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Author Topic: [DELETED] [Wii] The Legend of Zelda: Twilight Princess - "The Legend of Zelda: Orchestra Piece #2" by Zeila  (Read 2441 times)

Zeta

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Submission Information:

Series: The Legend of Zelda
Game: The Legend of Zelda: Twilight Princess
Console: Nintendo Wii
Title: The Legend of Zelda: Orchestra Piece #2
Instrumentation Solo Piano
Arranger: Zeila
« Last Edit: August 26, 2016, 03:02:42 AM by Zeila »
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Zeila

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Tobbeh99

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Great Arrangement!

some feedback:

-M.1: Maybe have octaves in the right hand to give it more power.

-M.19-33: I think it would be great if you incorporated the drum hits on the 4rth beats during this part.

-M.26 & 30: Consider having the right hand play the high fast flute parts, instead of what you have now.

-M.46-50: Consider redoing this part a bit. What I'm thinking of is that the ascending brass notes on the 1st and 3rd beat are very clear but you doesn't have that in your arrangement. Maybe have that in the LH. And maybe have the RH do more 16th-notes runs instead.

-M.51-55: I'm pretty sure there are more notes than just octaves in this part, and including them only makes this part better, since it would sound less empty than just having octaves.

-M.55: Alternatively you could end the arrangement on a tremolo in the LH between the low A and the higher A, rather than a half note, this also represent the drum roll in the original better.
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tfw you get schooled in English grammar by a guy whose first language is not English

10/10 tobbeh

Zeila

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Great Arrangement!
Thanks! (and also for the feedback as well)

-M.1: Maybe have octaves in the right hand to give it more power.
Added (at an octave above). I guess it would also coincide with the LH part then (and also since multiple instruments play that)

-M.19-33: I think it would be great if you incorporated the drum hits on the 4rth beats during this part.
I did that, but only for m19-26 (since the others are rolls I believe)

-M.26 & 30: Consider having the right hand play the high fast flute parts, instead of what you have now.
Done

-M.46-50: Consider redoing this part a bit. What I'm thinking of is that the ascending brass notes on the 1st and 3rd beat are very clear but you doesn't have that in your arrangement. Maybe have that in the LH. And maybe have the RH do more 16th-notes runs instead.
While I agree that the brass is stronger (or at least louder) than the 16th-note runs, I think what I have is a nice balance between the brass part and the 16th-note runs (albeit more difficult). If I add it to the melody, I feel like it would interfere too much, and I'd rather not sacrifice another part just to add notes on beats 2.5 and 3 (which are the same as beats 1 and 4.5). I tried adding some of the brass notes to the RH part, however

-M.51-55: I'm pretty sure there are more notes than just octaves in this part, and including them only makes this part better, since it would sound less empty than just having octaves.
Added to RH

-M.55: Alternatively you could end the arrangement on a tremolo in the LH between the low A and the higher A, rather than a half note, this also represent the drum roll in the original better.
Added (and put a marking to indicate that it's optional). The sound kind of bugs out though due to the fermata
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Zeila

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Made a very minor change with the brackets (so now they are custom lines and the hooks are equal in length)

(also bump)
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Latios212

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Nice sheet. Always interesting to see how people arrange orchestral pieces for solo piano.

- The tie on the lower E overlaps the notes in measure 23. I'd remove it altogether since you re-strike that E in the measure (meaning you can't hold it that long anyway).
- Seems like an awkward place to put the eighth rest in measure 26...
- Layer work in 47+, LH: Make sure to keep stem direction and rest positioning consistent for the top and bottom layer.
- The .mus file has some problems with doubled accidentals in 49-50: [see here]. (Not just the two flats on the same note, E flats are reiterated for both layers.)
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who needs education when you can have WAIFUS!!!!!

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Sebastian

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Yay. A zelda arrangement!

Some things I noticed:
- Might I recommend this extra note for M. 2-5? I definitely here a cello/bass/brass instrument an octave higher than the low one.
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- In M. 6 (and others like it) the notes are A & E. Also, the way you have the hand crossings set up is a little confusing. Might I recommend these 2 options.
1.
Pro: Not that big of a hand jump.
Con: If you use this method throughout the piece, the bass may start to clash with the notes in the second layer.
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2.
Pro: Having it an octave higher like this makes it much cleaner and looks pretty pro.
Con: A bigger hand jump.
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I'd recommend 2 since it's easier to read and would clash with other layers/notes less throughout the piece, but that second layer/voice will need to be switched between the hands quite a few times.

That's all I have for now. There may be more, but I'll see what you do with this above feedback first :)
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Deku Trombonist

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Bar 11-12 LH: Flip the stems.

Bar 23: As another option, if you really want to keep the tie, you can use the tie tool to bend it into shape to avoid collisions.
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Zeila

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Nice sheet. Always interesting to see how people arrange orchestral pieces for solo piano.
Thanks! Yea, there's a lot to consider and I'm sure that two arrangements of equal quality would be different in terms of what parts are there and how it's notated

- The tie on the lower E overlaps the notes in measure 23. I'd remove it altogether since you re-strike that E in the measure (meaning you can't hold it that long anyway).
Bar 23: As another option, if you really want to keep the tie, you can use the tie tool to bend it into shape to avoid collisions.
I ended up getting rid of the bottom E note altogether in m23/24

- Seems like an awkward place to put the eighth rest in measure 26...
For some reason I thought that would be better than putting it above the staff. It has been switched

- Layer work in 47+, LH: Make sure to keep stem direction and rest positioning consistent for the top and bottom layer.
I changed it to where the 2nd layer is upwards and vice versa (aside from the half note in m50

- The .mus file has some problems with doubled accidentals in 49-50: [see here]. (Not just the two flats on the same note, E flats are reiterated for both layers.)
Fixed

Yay. A zelda arrangement!
Yay. Feedback!

- Might I recommend this extra note for M. 2-5? I definitely here a cello/bass/brass instrument an octave higher than the low one.
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Added

- In M. 6 (and others like it) the notes are A & E.
I'm not hearing an E at all (even if it is actual an E, it sounds like it's higher than the A). Also, unless you made a mistake with the measure number (or implied it with "and others like it"), it sounds similar to m5. Maybe someone else can chime in. About m9+others, did you have anything against that as well?

Also, the way you have the hand crossings set up is a little confusing. Might I recommend these 2 options.
1.
Pro: Not that big of a hand jump.
Con: If you use this method throughout the piece, the bass may start to clash with the notes in the second layer.
Spoiler
[close]

2.
Pro: Having it an octave higher like this makes it much cleaner and looks pretty pro.
Con: A bigger hand jump.
Spoiler
[close]

I'd recommend 2 since it's easier to read and would clash with other layers/notes less throughout the piece, but that second layer/voice will need to be switched between the hands quite a few times.

That's all I have for now. There may be more, but I'll see what you do with this above feedback first :)
A few comments/questions:
- Notating it either way would almost be the same as if I got rid of the LH and bracket markings. The only difference I can tell is that there would just be more ledger lines. Since I don't agree with the lower E and that was probably part of the reason why you notated it entirely in the bass clef, I'm scratching out option 1. I also don't think it's necessary to raise it up an octave
- I don't see how it would clash for the 1st option (unless you meant it's unplayable with one hand)
- About using lines, isn't that for signifying that the voice is moving between staves and not the hand itself (correct me if I'm wrong)? That's why I had the brackets in the first place.

Regardless, since you said it was slightly confusing, I decided to cross staff instead of using brackets. If the majority of people think using brackets instead of cross staffing is better (or someone else comes up with an even better solution), then I can change it

Bar 11-12 LH: Flip the stems.
Since I ended up changing the way I notated it, 11 was flipped while 12 was not
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Sebastian

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I'm sorry. My explanation was terrible. xD
Let me clarify.

I'm not hearing an E at all (even if it is actual an E, it sounds like it's higher than the A).
I'm definitely hearing an A & E. The A and E below middle C to be exact; however, I think it might be hard to play, so bringing it up an octave might be a good idea. What do you think of this?
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Also, unless you made a mistake with the measure number (or implied it with "and others like it"), it sounds similar to m5. Maybe someone else can chime in.
My bad. I think the pic covers this measure.

About m9+others, did you have anything against that as well?
Since those are similar (not in notes, but in playing style) to M. 5+, I say we start with those measures and get a good foundation as to what we're gonna do before moving on to those measures, so we don't bite off more than we can chew.....to borrow the colloquialism.

- Notating it either way would almost be the same as if I got rid of the LH and bracket markings. The only difference I can tell is that there would just be more ledger lines. Since I don't agree with the lower E and that was probably part of the reason why you notated it entirely in the bass clef, I'm scratching out option 1. I also don't think it's necessary to raise it up an octave
I brought that voice up an octave to accommodate for that extra bass whole note. Having that in will clash with that voice. Also, the right hand should be able to play that voice as well if it's moved up an octave. It's totally up to you though!

- I don't see how it would clash for the 1st option (unless you meant it's unplayable with one hand)
It would clash if you add the extra bass whole note, but, again, it's up to you.

- About using lines, isn't that for signifying that the voice is moving between staves and not the hand itself (correct me if I'm wrong)? That's why I had the brackets in the first place.
A solid line signifies a hand crossing from one staff to another. A dashed line signifies a voice crossing from one staff to the other.

« Last Edit: June 02, 2016, 04:45:57 PM by Sebastian »
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Zeila

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I'm sorry. My explanation was terrible. xD
Let me clarify.
I'm definitely hearing an A & E. The A and E below middle C to be exact; however, I think it might be hard to play, so bringing it up an octave might be a good idea. What do you think of this?
Spoiler
[close]
I brought that voice up an octave to accommodate for that extra bass whole note. Having that in will clash with that voice. Also, the right hand should be able to play that voice as well if it's moved up an octave. It's totally up to you though!
It would clash if you add the extra bass whole note, but, again, it's up to you.
I still don't hear an E, and in the case that you are actually right, I'd rather forgo the octave in the LH. If there are concerns about the RH interval at some parts, I could notate that the LH plays that. Or I could invert the dyad or bring it up an octave if it is deemed to be necessary. Also, instead of the A and C you put whenever it rises, I'm hearing a C and F, and in m8 it sounds like it goes back to the original notes

Since those are similar (not in notes, but in playing style) to M. 5+, I say we start with those measures and get a good foundation as to what we're gonna do before moving on to those measures, so we don't bite off more than we can chew.....to borrow the colloquialism.
Fair enough

A solid line signifies a hand crossing from one staff to another. A dashed line signifies a voice crossing from one staff to the other.
Oh, ok. Thanks for letting me know the difference

I'd rather not make any changes until I get a second opinion as they would be based off of whatever the 2nd layer notes actually are (to an extent)
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Pianist Da Sootopolis

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One quick thing I noticed; M. 45, the A flat should be a G sharp, since you're currently in A minor. I think.
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Zeila

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That's odd, I must've changed it because there's already a cautionary accidental on the G in the next measure. Anyways, fixed (although not in the OP, as I'll just wait until there's something more substantial to fix since this is minor). Thanks!
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Deku Trombonist

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The A & E are definitely there in bar 6.
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