[GBA] Pokémon Ruby/Sapphire/Emerald - "Victory Road" by Tobbeh99

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Ruby/Sapphire/Emerald
Console: Game Boy Advance
Title: Victory Road
Instrumentation Solo Piano
Arranger: Tobbeh99

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[Kecleon]

Good on this Pokémon emerald arrangement! now there is one more song marked off the mega medley!

[Tobbeh99]

Edited my arrangement. Added an easier alternative in the difficult part.

[Kecleon]

that's a nice addition you added. although I myself would play the more difficult part. I enjoy playing exactly what it sounds like.

[Bespinben]

A brilliant arrangement you have here.
+1 for fingerings

*M. 15 -- I like what you did here with throwing the LH into the upper staff, but to help make this more clear to the reader, connect the end of beat 2 and the beginning of beat 3 with a solid line. You can find this under "Smart Shape Tool".
*M. 19-25 -- To help emphasize that the 3rd staff is just an "alternative LH", use the Re-size Tool on that particular staff and shrink it down by 30%. You'd be surprised how many people freak out at stuff like this, since I've gotten plenty enough "now let me find my 3rd hand" comments on my Emerald Title Theme arrangement to know firsthand.
*Watch that page layout! Pages 2 and 4 have TONS of whitespace at the bottom of those pages. Use Staff Tool to move the systems around to accommodate this unused space, or even consider having more systems per page.

[Tobbeh99]

Fixed your issues Bespinben. Hope you like it!

[Bespinben]

I was hoping this wouldn't happen....

I did a brief comparison to the source song, and I found quite a few parts missing:

*Measure 3, beats 3-4 have a ton of missing voices! Here's how I would have arranged it:

EDIT: I should also mention that the accidentals in m. 1-5 are technically derived from the key a minor 3rd above C# minor (that is, E#), but for the sake of simplicity of this revision I wrote this in F (1 flat), which is why you don't see any C naturals in my picture above.

*Measures 6-7 ~ The lower voice of the RH is slightly more nuanced than you wrote:

--------------------------------------------

I would recommend going through the song again from start to finish to see what else there's missing or otherwise not given full representation.

[Tobbeh99]

When I made the sheet I was i wasn't paying much attention to the second voice, I focused more one the lead voice, and just filled up with some notes for the second voice. But now I've edited the arrangement and made a more elaborated second voice, as well as some other adjustments.

[Bespinben]

Good improvements! Here's the next batch of critique, from DekuTrombonist:

The crescendos in the first line look silly when spread that wide.

Enharmonic spellings are a bit all over the place in the RH of 14 and 17. There's a C#dim7 arpeggio in the left hand so just go with that.

Cross staffing is lovely and all, but I think 20, 24 and 25 would look nicer with a clef change. On second thoughts, I'd be inclined to say use clef changes for all of those bits, it would have the dynamics make a bit more sense.

19-25: I hope there's a reason for those crescendos/decrescendos all starting in different places.

The same thing with the wide crescendos is also on the last page.

In the last bar, the RH A# should be a Bb.

When the dynamics are the same between the hands, there's no need to have it written under both staves, it just creates clutter.

If you put it in my template, I wonder if it would fit on 4 pages. Some of the vertical spacing seems strange.

Edit: I'm just looking at it visually, I have no means of listening to it at the moment.[/quote]

[Tobbeh99]

Ok, fixed some things. 

however I'm not sure about what you mean by enharmonic spelling, and what it is. I think you need to be more precise about what notes I should change.
In measure 14, I tried to make them all 6th, at least those who were. And in measure 17 I tried to make a tetrad in the left hand, and in the right hand thirds.

"In the last bar, the RH A# should be a Bb."
Why?? It's E major/C# minor it has 4 sharps, therefore I made that whole chromatic passage with sharps.

[Tobbeh99]

A bit late... but here's for comparison.

https://www.youtube.com/watch?v=Obee0qtFYmI

[The Deku Trombonist]

Sorry I meant 15 and 17. Using 17 as example you've outlined a a C#dim 7 arpeggio in the LH with your choice of spelling. But in the RH, where all the harmony (and melody) is based off the same harmony, there's an A# which suggests a different diminished chord belonging to a different key. Similarly in 15, you have the same arpeggio spelled out in the LH but in the RH there is an Fx instead of a G and an A# instead of a Bb etc etc

About the chromatic scale in the last bar, because it is descending, the accidentals spellings need to aim down towards the next note of the key. If it had any other harmonic function, obviously this would be taken into account but in this case its sole function is to keep on going down.

[Tobbeh99]

Ok thanks for clearing up the part about measure 15,17 and the chromatic part, I think I've fixed it now.

Also I don't know if you noticed, but I've removed some slurs: For example in measure 10-13 I've removed all the slurs in the middle voice. I thought it was unnecessary since both the high voice and the middle voice have the same phrasing. Did I do the right thing of removing those, or do I need to make slurs for both voices?? 

[Zeta]

This submission has been accepted by Bespinben.

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