[GCN] Pokémon Colosseum - "Semifinal Battle" (Replacement) by Kricketune54

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Colosseum
Console: Nintendo GameCube
Title: Semifinal Battle
Instrumentation Solo Piano
Arranger: Kricketune54


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

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[Kricketune54]

I think the current arrangement is probably the worst if not the ugliest arrangement at least in the Pokémon section.  To say this one was a challenge to adapt for piano is an understatement and I probably would not have arranged this otherwise lol

The accompaniment was just not clicking for this one outside of the trumpets.  The bassline is too soft and kind of empty as just the accompaniment, but is represented in a few spots (m11-26 29-44 beat 2, all of 27-28 and 45-46)

Name wise this is the name GilvaSunner used, but maybe Semifinal Battle is preferred?

[Latios212]

I think the current arrangement is probably the worst if not the ugliest arrangement at least in the Pokémon section.

Nacrene City in straight 4/4 begs to differ

Name wise this is the name GilvaSunner used, but maybe Semifinal Battle is preferred?

What source have you been using for the other Colosseum sheets? We should stick to one naming system if it makes sense, unless every listing is flawed in a different way...

One thing is I'm trying to follow along with what the left hand part is doing starting on page 2...
- Mostly in m. 13-14. This sounds like an F/C chord (F chord with the bass note being C) and I'm not sure where the E on beats 2 and 3.5 come from?
- m. 15 beat 1 should have D as the bass like the rest of the measure?
Otherwise the rest of this section makes sense, the chords check out and I can see the beat 2 and 3.5 notes as chord tones to help fill in the rhythm.

Bunch of other smallish things:
- Missing "Composed by"
- Could shorten the 8vb line in m. 6 a bit (move the endpoint further left)
- Missing segno at m. 7
- m. 14 LH parentheses are supposed to be on the A in the last chord instead of the second to last chord?
- I'm not sure if I hear the figure in the lower layer of the RH at the end prominently (as opposed to how the second layer is being written in the rest of this part), also it clashes with the left hand a fair amount
- m. 33 RH - flip the grace note slur up so it ends on the upper D
- m. 34 RH - I feel like this eighth note + rest doesn't need to be that specific, just a quarter note would be fine I think. Regardless, make sure this is flipped downwards
- m. 37 - the upper layer from m. 36 resolves to an A an octave above the lower layer here, and I would suggest writing it in as a half note so it can resolve in the arrangement.
- m. 44 beat 1 RH - similar to my comment about m. 34, I feel like this can just be an eighth note. The difference in timing of the lift is negligible
- You can redistribute measures slightly to avoid the 2-measure system at m. 42. I'd suggest bumping one measure down starting with the last system on page 2 because those 16th note runs in 27-28 need a bit of space.
- Also watch the white space at the bottom of the page on pages 2 and 3. You can afford to add a bit more spacing between systems on those pages.
- The D.S. at the end is a bit high

[Kricketune54]

Nacrene City in straight 4/4 begs to differ

okay... but visually this is a train wreck and an eye strain

What source have you been using for the other Colosseum sheets? We should stick to one naming system if it makes sense, unless every listing is flawed in a different way...

Video from DeoxysPrime is same name as what GilvaSunner had it as. The name on the sheet is "correct" by that reason, as I've been using Gilva's titles

One thing is I'm trying to follow along with what the left hand part is doing starting on page 2...
- Mostly in m. 13-14. This sounds like an F/C chord (F chord with the bass note being C) and I'm not sure where the E on beats 2 and 3.5 come from? Otherwise the rest of this section makes sense, the chords check out and I can see the beat 2 and 3.5 notes as chord tones to help fill in the rhythm.

So as mentioned in this

The bassline is too soft and kind of empty as just the accompaniment, but is represented in a few spots (m11-26 29-44 beat 2

At beat 2 on those measures, you can hear the E on beat 2 from the bass part. The first part of beat 2 in this accompaniment is intended to be sort of like a bass slap.  As for 3.5, it sounds in the original, that the horns are on E but then move up to F for the following beats

- m. 15 beat 1 should have D as the bass like the rest of the measure?

I thought the C was a little more prominent on beat 1 in the original (had it the way you're pointing out originally), but it does sound too much like a mistake so I've fixed it.

- Missing "Composed by"
- Missing segno at m. 7

Man... must've accidentally deleted these at one point

- Could shorten the 8vb line in m. 6 a bit (move the endpoint further left)
- m. 14 LH parentheses are supposed to be on the A in the last chord instead of the second to last chord?

Fixed

- I'm not sure if I hear the figure in the lower layer of the RH at the end prominently (as opposed to how the second layer is being written in the rest of this part), also it clashes with the left hand a fair amount

Was this also for m.14? It didn't seem to be, so I assumed it was referring to m.32, based off your comment sequence.  I have removed the latter half of m.32 RH lower layer

- m. 33 RH - flip the grace note slur up so it ends on the upper D
- m. 34 RH - I feel like this eighth note + rest doesn't need to be that specific, just a quarter note would be fine I think. Regardless, make sure this is flipped downwards

Fixed

- m. 37 - the upper layer from m. 36 resolves to an A an octave above the lower layer here, and I would suggest writing it in as a half note so it can resolve in the arrangement.

Ah good point, added

- m. 44 beat 1 RH - similar to my comment about m. 34, I feel like this can just be an eighth note. The difference in timing of the lift is negligible

Made this change, also made beats 1.5 and 2.0 a quarter note

- You can redistribute measures slightly to avoid the 2-measure system at m. 42. I'd suggest bumping one measure down starting with the last system on page 2 because those 16th note runs in 27-28 need a bit of space.
- Also watch the white space at the bottom of the page on pages 2 and 3. You can afford to add a bit more spacing between systems on those pages.
- The D.S. at the end is a bit high

Fixed! Thanks for the look over

[Latios212]

Great! I think you got almost everything, or everything I tried to say lol. Small thing first, don't forget to flip the staccato above the eighth notes in m. 37 because there's no second layer above there.

About this:

One thing is I'm trying to follow along with what the left hand part is doing starting on page 2...
- Mostly in m. 13-14. This sounds like an F/C chord (F chord with the bass note being C) and I'm not sure where the E on beats 2 and 3.5 come from?

At beat 2 on those measures, you can hear the E on beat 2 from the bass part. The first part of beat 2 in this accompaniment is intended to be sort of like a bass slap.  As for 3.5, it sounds in the original, that the horns are on E but then move up to F for the following beats

It just doesn't make much sense to me arrangement-wise. Listening to the original again I think this could be an Fmaj7/C chord as the notes you've written imply. But since the rest of the bass isn't written in to contextualize those specific E's you wrote in, it feels arbitrary and like you're changing chords at times. I would prioritize consistency here instead. You could write them all as Fmaj7 chords, but I think the E-F dissonance is a bit crunchy so I'd just write then as F chords. For beat 2.5 in particular since this primarily functions to emulate the percussive hit, I think it'd be fine to change it to a chord tone.

[Kricketune54]

Okay, I have changed these to F major chords as advised, and fixed the m.37 staccato.  Thanks!

[Latios212]

Great, no prob! Approved ^^

[Bloop]

-m3-6: Maybe you could raise the 8vb mark a bit so it's closer to the RH. Currently, it's kinda split between the middle, which makes it look a bit dubious to which hand it's referring to (even though it's easily deducable)
-m27 and 45: Maybe you could write the 16th+16th rest on beat 4.25 as a staccato 8th note, since you write it like that in the rest of the sheet as well.
-m31: The high A here isn't holdable until beat 3 with the low E, but I'm doubting a bit if that's just something the player can decide not to do or if it's better to write the A as a half note. Something to think about :p
-m34: I hear an F-A and F-B dyad on beat 2 and 4 in this bar, instead of A-C and and B-E. I'd write the F an octave higher though (so A-F and B-F), since the low F isn't playable with the melody.
-m43-44: Maybe you could add an 8va her from m43 beat 2.25 until the end of m44? It's really mostly necessary for the B in m44, as that was the moment I think most players will need a bit more time to figure out what the note is. You could also start it from m40 beat 3.25, if that looks better from a phrasing perspective (btw, the reason I'm not saying to specifically only use an 8va for the B, is that 8vas are usually easier to read when applied to whole phrases, so the distance between notes are as clear as possible).

[Kricketune54]

-m3-6: Maybe you could raise the 8vb mark a bit so it's closer to the RH. Currently, it's kinda split between the middle, which makes it look a bit dubious to which hand it's referring to (even though it's easily deducable)
-m27 and 45: Maybe you could write the 16th+16th rest on beat 4.25 as a staccato 8th note, since you write it like that in the rest of the sheet as well.

Got it.

-m31: The high A here isn't holdable until beat 3 with the low E, but I'm doubting a bit if that's just something the player can decide not to do or if it's better to write the A as a half note. Something to think about :p

Good point, I'm not sure what I thought would be able to be done lol

-m34: I hear an F-A and F-B dyad on beat 2 and 4 in this bar, instead of A-C and and B-E. I'd write the F an octave higher though (so A-F and B-F), since the low F isn't playable with the melody.

I agree with this choice.  The C on the first note was trying to keep that F-A feel cause I thought the up octave F seemed to high at first but I have changed. Yeah E makes no sense on the next dyad lol fixed that as well

-m43-44: Maybe you could add an 8va her from m43 beat 2.25 until the end of m44? It's really mostly necessary for the B in m44, as that was the moment I think most players will need a bit more time to figure out what the note is. You could also start it from m40 beat 3.25, if that looks better from a phrasing perspective (btw, the reason I'm not saying to specifically only use an 8va for the B, is that 8vas are usually easier to read when applied to whole phrases, so the distance between notes are as clear as possible).

Yeah I generally knew this was best practice, only reason I did this once (on my recent Star Allies sheet) was one quarter note that was just far above the staff, and was also in isolation.

Thanks for the quick feedback! Files updated

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