[GCN] The Legend of Zelda: Four Swords Adventures - "Light Overworld" (Replacement) by Whoppybones

[Zeta]

Submission Information:
Series: The Legend of Zelda
Game: The Legend of Zelda: Four Swords Adventures
Console: Nintendo GameCube
Title: Light Overworld
Instrumentation Solo Piano
Arranger: Whoppybones


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

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[Whoppybones]

https://www.youtube.com/watch?v=qFbbCdkW5_I

[Latios212]

Yay replacement! Thanks for doing this.

In the future, please use a non-extended version (like the one linked in the Replacement Initiative post) as those are easier to work with

The first thing I have to say is watch the distribution of parts between hands. The bottom staff parts in measure 6 and similar are not playable with one hand. The right hand isn't doing anything there and can easily help out with the help of the sustain pedal, so you could either bring the top voice up to the upper staff or add a "RH" marking or bracket to indicate that the right hand is supposed to play it where it is. The other kind of awkward part is m. 17/19 where the right hand can also easily take the upper notes on beats 2 and 3 instead of the left hand making a jump to hit those while playing the ascending arpeggio.

Also, the accidentals can get a little weird in this theme as the chords stray pretty far from the home key of Bb major, but nonetheless I would recommend writing this in two flats just like the original.

[Whoppybones]

Apologies for the extended version. I'll make sure to not do that next time.

I added the RH marking in measure 6 et al, but I left m17/19 as is (because I seem to recall hearing that cross-staffing should be left up to the performer, and that's what this is, yes?)

The key sig has been changed. I thought that's what it was at first, but then there were so many Abs that I second guessed myself...

As another note, I added in a few staccatos where they were needed.

[Latios212]

I added the RH marking in measure 6 et al, but I left m17/19 as is (because I seem to recall hearing that cross-staffing should be left up to the performer, and that's what this is, yes?)

Well, cross-staffing refers to where the note is placed on the staves and that's your decision as the arranger. Sometimes that can leave up to the performer which hand they want to play it with. Here I'm saying that I think it would be best for the right hand to play the upper layer notes on beats 2 and 3 because it would be an awkward jump for the left hand while playing the triplet arpeggio. And since they fit comfortably on the top staff, they would probably be best written there.

Additionally, one other thing to consider is that the beat 1 Bb doesn't contribute much in terms of sound (it's there in the original, but there's a Bb playing in the RH and the Bb is struck immediately afterwards in the left hand) and it's also awkward to re-strike, so I would suggest just taking it out. The bass note is also wrong here, and writing a Bb above it (lowered an octave from the original) forms a muddy-sounding tritone. So all that said, I would suggest this for m. 17/19:

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Other stuff:
- Use a staccato 8th note + 16th rest instead of staccato dotted 8th note (m. 2, 3, 8, 30, 31)
- The Cb in the LH of m. 8 should be Cn
- m. 15 beat 4 RH: Use Fb instead of En (chromatically approaches the Eb, and preserves parallel sixth dyads)
- m. 21 beat 4 RH: Use Cb instead of Bb (chromatically approaches the Bb, and matches the Cb chord in the left hand)
- If you want, you could include the rhythm of the percussion in the bass of m. 23-24 to keep the forward motion in the sound.
- Keep 4 measures per system on the second page instead of having 5/5/3/3 in the last four systems.

[Whoppybones]

Consider it all done, with the exception of the percussion in m23-24. However, there did seem to be a restrike that I included.

[Whoppybones]

Minor update: some triplets (specifically m19) had flags both above and below. That should be fixed now.

[Latios212]

Consider it all done, with the exception of the percussion in m23-24. However, there did seem to be a restrike that I included.

If you're going with the original's bass voicing I think in m. 24 I think the Cb restrikes on beat 4 as well as beat 3.

I'll just leave that to whoever checks next to verify, everything else looks good!

[Bloop]

Looking good! It's always fun to see some extra stuff added to the original Zelda theme ^^

-m1-3 and 29-31: The 16th note triplets are extremely hard/impossible to play at speed. Maybe it's an idea to write these as some kind of arpeggio to imitate the triplet pickup:
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-m5 and 13: The F on beat 3 goes on for another beat, maybe you change this in separate voice to a half note?
-m6 and similar: Nothing wrong here, but if you like, you can write the 8th + 16th rest as a dotted 8th rest ^^
-m17 and 19: Maybe you could add a courtesy accidental to the Gn in the R.H. on beat 3, as the player might mistake this for another Gb.
-m18 and 20: I think you can omit the An in the L.H. on beat 3, as it thirds this low in the bass sound quite muddy and it doesn't add much to the chord.
-m22: I can't quite clearly hear the top voice of the L.H. on the triplet on beat 2, but I think it should be an Eb on the third note of this triplet instead of an En.
-m23-24: I hear an Eb in the L.H. above the lower Cb. Also, about the restrike-stuff in the L.H., I think the brass just hold the notes for the whole bar, but interpreting the lower L.H. notes as the timpani part, it does restrike on beat 4.
-m25-26: Maybe you can move the F's of the lower R.H. voice to the L.H. in a separate voice, as the R.H. can't reach it by itself and the pedal doesn't work as well here (either notes from m25 will ring on in m26, or the F-D dyad gets cut off too early)

[Bloop]

Edited the files for Whoppy! All feedback is implemented, with two notes:
-8th+16th rests stayed as they were
-An in m22 L.H. changed to Ab as well (I thought it was an Ab already, but it wasn't)

And therefore this is accepted!
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[Zeta]

This submission has been accepted by Bloop.

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