[3DS] The Legend of Zelda: Tri Force Heroes - "Title Theme" by Cashwarrior1

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Submission Information:
Series: The Legend of Zelda
Game: The Legend of Zelda: Tri Force Heroes
Console: Nintendo 3DS
Title: Title Theme
Instrumentation Solo Piano
Arranger: Cashwarrior1

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[cashwarrior1]

At the end of the sheet I moved one measure to its own line and shrunk the size of the system because I couldn't find a way to get any 3 bar system that looked nice

[mastersuperfan]

Hey, this is really good. Closer note check to come soon (although they sound pretty good as is) but some preliminary stuff first:

- I'd suggest writing the first two measures as q=148, and then putting a tempo marking like "eighth=eighth (q.=99)" at m3.
- mf in m3 could be moved down slightly.
- m6 RH beat 4 doesn't really make a whole lot of sense with a tie and a staccato at the same time. I would just remove the tie and the G on beat 4.
- I think the staccatos would look better above the noteheads on m8/35 RH beat 4.
- m16 LH beat 1 can be flipped down.
- The left edge of the second slur in m17 LH is touching the beam.
- The eighth rests in m17 LH are a bit too high and could all be moved down one notch.
- For m22 RH, I would extend the slur to the second tied note, which is not only conventional but also prevents the slur from accidentally looking like a tie.
- m27 RH beats 1-2 can be flipped down.
- m27 RH beat 3 Layer 2 rests can be condensed into a quarter rest (in 12/8, quarter rests can be used if they fall directly on the beat).
- m29 RH Layer 2 rests could be moved up onto the staff, something like this:

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- For m32/36 RH beat 4, do you feel that it's necessary to use a quarter note + eighth rest there? Wondering because the LH (and in m32, RH Layer 2) uses a dotted quarter, so I feel that it might be unnecessary to put a quarter and dotted quarter on the same beat and expect the player to differentiate between them in their playing. i.e. I would just suggesting changing them to dotted quarters.
- I would suggest adjusting the LH eighth rests in m34/36 a bit more so that they're all the same height above the Layer 2 eighth notes. My personal suggestion would be to move all the eighth rests in m34/36 LH down one notch except for the two eighth rests on m36 beat 2. (Alternatively, you could move the eighth rests on m36 beat 2 up one notch and leave the rest untouched.)

And now we get to the fun part... time signatures:
- Talked with Latios about this—we both think that this would be better written in 6/8 instead of 12/8 (the track feels like it has two-pulse measures rather than four-pulse measures). It seems like the best way to make this change easily (credit goes to Latios for this) is to create a new Finale file in 6/8 and G minor, copy the 12/8 phrases from the arrangement from one hand at a time (i.e. don't copy both hands at once), and paste these phrases into the blank 6/8 file, where the phrases should automatically be converted to 6/8. You can either use this new file for your sheet, or then change the original file to 6/8 and paste the phrases back. It's a bit of a hassle and you'll have to check to make sure beaming and stuff doesn't get messed up, but it preserves the notation a whole lot better than just changing the time signature directly.
- The other thing we agreed on is that m17-25 would be better written as 6/8+3/4 instead of 6/4. See here for what this would look like. Unfortunately, the only way to make measures have alternating time signatures is to change them manually. So, for m17-25 (which would be split into twice as many measures after you do the 6/8 conversion above), you would have to manually set alternating measures to be in either 6/8 or 3/4, but all of them would have 6/8+3/4 set under "Use a different time signature for display." (Note: What I'm suggesting is different from what Finale does by default when you set the time signature to be 6/8+3/4, which is to make each measure twice as long. I'm suggesting that you set the displayed time signature as 6/8+3/4 and then manually set the time signature for alternating measures as either 6/8 or 3/4.)

I know the stuff about time signatures is confusing, so feel free to reply here or DM me on Discord if you need clarification on it.

[cashwarrior1]

o.O it's moments like these I wish I didn't use Finale... Updated lol

[mastersuperfan]

All right, round two. Note that when I refer to beat numbers, I mean beats 1-2-3-4-5-6 in 6/8 (even in the 3/4 measures).
- I hear a C in the chord on m1 beat 1 LH, but up to you on whether to include it (I think it's fine with or without).
- There's a D on top of the chord in m2 RH. I also don't think I hear the Eb...
- To clarify, for m3, you should also specify the absolute tempo marking q.=99 there as well, not just the eighth=eighth.
- For m3-5 and m7 LH beat 4, I think En (C major chord) would work better as the upper note instead—not sure I hear where the D comes from.
- m8 LH beat 4, I'd suggest Eb over D for the top note. Definitely doesn't sound like a major 7th chord to me.
- For m5 LH, I would suggest filling in the triads over the bass note, instead of just having two notes.
- First chord in m9 also does not sound like a 7th chord (not hearing a Bb). For both chords in m9, I would just suggest turning the LH chords into triads.
- In m11, I hear the melody restrike on beat 2.5.
- Same deal for the chords in m11-18—mostly hearing just triads, no 7th chords.
- The second half of m14 could use some more oomph—like putting in extra notes into the RH on beat 4, and also repeating the harmony notes in both hands on beat 5 (which it sounds like the original does).
- I hear the melody restrike on beat 4 of m18.
- m21 beat 1: I actually do hear a 7th chord here (C in the RH instead of D).
- m21 beat 4 is also a 7th chord (G-D-F-Bn from bottom to top).
- Chords in m22 are different from what you have too. Altogether, I would write m21-22 like this:

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- Sounds like there might be an Fn in the second m23 chord too.
- Not hearing the Ab on m26 RH beat 1.
- The two grace notes in m26 should be Bb-Ab instead of Cb-Bb.
- For m31-48, I'd recommend making all the barlines solid in order to clearly show that all the measures are still the same length. It shouldn't be confusing which bars are 6/8 and which are 3/4 since everything's organized in four-bar phrases. That said, the way you have it right now is also okay.
- I don't hear any D's in m32 (although to be fair, they sound fine in the sheet...).
- Lower note of m33 LH beat 5 sounds like B rather than D.
- I don't hear D#'s in m40—sounds like this might also just be a triad, in which case I'd replace the D#'s with A's on top.
- m39 RH beats 5-6 sound like sixteenth notes instead of just eighth notes.
- I also hear a G in the chord on m41 beat 6.
- Any particular reason why you didn't write the same eighth note rhythm in m40/42 LH as you did in m32/34/36?
- The slur at the end of m42 RH and the one in m43-44 could just be combined into one slur.
- The last two 16th notes in the RH at the end of m44 should be G# and A# instead of Gn and An.
- m43 LH chord should be a C# minor triad (C#-E-G#) instead of C#-E-F#.
- Courtesy natural on the lower G in m46 LH?
- In the run at the end of m46, the C# and F# should be Cn and Fn. Also, the run skips over the E.
- There are also Eb's in the LH chords in m48. Might be a bit too muddy/heavy in the low register, though—up to you.
- For m49-72, see the same things I said about the chords for the first part.

Other than the chords, the way you have this written out is really solid. The big thing is making sure you're hearing the right chords—go back to the original track and double-check the chords and the suggestions I made to make sure you're hearing the track correctly (and also to check that I didn't hear anything incorrectly). (Use AudioStretch if you're not already!)

[cashwarrior1]

- In m11, I hear the melody restrike on beat 2.5.

I'm not quite sure what you're referring to with this. On beat 2.5 is the D, and I'm not hearing the G repeated (though I can't exactly tell).

- For m31-48, I'd recommend making all the barlines solid in order to clearly show that all the measures are still the same length. It shouldn't be confusing which bars are 6/8 and which are 3/4 since everything's organized in four-bar phrases. That said, the way you have it right now is also okay.

I left it as is, I'll wait for more input before making a change, if necessary.

- m39 RH beats 5-6 sound like sixteenth notes instead of just eighth notes.

I thought this was just some fancy violin playing, because I can't make out any specific notes. I left them as eighth notes for now.

- Any particular reason why you didn't write the same eighth note rhythm in m40/42 LH as you did in m32/34/36?

Probably fatigue and I just didn't hear them :p

- For m49-72, see the same things I said about the chords for the first part.

Other than the chords, the way you have this written out is really solid. The big thing is making sure you're hearing the right chords—go back to the original track and double-check the chords and the suggestions I made to make sure you're hearing the track correctly (and also to check that I didn't hear anything incorrectly). (Use AudioStretch if you're not already!)

Not entirely confident on the chords. When I listen to the original and then the piano midi back to back, I'm not noticing anything different/missing. I also have trouble identifying guitar chords, since I hear more of the general strumming than the actual notes.

Updated.

[mastersuperfan]

Looking good, last few things:

I'm not quite sure what you're referring to with this. On beat 2.5 is the D, and I'm not hearing the G repeated (though I can't exactly tell).

Oops, I meant m10. Although now that I listen again, I'm not sure if it really is a restrike... what you have right now is fine.

I thought this was just some fancy violin playing, because I can't make out any specific notes. I left them as eighth notes for now.

Specifically, I hear F#-E-F#-G.

For m44/46 LH beat 1, I would suggest filling in the chord. After all the measures where the LH plays a full chord on beat 1, it feels empty for the LH not to do so here.

m60 LH second half, I hear the bass as three eighth notes instead of one dotted quarter note.

I notice you have some differences in the LH rhythm in m71, but it sounds the same to me as m17. You also write the RH differently in m68, but that line also sounds the same to me in both m14 and m68 in the original (I don't really hear the G in either case but am totally cool with including it). On that note, unless there are other differences I'm missing, it seems like it would be easiest to just repeat from m64 to m11 directly. That does leave you with one system on the last page, which is not great, but you can then fit five systems on page 3 or 4 if you shrink the spacing for that page.

Dynamics in m1, m2, m49 could be moved down a bit. Crescendo in m56 could be moved up a bit to align better with the mf.

I think that's all. Nice work.

[cashwarrior1]

I notice you have some differences in the LH rhythm in m71, but it sounds the same to me as m17. You also write the RH differently in m68, but that line also sounds the same to me in both m14 and m68 in the original (I don't really hear the G in either case but am totally cool with including it). On that note, unless there are other differences I'm missing, it seems like it would be easiest to just repeat from m64 to m11 directly. That does leave you with one system on the last page, which is not great, but you can then fit five systems on page 3 or 4 if you shrink the spacing for that page.

So, I hear some differences in the first 4 bars of the section (11-14 and 65-68) but I didn't notice anything when listening back. Specifically, I'm hearing three notes played on beat 1-3 of m. 12 in the accordion, but I don't hear three notes in m. 66 in the accordion. Also, for the run on measure 14, I'm hearing a consistent sixteenth notes but I'm hearing a staccato/space on beat 1 of 68. If nobody else hears these, then I'll remove them, but for now I have the repeat going from 68 to 15.

Updated.

[mastersuperfan]

It's a bit weird to have the repeat in the middle of an 8-bar phrase—if you hear differences in the first four bars, I'd just repeat after the whole 8-bar phrase is done, like how you had it before.

[cashwarrior1]

lol okay, updated.

[mastersuperfan]

Looks fantastic, a few final things:
- The crescendo in m18 could be moved up a bit so it's not so close to the staccato.
- The second grace note in m26 should be An, not Ab.
- Courtesy Bn in m33 LH?
- m38 LH beat 1.75 clashes with beat 2. You can use the Note Position tool to cluster the 16th notes on beat 1 a bit closer together to the left.
- Your headers, page numbers, and copyright exceed the page margins. Click on it > Text > Alignment > Top/Bottom.
- Subtitle should say THE Legend of Zelda.

Also, I know I said to move them up, but TBH it's probably also okay to rests in m55-56 back in their default position since pretty much all the other rests in the RH are in their default position.

That's all I've got, so I'll approve this now (pending the above fixes) so that someone else can take a look at it.

EDIT: Oh also, I'd like the second updater to take a close look at m2 because I honestly don't know what's going on with that chord.

[cashwarrior1]

I had started using the template so I didn't have to mess with the margins, but I can't remember which sheet I started using it on lol

[Latios212]

EDIT: Oh also, I'd like the second updater to take a close look at m2 because I honestly don't know what's going on with that chord.

It looks/sounds good to me.

Other feedback:
- I would highly recommend starting the slurs on the grace notes in m. 3-4, 7, 9, 25, 50 RH. (Actually, I don't hear the grace note in m. 50 in the original)
- The spacing is a bit weird for the grace note in m. 3 - the grace note is rather far to the left and the En is pushed a bit far to the right.
- Move the eighth rests back to mid-staff height in m. 3-7 LH (like m. 10)
- Fix the spacing around the natural in m. 12 RH so it doesn't hit the lower layer
- The 16th note Eb in m. 16 should be En. Same with m. 54, 62, and 70. (The Eb's in the chord are correct.)
- The last two notes in m. 18 and 72 RH should be natural (An-Bn)
- m. 30 missing an eighth rest in the lower layer on top staff
- The bottom dotted half note in m. 34 should be an A instead of B (D major chord instead of B minor)
- I'd suggest writing the turn in m. 34 out explicitly as a 5-tuplet because it uses an E# instead of En for the note below it which isn't obvious as notated right now
- C naturals in m. 38 RH should be C#s
- Gn in m. 45 RH should be G#
- The grace notes in m. 48 don't quite sound right to me - I'm hearing a Cn instead of A-Bb
- Slurs should be on top of the notes in m. 51
- I'm hearing more 16th notes - A-B - preceding the 16th notes in m. 52
- Chords in the second half of m. 55 should be F major (change the Eb to F). You might also want to write in something for the RH lower layer using that harmony
- In m. 56 there should be a D where the F# is now. Make the F# into a grace note going to the G.
- C in second chord of m. 62 should be Bb (Eb major chord, just like 16, 54, 70)

Also... the spellings in m. 29-30. I think it's pretty clear what the right hand should be written as using naturals and sharps instead of flats, the left hand a little less so since it's a diminished chord. Measure 30 is an F# chord though that leads into B minor in the next section.
There are also some wrong notes in the run. Here's what I'm getting (also might want to put some of those last couple notes in the lower staff)

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Last thing to do last so the measure numbers aren't messed up for the above feedback:
- Make sure you exclude the "extra" bars from the numbering (e.g. m. 32) if you're using dashed barlines for the additive time signature

[cashwarrior1]

- I'm hearing more 16th notes - A-B - preceding the 16th notes in m. 52

I had originally omitted those notes for more ease with the ornament, but I added them in now.

Updated.

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m29 I think would be better spelled as an E#dim7 (E#-G#-B-D), since it better shows the resolutions to the F# chord in m30 (E# to F#, G# to A#).