[SW] The Legend of Zelda: Tears of the Kingdom - "Lookout Landing" by XiaoMigros

[Zeta]

Submission Information:
Series: The Legend of Zelda
Game: The Legend of Zelda: Tears of the Kingdom
Console: Nintendo Switch
Title: Lookout Landing
Instrumentation Solo Piano
Arranger: XiaoMigros

[XiaoMigros]

Copyright is only present in musx rn but will be added when I reexport the files

[Bloop]

Nice work on this! I remember playing this one or two times for Ethan on the performance events, haha. I mostly have some suggestions regarding playability/performance and adding of voices:

-m1: There's a G between the R.H. D's in beat 1
-m3: You could include the horn F and G on beat 1 and 3 (F with the R.H. and G with the L.H.)
-m6: I hear a Bb and F in the piano on beat 3 (so stacking two more fifths on the current Ab-Eb). You can add the Bb in the L.H. and the F in the R.H.
-m16: You could include some of the thirds below the R.H. here too, or alternatively, you could have the L.H. help playing all the missing notes (the jump up is still pretty doable at this speed for me, but it's definitely harder than keeping it in the R.H.).
-m17: Either continuing from m16 or just in general, you could have the L.H. help with the piano part in this bar, as it's a bit easier to play the piano and piccolo part separately, and it's possible for the L.H. to keep the F-Bb held down.
-m19: I think the pianist ties over the F in beat 2.875 (never had to think about beat counts with 32nd notes yet lol), instead of restriking? It sounds more legato and less jumpy
-m20: An alternative way of distributing the piano and woodwind voices is putting the C-C-F in a second layer in the R.H., and the An-En in the L.H. I don't really have an argument for or against either (except maybe keeping the voices in separate hands), but it feels satisfying to play that way haha. Also, maybe you could write the first C in the triplet as a staccato 8th instead of 16th + 16h rest?
-m21: I feel like the piano + bassoon part take up more of the forefront melody rather than the high piccolos/flutes, maybe you could use those as the melody instead? (bassoon an octave higher than the original)
-m23: The Eb-Bb-F fifth stack is a bit stretchy for me to play with the L.H., maybe you could put the F in the R.H. instead? Also, I think you could add a tenuto or short pedal mark on this first chord, as well as a staccato on the L.H. chord on beat 3, as they're of a considerably different length.
-m24-26: Like in m23 you could add some tenutos/pedal marks on the stacked-fifth-chords.
-m25: For the R.H. beat 1, maybe you could put the A from the trumpet in a separate voice from the piano, so the piano can play tenuto and the A staccato? For the piano part you could add in the G below the C too (the G-An is not much wider than other chords here), but for the F there's a similar stretch for either the L.H. or the R.H.: for hand-span consistency you could then put the F in brackets.
Lastly for this measure, you could add the legato in the R.H. from beat 2 to beat 3 like in m23
-m26-27: Maybe you could put the En and D at the end of the R.H. in m26 and the bottom En in m27 in the L.H., for easier playability?

[XiaoMigros]

-m6: I hear a Bb and F in the piano on beat 3 (so stacking two more fifths on the current Ab-Eb). You can add the Bb in the L.H. and the F in the R.H.

I'm only hearing the F

-m20: An alternative way of distributing the piano and woodwind voices is putting the C-C-F in a second layer in the R.H., and the An-En in the L.H. I don't really have an argument for or against either (except maybe keeping the voices in separate hands), but it feels satisfying to play that way haha. Also, maybe you could write the first C in the triplet as a staccato 8th instead of 16th + 16h rest?

I like this because the Bb tie looks neater Not adding staccato to accent the triplet quality better

-m21: I feel like the piano + bassoon part take up more of the forefront melody rather than the high piccolos/flutes, maybe you could use those as the melody instead? (bassoon an octave higher than the original)

I went for a bit of both

-m23: The Eb-Bb-F fifth stack is a bit stretchy for me to play with the L.H., maybe you could put the F in the R.H. instead?

Since it occurs in other places where the RH can't play it, I'd rather keep it consistently written and leave it up to the performer to decide

thanks for reviewing!

[Bloop]

Just a few tiny things left, but everything else looks good!
-In m16, maybe you could add some text saying L.H. for the bottom voice in the R.H. at beat 3, just to make sure it's clear the L.H. should take this?
-m23: I hear the chord on beat 3 staccato instead of tenuto
-m27: Maybe you could move the bottom En in the R.H. to the L.H. too, it's easier for the L.H. to play after m26

[Latios212]

A few comments in addition to Bloop's above:

- About the presentation of m. 3: the RH beat 1 notes are offset a bit. You could also potentially write the first few notes of the top melody without the 8va to avoid clashing with the lower layer's notes/ties, but that'd be a lot of ledger lines and potential loss of continuity if you only include the 8va over some of the notes... just a thought you don't have to take.
- m. 20 - I don't hear the second C in the triplet at all, just sounds like a single strike of the C?
- m. 22 - the top A in the second chord is missing its natural sign
- m. 24 - this first triplet doesn't sound like a triplet, more like an echoey effect...?
- The slur all the way at the end can have its right edge dragged a bit to convey that it continues back at the beginning of the loop.
- The rest in the 6/4 measure sounds like it actually lasts a whole eighth rest longer... not imagining this am I? Do you think it might also be helpful to break m. 20-21 into some smaller measures? I think it might help me, at least, to think of a couple of these phrases as just lasting a couple of beats.


Lastly, should this be in Bb major? I know the common left hand pattern is rooted in Eb, but the melody at least tends to center around Bb and resolve to it very often. (There's also a ton of A naturals everywhere...)

[XiaoMigros]

Just a few tiny things left, but everything else looks good!
-In m16, maybe you could add some text saying L.H. for the bottom voice in the R.H. at beat 3, just to make sure it's clear the L.H. should take this?

Now that the rests are hidden I think it should be clear

- About the presentation of m. 3...

I opted for something else entirely

- m. 20 - I don't hear the second C in the triplet at all, just sounds like a single strike of the C?
- m. 24 - this first triplet doesn't sound like a triplet, more like an echoey effect...?

I still hear these and think they are worth including

- The rest in the 6/4 measure sounds like it actually lasts a whole eighth rest longer... not imagining this am I? Do you think it might also be helpful to break m. 20-21 into some smaller measures?

I changed the distribution to hopefully make more sense?? Also you're right about that one measure being longer, I added fermatas like I did to other measures that were also longer

Thank you both for the feedback, files updated~

[Latios212]

- m. 20 - I don't hear the second C in the triplet at all, just sounds like a single strike of the C?
- m. 24 - this first triplet doesn't sound like a triplet, more like an echoey effect...?

I still hear these and think they are worth including

Listening again I hear where this is coming from~

- m. 22 - the top A in the second chord is missing its natural sign

Ah now that the key is Bb, this natural no longer needs to be shown

I changed the distribution to hopefully make more sense?? Also you're right about that one measure being longer, I added fermatas like I did to other measures that were also longer

Sounds good. My parting thought on this is - how would you feel about splitting both m. 20 and 22 into measures of 2/4 + 4/4? They're pretty distinct phrases to me and it seems a bit odd to combine them. But if you do decide to keep them as-is, probably move the chords in m. 22 beat 3-4 to the right a bit so the triplet has a bit of space after it.

Last thing that just came to mind - break the beam between the two triplets in m. 26?
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[XiaoMigros]

That all works for me, has been updated!

[Latios212]

Sweet! Nothing more from me, approved ^^

[Bloop]

Nothing more from me either, accepted!

[Zeta]

This submission has been accepted by Bloop.

~Zeta, your friendly NSM-Bot