[PS3] Gran Turismo 5 - "spin your own wheels" by Static

[Zeta]

Submission Information:
Series: Other
Game: Gran Turismo 5
Console: PlayStation 3
Title: spin your own wheels
Instrumentation Solo Piano
Arranger: Static

[Static]

The video from the composer's channel above has the title capitalized, but I went with the in-game soundtrack which has it all-lowercase.

[Kricketune54]

Sorry Maki Mannami, you can't just capitalize your song in your YouTube video. When you or the sound staff made the choice of all lowercase back in 2010, there was no turning back.

• I feel like m11 is a more accurate starting point for the E minor key - maybe B minor would work better for first 10 measures?

• m2 RH the F# sounds more to be a En
• m4 LH beat 2.5, 3.5 and 4.25 (applies for similar measures), maybe you could add a A, A#, and Bn respectively to each of these beats between the octaves? Given in the original track this part is a bit more of a chord than octaves
• m9 (and m36) beat 2.5 2nd layer sounds like D#

• m15 I noted going through this you had the organ chord for beat 1 here, but for measures afterwards this is not present. Granted, in the original this chord and the one in m23 are a bit more prominent compared to later measures, but I feel like a lot of the measures on page 2 feels a little empty with nothing in the RH for beat 1. Maybe take a stab at adding beat 1 chords, at least up to m25 on this page. Maybe a spot like m16 is an 8th note, but just an idea. Could also do similar for m39-40, 42-43, 45-47, 50

• m26 beat 4.5 RH I hear F#
• m28 RH 4.5 sounds like a 16th, and 4.75 is an En. Very quite though, almost like it was ghosted
• m37 and similar LH beat 4.25 this D should be up an octave, same octave as m38 beat 4.5
• m39, 43, m47 and m51 LH beat 1.25 this E for these particular measures is up an octave, I suppose could keep as is though given how subtle this is.
• m42 RH bottom notes I hear: E, G, A, E, D
• m44 beat 1.25 I don't hear a note, 16th rest
• m46 beat 3.25 similarly think this should be a 16th rest
• m60 beat 2.5 hearing grace notes as A and G# (or just G#)
• m61 RH beat 3.0 sounds like this is also rolled

[Static]

• I feel like m11 is a more accurate starting point for the E minor key - maybe B minor would work better for first 10 measures?

That intro section is not really in B minor, it's a B13sus chord, which sets up the E minor key in m11.

• m2 RH the F# sounds more to be a En

Added, but I still hear the F# as well on the 16th offbeats. I changed m2 to look like m6, and added Es to both.

• m4 LH beat 2.5, 3.5 and 4.25 (applies for similar measures), maybe you could add a A, A#, and Bn respectively to each of these beats between the octaves? Given in the original track this part is a bit more of a chord than octaves

Added

• m9 (and m36) beat 2.5 2nd layer sounds like D#

I hear it on beat 2.75 (along with B), but I think it's from overtones from the distortion of that sound effect. The D# played on piano sounds a bit too strong for my taste and distracts from the F#m9 tonality in those measures, which is why I just kept the B.

• m15 I noted going through this you had the organ chord for beat 1 here, but for measures afterwards this is not present. Granted, in the original this chord and the one in m23 are a bit more prominent compared to later measures, but I feel like a lot of the measures on page 2 feels a little empty with nothing in the RH for beat 1. Maybe take a stab at adding beat 1 chords, at least up to m25 on this page. Maybe a spot like m16 is an 8th note, but just an idea. Could also do similar for m39-40, 42-43, 45-47, 50

Good point. I originally didn't want to distract too much from the melody and have other RH stuff going on, but I can add those chords in other empty places. I marked them as smaller notes so as to not obscure the melody, and just kept the major stabs (m15, etc) as normal size.

• m26 beat 4.5 RH I hear F#

I still hear a D there.

• m28 RH 4.5 sounds like a 16th, and 4.75 is an En. Very quite though, almost like it was ghosted

Yeah there were some of ghosted notes I intentionally left out (including in the melody) because you can't really get the same effect on piano. Those notes would end up being too prominent.

• m37 and similar LH beat 4.25 this D should be up an octave, same octave as m38 beat 4.5

I think the bass plays that upper octave for every measure like 37, including 11, etc. I lowered the octave because the kick drum always plays there and I thought it would sound a bit better on piano. I'd be fine moving all those notes up an octave, but I think I would rather keep it as is.[/quote]

• m39, 43, m47 and m51 LH beat 1.25 this E for these particular measures is up an octave, I suppose could keep as is though given how subtle this is.

Similar to above, I had noticed this but intentionally kept those notes lower because I just thought it sounded better on piano that way. In my arrangement, the bassline is already transposed up an octave from the original for the same reason. Although, like above, I would be ok moving all those notes if others think so as well. I'll just keep it for now.
 

• m42 RH bottom notes I hear: E, G, A, E, D

Fixed

• m44 beat 1.25 I don't hear a note, 16th rest
• m46 beat 3.25 similarly think this should be a 16th rest

More ghosted notes, I agree it would be better to remove them

• m60 beat 2.5 hearing grace notes as A and G# (or just G#)

Fixed

• m61 RH beat 3.0 sounds like this is also rolled

Maybe just barely. I think I'll leave that one as is, so that the one on 3.5 is more obviously rolled like in the original.


Thanks for checking!

[Kricketune54]

Added, but I still hear the F# as well on the 16th offbeats. I changed m2 to look like m6, and added Es to both.

Yep, I hear that F# as you have it now

I hear it on beat 2.75 (along with B), but I think it's from overtones from the distortion of that sound effect. The D# played on piano sounds a bit too strong for my taste and distracts from the F#m9 tonality in those measures, which is why I just kept the B.

Okay good with that in mind.

Good point. I originally didn't want to distract too much from the melody and have other RH stuff going on, but I can add those chords in other empty places. I marked them as smaller notes so as to not obscure the melody, and just kept the major stabs (m15, etc) as normal size.

Yeah I think this is a good way to give the option to expand beyond the melody.

• m26 beat 4.5 RH I hear F#

I still hear a D there.

I'm still hearing this F#, but I want to clarify I hear the D on beat 4.75. So F# to D instead of D D. Slowed this track to .25 to confirm


One last thing and a couple questions
• m16 RH 16th notes I hear following under each: E-G-A-E-D. This phrase actually is repeated at m42 as a part of the post-solo section (lol), so the notes should be the same.
• What are your thoughts for the gliss in m56? It almost sounds like just a D and F#, like they could be done as grace notes
• Did you write out the beats in m61 LH as is to mirror the RH rhythms a bit?

[Static]

I'm still hearing this F#, but I want to clarify I hear the D on beat 4.75. So F# to D instead of D D. Slowed this track to .25 to confirm

Ah, OK, I hear the F# now when I slow it down, but I still hear the D underneath it. I think the F# is being played by the alto sax (note how the fall continues all the way to beat 1 of the next measure), while the D is being played by the tenor sax starting its solo. You can hear the fall on beat 3.5 end a little earlier in the tenor part. I think it's easier to hear all this at normal speed.

• m16 RH 16th notes I hear following under each: E-G-A-E-D. This phrase actually is repeated at m42 as a part of the post-solo section (lol), so the notes should be the same.

Fixed

• What are your thoughts for the gliss in m56? It almost sounds like just a D and F#, like they could be done as grace notes

I think the gliss gets the effect across better on piano. There are distinct notes being played, but it's kind of smeared sounding.

• Did you write out the beats in m61 LH as is to mirror the RH rhythms a bit?

The LH notes are just the bass notes in the original. Unless you meant the other way around? The RH 2nd Layer notes are from the chords played by the electric piano.

Files have been updated

[Kricketune54]

Ah, OK, I hear the F# now when I slow it down, but I still hear the D underneath it. I think the F# is being played by the alto sax (note how the fall continues all the way to beat 1 of the next measure), while the D is being played by the tenor sax starting its solo. You can hear the fall on beat 3.5 end a little earlier in the tenor part. I think it's easier to hear all this at normal speed.

You're right on this

I think the gliss gets the effect across better on piano. There are distinct notes being played, but it's kind of smeared sounding.

Okay

The LH notes are just the bass notes in the original. Unless you meant the other way around? The RH 2nd Layer notes are from the chords played by the electric piano.

No I meant LH writing out a half tied to an 8th note and dotted quarter, as opposed to just writing this as a whole note?

[Static]

No I meant LH writing out a half tied to an 8th note and dotted quarter, as opposed to just writing this as a whole note?

My bad, I was looking at m60. I wrote the LH like that so that the fermatas were on the same beat. I'm not entirely sure if this is standard for piano parts, but this is a practice done in larger scores. Personally I just think it makes more sense when written pauses are aligned together in all staves, even when not strictly necessary.

[Kricketune54]

Okay, this is what I was thinking was the reasoning, but just wanted to confirm! Approved

[Bloop]

-m4: Would you say these parallel fourths need separate chord symbols? They're probably not B13sus chords anymore, maybe Esus, E#sus and F#sus?
-m30 and 56: or actually just these chords since this section seems to be taken from the intro haha. Anyway, to keep it a little bit more consistent, maybe you could write the F7sus here as an E#7sus, or write the E# and A# in m4 as Fn and Bb?
-m31 and 57: You're missing the Em7/B chord symbol
-m48: You're missing the Am9 and Bm9 chord symbols here
-m58: Instead of a mordent, I only hear Fn and E on beat 4 in the R.H., maybe write the Fn as a grace note?
-m60: I hear an Fn before the E in beat 3.25 in the R.H. too, either as grace note or as 32nd note on the beat.

[Static]

-m4: Would you say these parallel fourths need separate chord symbols? They're probably not B13sus chords anymore, maybe Esus, E#sus and F#sus?
-m30 and 56: or actually just these chords since this section seems to be taken from the intro haha. Anyway, to keep it a little bit more consistent, maybe you could write the F7sus here as an E#7sus, or write the E# and A# in m4 as Fn and Bb?

Yeah, I just forgot to add symbols there. I wrote those E# chords as F to avoid double sharps, but I didn't notice m4 before, so I changed that to match.

-m31 and 57: You're missing the Em7/B chord symbol
-m48: You're missing the Am9 and Bm9 chord symbols here
-m58: Instead of a mordent, I only hear Fn and E on beat 4 in the R.H., maybe write the Fn as a grace note?
-m60: I hear an Fn before the E in beat 3.25 in the R.H. too, either as grace note or as 32nd note on the beat.

Fixed all these

Thanks for checking!

[Bloop]

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[Zeta]

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