[GCN] Tales of Symphonia - "Kratos" (Replacement) by Francesca Minasi

Started by Zeta, September 14, 2023, 02:12:53 AM

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Zeta

Submission Information:

Series: Tales
Game: Tales of Symphonia
Console: Nintendo GameCube
Title: Kratos
Instrumentation Solo Piano
Arranger: Francesca Minasi


Replacement Information:

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

Francesca



(It seems the original video was taken down in some countries)

Francesca

A few clarifications I wanted to make about the arrangement~

  • From m1 up to m9, in the second upper layer I'm notating the strings, while from m9 onwards I'm notating the bass since it becomes more prevalent (It's still quite subtle though, which is why I recommend using Audio Stretch to hear it)
  • There are a few notes in said layer that on a piano aren't playable by the right hand because of the other notes, however they can be played by the left hand. Let me know if I should use some cross-staff beaming to make that clearer or something similar!

Latios212

Just glancing at the sheet, a couple of things:
- Something odd seems to have happened to the RH part in the first half of measure 1, where the lower layer triplet isn't aligned properly like it is in the rest of the measures
Quote from: Francesca on September 14, 2023, 06:43:54 AMThere are a few notes in said layer that on a piano aren't playable by the right hand because of the other notes, however they can be played by the left hand. Let me know if I should use some cross-staff beaming to make that clearer or something similar!
Yep, I think cross-staffing would be good here. It doesn't look like you'll need to split any notes in the same group between staves, so you can just move the entire middle layer to the left hand where it makes sense to. Make sure to flip the left hand part accordingly. The right hand part could be flipped down, but I think it's fine to leave it as-is too.
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Also, when there are multiple tuplets all under the same beam, it's best to break the secondary beams to clarify where the tuplets begin and end. Using the Beam Break Tool under Special Tools, click on the first note of the second tuplet and check the "16th" box (all the others will automatically be checked) -
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My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

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turtle

Francesca

QuoteYep, I think cross-staffing would be good here. It doesn't look like you'll need to split any notes in the same group between staves, so you can just move the entire middle layer to the left hand where it makes sense to. Make sure to flip the left hand part accordingly. The right hand part could be flipped down, but I think it's fine to leave it as-is too
Are you referring to just the parts where the left hand would play the notes, or throughout the entire sheet?

QuoteYep, I think cross-staffing would be good here. It doesn't look like you'll need to split any notes in the same group between staves, so you can just move the entire middle layer to the left hand where it makes sense to. Make sure to flip the left hand part accordingly. The right hand part could be flipped down, but I think it's fine to leave it as-is too
Ah yes, that is much clearer, thank you for pointing it out.

Francesca

Quote- Something odd seems to have happened to the RH part in the first half of measure 1, where the lower layer triplet isn't aligned properly like it is in the rest of the measures
I actually did that on purpose to make space for the dynamic. Do you know any other way I could make space for it?

XiaoMigros

Seems you uploaded the wrong files... I don't know the exact context but it's possible to move the dynamic further left, so the notes can be moved closer together

Latios212

Quote from: Latios212 on September 15, 2023, 06:19:57 PM- Something odd seems to have happened to the RH part in the first half of measure 1, where the lower layer triplet isn't aligned properly like it is in the rest of the measures
This needs to be reset to normal because the triplets in the lower layer need to be aligned with the eighth note in the upper layer for this to make sense rhythmically.
My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

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[close]
turtle

Francesca

QuoteThis needs to be reset to normal because the triplets in the lower layer need to be aligned with the eighth note in the upper layer for this to make sense rhythmically
Okay, I updated it.

Kricketune54

I will eventually be providing some more substantive feedback, but looks like the video got taken down. Here's a new link:

Something is also off bottom-page copyright info, missing NinSheetMusic link


Kricketune54

I apologize for taking so long to reply, but I was not sure if I agreed with the way you had gone about this arrangement, and I hadn't had a chance to sit down and figure out something that I wanted to pass by you.

Correct me if I'm wrong, but I think this arrangement and submission predates some of the stuff I had said to you regarding your Mother 3 sheet for the project - I tend to think it's better to not push the melody down octaves, and in this sheet's case, I think that applies as well. Additionally, I don't personally think the high flute is a necessary part to include for this, as far as capturing the melody, and having an accompaniment part that makes sense.

So, I've attached a screenshot of an idea I had for potentially going about a rearrangement of this submission; didn't quite check notes throughout the rest of the sheet but for the first four bars, let me know your thoughts on the attached. This would maintain the melody in its original's octave, while utilizing the currently unrepresented low notes that are syncopated with current RH lower layer (pulling down this layer an octave).

Do let me know if this also doesn't work as an idea, because I didn't check the rest of the song too thoroughly for potential note conflicts, etc., if that is the case, certainly will give this a check as is but wanted to pick your brain

Francesca

QuoteI apologize for taking so long to reply, but I was not sure if I agreed with the way you had gone about this arrangement, and I hadn't had a chance to sit down and figure out something that I wanted to pass by you.

Yes, most of the discussion about the Mother 3 sheet happened after I wrote this one. With that said, I agree that it is better to leave out the flute part, and I switched out the layers and added the low notes as you suggested, but it does get a little different around halfway through the track (which corresponds to m9).

Since the notes in the melody go very low, I transported them to the bass clef, so you can let me know what you think about that. I could also alternate with the treble clef when the notes go a bit higher, if it's preferable.

Kricketune54

Understood as far as the RH clef choice. However, I do think starting at m9 you could go to treble, and add an additional melody octave above the current notes (as heard). Alternatively (or additionally), I think a forte dynamic would be appropriate at m9.

• You could move the dynamic down a bit so it's more centered between the staffs.
• from m9-16 LH I do hear 5ths or 3rd's of the LH chord root note currently present. For example G's above the C's in m9, and C's above the A's in m10 and A's above the D's in m10.
• m13 to m16 this is not really a viable in the current octave if you choose to do two melody octaves from m9 to the end, but I do hear some held notes like the following (screenshots of m13 and m16)
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