[SW] Kirby and the Forgotten Land - "Abandoned Beach" by Static

[Zeta]

Submission Information:
Series: Kirby
Game: Kirby and the Forgotten Land
Console: Nintendo Switch
Title: Abandoned Beach
Instrumentation Solo Piano
Arranger: Static

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[Static]

I think I heard something somewhere about the individual composer info being known... but I haven't found any actual information anywhere yet

[Dekkadeci]

I think I heard something somewhere about the individual composer info being known... but I haven't found any actual information anywhere yet

The closest I've found to a trustworthy source with individual composer info is WiKirby's Jukebox page. I am prone to trusting it since it confirms the guess I (and probably Radiak) had for who exactly composed the most famous of the final boss themes (and supports the tendency for Yuuta Ogasawara to be assigned rock/metal remixes, and seemingly confirms that the new guy is stuck mastering all the voice acting).

[Radiak488417]

This is 9000% by Jun Ishikawa, it has all his hallmarks lol. I suppose we'll have to wait for an OST release for official crediting, but in the meantime I'd say this is about as safe a bet as it gets. The sound tests in all the recent games have credited composers by the color of the music notes, but I haven't actually played Forgotten Land yet so I don't know if it does that or not.

[LeviR.star]

This is 9000% by Jun Ishikawa, it has all his hallmarks lol.

Exactly my thinking, it sounds just like "Float Islands", "Aqua Star", "Wet Planet", basically almost every water stage theme he's ever written for the series.

[Static]

I figured it was Ishikawa, but I wanted to be more sure of it. Thanks everyone, the files have been updated

[Latios212]

I've started playing the game and man this track is great haha

Great sheet too, just some comments on some small details:
- I think the RH plays C on beat 3 instead of 3.25 of m. 11 RH? It sounds like the D is just there for a 16th note
- I think the RH G should be tied over between m. 14-15
- Doesn't really make a big difference on piano, but in m. 33-34 and 36-38 the melody rests on beat 3 instead of tying over the previous note. Removing them would also make the slurs less confusing. Perhaps on page 3 as well
- The slur in m. 38-39 is very curvy
- Sounds like m. 40 beats 2.5-3 are two distinct strikes in the original
- I don't hear the mordent in m. 46
- Having the melody play a rhythm instead of a dotted quarter in m. 55 beats 1/3 feels rather odd to me...
- Have both hands play the tremolo at the end?

[Static]

- I think the RH plays C on beat 3 instead of 3.25 of m. 11 RH? It sounds like the D is just there for a 16th note

I wasn't sure about this while arranging it. It sounds a bit delayed to me, and having the C right on beat 3 sounds off. Although having it on beat 3.25 doesn't sound exactly right either, just closer.

- I think the RH G should be tied over between m. 14-15

The G sounds like it's softly rearticulated to me

- I don't hear the mordent in m. 46

In m45-47, another wind instrument (I think a clarinet) joins the flute on the melody, but only the flute plays the mordent.

- Doesn't really make a big difference on piano, but in m. 33-34 and 36-38 the melody rests on beat 3 instead of tying over the previous note. Removing them would also make the slurs less confusing. Perhaps on page 3 as well

Most of the time in this track, there is a break between beats 3 and 3.5, but it sounds more like the note is released on 3, in which case a tie makes more sense to me (since the slurs start on beat 3.5 without including beat 3). I think on piano, the performance wouldn't really be different either way though.
Usually, I like to end my slurs with the ends of ties, but in this sheet I think it looks cleaner without doing that, and still pretty easily understandable by a first-time reader. I'd rather just keep the slurs and ties consistent throughout the sheet.

- Having the melody play a rhythm instead of a dotted quarter in m. 55 beats 1/3 feels rather odd to me...

It sounds like the melody restrikes there to me

- Sounds like m. 40 beats 2.5-3 are two distinct strikes in the original
- The slur in m. 38-39 is very curvy
- Have both hands play the tremolo at the end?

Fixed

[XiaoMigros]

I think on piano, the performance wouldn't really be different either way though.

Which is why I think having a rest on beat 3 makes more sense, it makes the ties look cleaner and is less likely to be held into the next phrase by mistake.

In m33 you accidentally removed the note on b3 already, though the tie is still there.

[Static]

Which is why I think having a rest on beat 3 makes more sense, it makes the ties look cleaner and is less likely to be held into the next phrase by mistake.

The RH part is pretty straightforward, so I don't think the ties add any clutter to it. Also, the phrase markings and specific pedal markings I think would ensure proper phrasing in a performance. I still think I'd rather keep it as it is
Fixed m33

[Latios212]

- I think the RH G should be tied over between m. 14-15

The G sounds like it's softly rearticulated to me

I don't hear this rearticulated at all...

- Having the melody play a rhythm instead of a dotted quarter in m. 55 beats 1/3 feels rather odd to me...

It sounds like the melody restrikes there to me

Nor do I hear this - maybe a little vibrato or something in the original melody but writing it like that sounds really off to me.

Most of the time in this track, there is a break between beats 3 and 3.5, but it sounds more like the note is released on 3, in which case a tie makes more sense to me (since the slurs start on beat 3.5 without including beat 3). I think on piano, the performance wouldn't really be different either way though.
Usually, I like to end my slurs with the ends of ties, but in this sheet I think it looks cleaner without doing that, and still pretty easily understandable by a first-time reader. I'd rather just keep the slurs and ties consistent throughout the sheet.

Your choice of course since the lift is somewhere in between... that's just what I'd choose to do

[Static]

I don't hear this rearticulated at all...

Nor do I hear this - maybe a little vibrato or something in the original melody but writing it like that sounds really off to me.

I played around with the original audio and I can hear both of these quite clearly now, so the files have been fixed with that

[Latios212]

Alrighty, I'll approve!

[Bloop]

Just a few comments here, looking good!
-m2: I hear this C-octave thingy an octave higher
-m11: I think the R.H. note on beat 2.75 doesn't tie over into beat 3. Having a rest here also makes the disconnect between this note and the D on 3.25 a bit clearer.
-m46: I'm not sure how common it is to have the slur go between the mordent and the sharp of the mordent, but maybe it's better to lower the sharp and raise the slur a bit? Though this works too if it'll end up looking a bit weird ^^
-m60: Maybe you can add that 16th-16th-8th rest figure at beat 4 in the original as well, instead of just having the tremolo go for a whole bar?

[Static]

Everything should be fixed I think