Submission Information:
Series: Donkey Kong
Game: Donkey Kong 64
Console: Nintendo 64
Title: Fungi Forest (Day)
Instrumentation Solo Piano
Arranger: Sebastian (http://forum.ninsheetmusic.org/index.php?action=profile;u=3424)
Replacement Information:
Links to Existing Sheet: MUS (http://www.ninsheetmusic.org/download/mus/1773) | MIDI (http://www.ninsheetmusic.org/download/mid/1773) | PDF (http://www.ninsheetmusic.org/download/pdf/1773)
Replacement Type: Challenge (new arranger)
[attachment deleted by admin]
Correct title is "Fungi Forest (Day)"
https://www.youtube.com/watch?v=PCT4tf_E-C4
Some of those octaves seem unnecessary (measures 19 and 21?) but I won't question you. Also you can save a page by zooming things out a bit if you want. Good job otherwise!
Quote from: FireArrow on April 27, 2016, 12:15:21 PMSome of those octaves seem unnecessary (measures 19 and 21?) but I won't question you. Also you can save a page by zooming things out a bit if you want. Good job otherwise!
Normally, I would agree with you. I'm not a big fan of having octaves in both hands at the same time; however, in this instance, I put it this way. The passage from M. 19-26 has 5 voices. There is a xylophone and glockenspiel (maybe lithophone) type thing (the right hand), the string sections (left hand) which consist of the violin/viola and cello/bass, and the other bass/cello voice which I did not incorporate. Again, I'm not a big fan of octaves going at the same time, but I believe it works for
this section. As for this song in general, it was oddly difficult, especially from M. 31-62 because there are so many voices and because it was hard to decide how many and/or which voices to incorporate/include.
Quote from: FireArrow on April 27, 2016, 12:15:21 PMAlso you can save a page by zooming things out a bit if you want.
Haha, I was actually gonna do this. :P
I decided on what I have because I don't want more than 5 systems on the first 4 pages and I don't mind having 2 on the last. One thing I hate is having a cramped sheet.
Thanks for the feedback! You have a sharp eye.
Page 3 bump.
Awesome. Thank you, Latios.
Also, bump?
Bump
Just a few small points. :)
• Is there a particular reason why there's no key signature? There are a lot of F#s appearing throughout the sheet.
• The tremolo in m. 8 is so tiny, I thought it was a piece of dust on my computer screen. ^^ It wouldn't hurt to widen the tremolo sign in m. 26 as well, I think.
• There's a low voice appearing from m. 63 onwards - it might make the sheet challenging to play, but it possibly be added. Up to you, I see there are a lot of voices included already.
Quote from: Onionleaf on June 03, 2016, 04:37:19 AM• Is there a particular reason why there's no key signature? There are a lot of F#s appearing throughout the sheet.
The tonic is C.
Quote from: Onionleaf on June 03, 2016, 04:37:19 AM• The tremolo in m. 8 is so tiny, I thought it was a piece of dust on my computer screen. ^^ It wouldn't hurt to widen the tremolo sign in m. 26 as well, I think.
Sure, Why not.
Quote from: Onionleaf on June 03, 2016, 04:37:19 AM• There's a low voice appearing from m. 63 onwards - it might make the sheet challenging to play, but it possibly be added. Up to you, I see there are a lot of voices included already.
I've added all the voices I feel I want. Thanks though!
There we go. I made the tremolo much bigger.
Anything else?
Updaters?
I'm no expert on music theory or anything, but I think it would make more sense for the Bbs in m37/45/53/61 to be A#s
looks solid.
-A D.C. might be more useful than a backwards repeat bar, given how long the piece is.
-the forte at 70 should come earlier, at 63. a crescendo into it might also be nice.
Quote from: Zeila on June 03, 2016, 06:09:08 PMI'm no expert on music theory or anything, but I think it would make more sense for the Bbs in m37/45/53/61 to be A#s
I'd say Bb's, because at that point it looks like the C is a pedal (NCT).
The Bb's are Bb's because the notes constitute a Bb major chord (Bb, D, F). The C's are an added 9th to that.
D F A# C doesn't form an intelligible chord, not even if we call it something like "D minor augmented 5th flat 7th" (lolwut?)
I can see why you'd suggest A# though, since the following measure has a B natural, but in this case, vertical analysis (chords) trumps horizontal analysis.
The C looks more like a pedal than a chord tone at that point, since it drones throughout the entire LH in that section. I mean sure it could be seen as a ninth in that Bb chord, but underneath everything else as the harmony moves away from C...just fits a pedal tone's definition pretty nicely. d:
Quote from: Olimar12345 on June 03, 2016, 06:31:20 PMlooks solid.
Thank you!
Quote from: Olimar12345 on June 03, 2016, 06:31:20 PM-A D.C. might be more useful than a backwards repeat bar, given how long the piece is.
Sounds good! Fixed.
Quote from: Olimar12345 on June 03, 2016, 06:31:20 PM-the forte at 70 should come earlier, at 63. a crescendo into it might also be nice.
I believe you're right. There is an obvious volume change in M. 63. Fixed.
Quote from: Bespinben on June 03, 2016, 06:33:17 PMThe Bb's are Bb's because the notes constitute a Bb major chord (Bb, D, F). The C's are an added 9th to that.
D F A# C doesn't form an intelligible chord, not even if we call it something like "D minor augmented 5th flat 7th" (lolwut?)
That's the logic I used :P
Glad it payed off...this time.
Files updated.
Cool
This submission has been accepted by Olimar12345 (http://forum.ninsheetmusic.org/index.php?action=profile;u=83).
~Zeta, your friendly NSM-Bot