[Wii] Kirby's Epic Yarn - "Big-Bean Vine" by mastersuperfan

[Zeta]

Submission Information:
Series: Kirby
Game: Kirby's Epic Yarn
Console: Nintendo Wii
Title: Big-Bean Vine
Instrumentation Solo Piano
Arranger: mastersuperfan

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[mastersuperfan]

[Latios212]

- Suggest moving the C# in m. 2 to the RH. Super awkward/unreasonable for the LH to play that chord as written
- Thoughts about putting the first E in m. 3 in the LH similar to the last measure?
- B# in m. 33 I think should be Cn to match RH
- m. 40/48 RH - hear a melody B (octave overlaps with the LH) for beat 4 instead of tied chord

[mastersuperfan]

- Suggest moving the C# in m. 2 to the RH. Super awkward/unreasonable for the LH to play that chord as written
- Thoughts about putting the first E in m. 3 in the LH similar to the last measure?
- B# in m. 33 I think should be Cn to match RH
- m. 40/48 RH - hear a melody B (octave overlaps with the LH) for beat 4 instead of tied chord

Good catches, all fixed. I only hear the B in m48 though, not in m40.

[Latios212]

Ah gotcha... I think perhaps I wanted it to be there since I hear it as part of the melody which makes sense to have octave doubled.

Anyway, approved!

[Static]

• m4-5: Those bass notes sound like they should be an octave down... not that you have to put them there but I think it sounds pretty good in the arrangement.
• I think I discussed this with you when you first arranged this, but man I still feel like that 2nd chord in m15/23 sounds really empty without the B... like that's the root of the chord, the most important note. Maybe you could make it a rolled chord instead?
• There's a few extra piano notes in m26 that I think might be worth including, since they borrow some of the percussion's rhythm.
• The 2nd chord in m35 LH should have the E# as the bottom note, not C#.
• Maybe it's just me, but m40-55 sound a bit too... top-heavy I think is the word I'm looking for. I think you could have some lower octaves in the LH - this is the climax of the piece after all! I just think the arrival in m40 is a but underwhelming compared to the original.
• The dotted quarters in m43, 49, and 51 LH should all be tied.
• The Bb in m63 should be an A# (G#m9b5 chord).

Really good work, this is probably the toughest KEY sheet to arrange.

[mastersuperfan]

• m4-5: Those bass notes sound like they should be an octave down... not that you have to put them there but I think it sounds pretty good in the arrangement.

I think it sounds too low on the piano when moved down that far... I'd prefer to keep it as is.

• I think I discussed this with you when you first arranged this, but man I still feel like that 2nd chord in m15/23 sounds really empty without the B... like that's the root of the chord, the most important note. Maybe you could make it a rolled chord instead?

I've messed around with this and I honestly like it best with the B omitted. Yes, it is the root of the chord, but when included at the bottom of the chord, it sticks out to me as a jarringly random low note in the middle of the otherwise light and high LH chords. Plus, it's a lot more dissonant combined into a single chord on piano than when it's separated into bass + piano. I think that omitting the B provides the smoothest transition between the preceding and following chords.

• There's a few extra piano notes in m26 that I think might be worth including, since they borrow some of the percussion's rhythm.

It took me a long time to hear these... I tried adding them, but I decided not to keep them because I felt they stuck out too much and didn't fit with the light, free-flowing nature of the rest of the section.

• Maybe it's just me, but m40-55 sound a bit too... top-heavy I think is the word I'm looking for. I think you could have some lower octaves in the LH - this is the climax of the piece after all! I just think the arrival in m40 is a but underwhelming compared to the original.

I went ahead and doubled them an octave above (instead of below), except for m45-47 where I wanted the bass contour to shine through. As with m4-5, I don't like the sound of it when the piano goes too low—it's a light, gentle piece, and I feel like the muddy nature of the piano's lowest notes really interferes with that. I'd also rather keep the parts closer together rather than separating them further.

• The dotted quarters in m43, 49, and 51 LH should all be tied.

I intentionally restruck them to give the piece rhythmic movement on beat 4 and maintain the 6/8 feel to make up for the lack of percussion.

• The 2nd chord in m35 LH should have the E# as the bottom note, not C#.
• The Bb in m63 should be an A# (G#m9b5 chord).

Nice catches, fixed.

Files updated.

[Static]

Fair enough I suppose, there's a lot of ways to go about arranging this because of the really wide texture. What you have works and I think represents that light feel you mentioned. I shall accept

[Zeta]

This submission has been accepted by Static.

~Zeta, your friendly NSM-Bot