[NDS] Pokémon Black Version & Pokémon White Version - "Game Sync" by Kricketune54

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Black Version & Pokémon White Version
Console: Nintendo DS
Title: Game Sync
Instrumentation Solo Piano
Arranger: Kricketune54

[Kricketune54]

The RH notes are a bit of a mishmash - there's an organ that has a descending Bb, G, Eb Bb line for the four bar figure that I incorporated, and I did my best to keep all other heard chord pitches (moving octaves where necessary).

LH is a bit basic, but I felt like it was necessary to have this pulse - would be interested if others thought more percussion should be incorporated into the accompaniment

[Latios212]

Quite an interesting choice of piece, I never thought about putting this one on piano haha.

The RH notes are a bit of a mishmash - there's an organ that has a descending Bb, Gb, Eb Bb line for the four bar figure that I incorporated, and I did my best to keep all other heard chord pitches (moving octaves where necessary).

I think you've generally laid it out as I've always tended to separate the voices in my head - the high melody note on beat 1 of each measure (that repeats and fades out), then the secondary eighth note voice for the rest of each measure. Only discrepancy I hear is there being a C on top in m. 2/6 (and disconnecting the beam too?).

Other stuff:
- I'd suggest making the last bass note in each measure an eighth note instead; the rhythm is somewhat difficult to read and place as-is
- This'd be a little less cramped at 2-3-3 measures per system, don't think that's too stretched out? I think that looks nicer

[Kricketune54]

Quite an interesting choice of piece, I never thought about putting this one on piano haha.

this is personally one of my most nostalgic from Gen V, despite it being such a short loop 

I think you've generally laid it out as I've always tended to separate the voices in my head - the high melody note on beat 1 of each measure (that repeats and fades out), then the secondary eighth note voice for the rest of each measure. Only discrepancy I hear is there being a C on top in m. 2/6 (and disconnecting the beam too?).

Revisiting this I see how this makes more sense given how rest of the measures are currently written  - I removed the A and disconnected the note from the rest of the rhythm. Was this what you had in mind?

- I'd suggest making the last bass note in each measure an eighth note instead; the rhythm is somewhat difficult to read and place as-is

Yeah this is a much cleaner appearance 🤦

- This'd be a little less cramped at 2-3-3 measures per system, don't think that's too stretched out? I think that looks nicer

Good point! I hadn't tried this for some reason, didn't like 3-2-3, or 2-2-2-2 and though 4-4 was passable... but this is better haha[/quote]

Thanks, files updated

[Latios212]

Changes look great! I've got nothing more to add except the URL appears to be missing the trailing slash, and the second system could be lowered a little bit

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[Kricketune54]

Ah, just fixed both

[Latios212]

(Doesn't look updated in the most recent PDF to me?)

[Kricketune54]

I have been stricken by the oldest trick in the book, the print to pdf while the older pdf file of the same name is still open


(now fixed)

[Bloop]

ninja'd
-In every measure, it's okay to beam the first three 8th note beats into one beam, instead of dividing every 8th note. In 6/8 there are two beats of a dotted quarter note, and it's alright to beam anything with 16th notes inbetween into one beam.
-For the L.H., the percussion hits seem to be more tuned towards F. However, with every chord strike on beat 1 there's a note doubled in the bass, which you could use for the percussion hits instead? (for example m1 has a (high) Bb, m2 a G, m3 an Eb, and m4 a (low) Bb

[Kricketune54]

-In every measure, it's okay to beam the first three 8th note beats into one beam, instead of dividing every 8th note. In 6/8 there are two beats of a dotted quarter note, and it's alright to beam anything with 16th notes inbetween into one beam.

Good point! I guess the separations are a bit consistent as is.

-For the L.H., the percussion hits seem to be more tuned towards F. However, with every chord strike on beat 1 there's a note doubled in the bass, which you could use for the percussion hits instead? (for example m1 has a (high) Bb, m2 a G, m3 an Eb, and m4 a (low) Bb

I do hear what you mean with the Fn. I did try your suggestion, but I didn't like how high the Fn was, and when the Gn and Eb were close in pitch. I know it is a bit repetitive, but did add the Fn below the Bb's I had - I feel like the Bb's are necessary to include but that the F's add something as well. In my first comment I mentioned that I added the Bb-G-Eb-Bb progression into the RH clusters.

Files updated, thank you for the suggestions!

[Bloop]

In my first comment I mentioned that I added the Bb-G-Eb-Bb progression into the RH clusters.

Ah oops, I skipped over that, my bad! Usually I'm not a huge fan of octave-transposing bass notes in between other chord tones, as every note in a chord relates to the lowest sounding note. Keeping the lowest note the same (either as Bb or as F-Bb dyad) causes the chord progression to lose that flow and sound a bit more static. Just to be sure though, this was what I was thinking with using those bass notes for the L.H.:

Spoiler

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[close]

This way seems to flow a bit more imo. However, if you'd still rather keep the bass notes the same throughout, I think I'd actually prefer what you had before (the low Bb's), as the dyads sound a bit too punchy, and single F's admittedly sound a bit weird (maybe because the Bb appears in every chord as a stable chord tone but the F doesn't or is more of a chord extension)

[Kricketune54]

Okay! I have gone with your suggestion, thanks for adding the screenshot

[Bloop]

Awesome, then I'll accept!

[Zeta]

This submission has been accepted by Bloop.

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