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Author Topic: [N64] The Legend of Zelda: Ocarina of Time - "Dinosaur Boss Battle" by Olimar12345  (Read 123 times)

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Submission Information:

Series: The Legend of Zelda
Game: The Legend of Zelda: Ocarina of Time
Console: Nintendo 64
Title: Dinosaur Boss Battle
Instrumentation Solo Piano
Arranger: Olimar12345
« Last Edit: May 16, 2017, 07:22:25 PM by Olimar12345 »
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Olimar12345

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JDMEK5

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I recall doing an arrangement of this myself quite a while back. Actually not much is different here than I had in mine iirc, aside from me opting for F#s more than Gbs but whatever. Only two things I have to offer:

-Measure 6, RH: Would you not be opting for a G# on beat one? Since it resolves chromatically upwards to the A natural? One reason I thought you may have consciously done this would be to avoid using sharps in a passage so ridden with flats, but that didn't seem to stop you in measures 11-14.
-Since the original features a piano playing in octaves in measures 35-end, why not add that in here? I've actually test driven these octaves myself and I can vouch for their includability. 
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So having requested and played this, I'd like to chip in on this a bit haha ^^

-Measure 6, RH: Would you not be opting for a G# on beat one? Since it resolves chromatically upwards to the A natural? One reason I thought you may have consciously done this would be to avoid using sharps in a passage so ridden with flats, but that didn't seem to stop you in measures 11-14.

I would have loved to see a G-sharp here, but since this is atonal-ish (it's not btw), we take whatever harmonic idea we have and make it consistent: in this case, the only idea is the augmented 4th/diminished 5th. Olimar chose the diminished fifth/"flat-mode" over the augmented fourth/"sharp-mode", and it's consistent throughout the piece. Even at the section which suggests E minor, he ignores that and throws in G-flat over F-sharp.

Personally I'm used to seeing augmented fourths represented over diminished fifths, because sharps tend to be better at illustrating resolving tendencies (i.e. sharps tend to go up and that's normal, flats go down and that's less normal). But Olimar recognised this idea and kept it consistent, so it's okay :)


Quote
-Since the original features a piano playing in octaves in measures 35-end, why not add that in here? I've actually test driven these octaves myself and I can vouch for their includability.

yes please haha i would have loved playing some soft octaves. Would have been nice contrast with the previous section too ^^
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Olimar12345

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The files in the OP have been updated.

-I originally withheld the chromatic pitch (sharp/raised pitch) to help the reader with the LH. I switched it back to being chromatic and instead changed the LH tritones to augmented fourths, not only addressing my concern here, but aiding in differentiating between the LH tritones and LH perfect fifths at a glance.
Scratch that, those measures outline the harmony of fully diminished seventh chords. I've adjusted the spelling to reflect that now.

-I had only the lower octave at the end to make it sound more like it was dropping down an octave, not like it was just adding the lower octave.

-I also found some wrong notes in the previous version and corrected them.
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