[N64] The Legend of Zelda: Ocarina of Time - "Dinosaur Boss Battle" by Olimar12345

Started by Zeta, April 24, 2017, 09:40:17 AM

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Zeta

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

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Olimar12345

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JDMEK5

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. 
"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

daj

So having requested and played this, I'd like to chip in on this a bit haha ^^

Quote from: JDMEK5 on May 09, 2017, 08:55:51 PM-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 ^^

Olimar12345

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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JDMEK5

"Today's goal strongly involves not dying. Because nobody likes to wake up dead."

My Arrangements
Finale Version(s): Finale Notepad 2012, Finale 2012, Finale v26

Static

I agree with the accidental spellings here, except for m15-22. In bars like 15-16, you should either use Gbs or F#s, don't switch between the two between measures. I would personally just use F#s in place of the Gbs.

In bars like 17-18, the chromatic runs should be parallel with the previous ones. So, I would write the RH part as F-E-Eb, especially since there's an Eb in the LH part as well. The D# doesn't make too much sense here.

Also, the F# accidental isn't needed on beat 1 of measure 1.

Olimar12345

Quote from: Static on June 04, 2017, 03:05:10 PMI agree with the accidental spellings here, except for m15-22. In bars like 15-16, you should either use Gbs or F#s, don't switch between the two between measures.

Measure 15 is a repeated descending chromatic figure, while 16 is an alternation between only two notes. Logically speaking, why would I want to write it any other way? Keeping the spelling all Gb's makes measure 16 alternate between G natural and G flat (accidentals on every note), while using only F#'s makes measure 15 alternate between F#'s and F naturals, OR E sharps and E naturals (LH).

Quote from: Static on June 04, 2017, 03:05:10 PMIn bars like 17-18, the chromatic runs should be parallel with the previous ones. So, I would write the RH part as F-E-Eb, especially since there's an Eb in the LH part as well. The D# doesn't make too much sense here.

Sharps ascend, flats descend. The D-sharp makes perfect sense.

Quote from: Static on June 04, 2017, 03:05:10 PMAlso, the F# accidental isn't needed on beat 1 of measure 1.

That's a courtesy accidental, I just don't use parenthesis because they're unnecessary and waste space (and look dumb).
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Static

Quote from: Olimar12345 on June 05, 2017, 02:37:55 PMMeasure 15 is a repeated descending chromatic figure, while 16 is an alternation between only two notes. Logically speaking, why would I want to write it any other way? Keeping the spelling all Gb's makes measure 16 alternate between G natural and G flat (accidentals on every note), while using only F#'s makes measure 15 alternate between F#'s and F naturals, OR E sharps and E naturals (LH).

Fair enough. It looks weird but I think overall its a lot easier to read anyway so yeah.

Quote from: Olimar12345 on June 05, 2017, 02:37:55 PMSharps ascend, flats descend. The D-sharp makes perfect sense.

Since the notes are descending here (F-E-Eb), wouldn't Eb make more sense though? I might be wrong on this, but normally down downwards chromatic passages you normally use flats. The D# does make the part a lot easier to read, so I guess it's fine if you keep it. If you're going to use the D# there though, I think you should make the LH part a D# as well, for simplicity.

Quote from: Olimar12345 on June 05, 2017, 02:37:55 PMThat's a courtesy accidental, I just don't use parenthesis because they're unnecessary and waste space (and look dumb).

Oops, yeah that makes more sense considering the first accidental is on the grace note.

Olimar12345

Quote from: Static on June 05, 2017, 03:04:19 PMSince the notes are descending here (F-E-Eb), wouldn't Eb make more sense though?

Eb to F ascends though. Plus, you would need to neutralize the E before using it again, making more accidentals than this way.
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Static

OK, I see now, cool. I would just change the Eb in the bass to a D# then.

Olimar12345

Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!

Olimar12345

Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!

Static


Zeta