast enough that I think it would be easier for the pianist to read a continuous dotted eighth - sixteenth rhythm (with slurs going over it) rather than worry about deliberately introducing a rest/break there. I think the rest makes the two parts of the phrase sound more separate than they really are, and since the note is repeated, they'll have to release it to press it again, which should already be enough. (e.g. m6-7, m14, m18, m20, etc.)

[Latios212]

Thanks again MSF for giving this a look

From the pickup to m22 to the beginning of m24, those notes sound like one complete, connected phrase, so I don't think it makes a lot of sense to split it up into different slurs when you can't really hear a break in the original. I think the same goes for the second half of m53 through the end of m54, the beginning of m55 through m56, the pickup to m58 through the end of m58, and the pickup to m60 until the triads in m61. (I recognize that there might not be space to put complete slurs across these larger phrases—in which case I think it would just be better to omit them instead of breaking up them arbitrarily.)

Yes, I agree about m. 22-24, and a big slur would work here. For the latter sections I've implemented them as you suggested.

=
In the RH of m51, I would place a slur over notes 2-5 (beats 1.5-3) and then another slur for the last four notes (beats 3.5 onward) since an instrument change happens there.

Sounds good!

I'm also not sure of the need to split up every dotted eighth - sixteenth pattern into an eighth - eighth rest - sixteenth and break up the slurs over this pattern. Sure, there's a tiny break sometimes, sometimes not, but the break is so small and the track is fast enough that I think it would be easier for the pianist to read a continuous dotted eighth - sixteenth rhythm (with slurs going over it) rather than worry about deliberately introducing a rest/break there. I think the rest makes the two parts of the phrase sound more separate than they really are, and since the note is repeated, they'll have to release it to press it again, which should already be enough. (e.g. m6-7, m14, m18, m20, etc.)

I see where you're coming from but I don't necessarily agree here since I think there is a slight difference in execution for the performer who is actually paying this close enough attention to the articulations - it signals to the performer that there's a noticeable gap in sound as opposed to immediately striking the note again (as is the case in m. 22, which is notably different from the other places like in the original). I tried it myself on my keyboard a bit and there's a slight difference to me. In any case, I think it
could go either way so I'm fine leaving it as Levi wrote it.

I've updated the files with the above changes!

[Maelstrom]

It's

perfect


accepted

[Zeta]

This submission has been accepted by Maelstrom.

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