[MUL] The Legend of Zelda: Breath of the Wild - "Divine Beast Vah Ruta (Dungeon)" by Bloop

[Zeta]

Submission Information:
Series: The Legend of Zelda
Game: The Legend of Zelda: Breath of the Wild
Console: Multiplatform
Title: Divine Beast Vah Ruta (Dungeon)
Instrumentation Solo Piano
Arranger: Bloop

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[Bloop]

it begins

Divine Beast Dungeon themes change depending on how many of its terminals are activated. When you enter the Divine Beast and none of the terminals are active, "Enter Divine Beast" plays (which is always my favorite part of the tracks :p). When the first terminal is activated, a new track starts playing (at 1:05 in video). With each terminal that's activated, some instruments will be added, but those don't add much to the arrangement, as they're usually either percussion or long held notes. The only exception to this will be Vah Naboris, which I'll most likely submit another time. Once all terminals are activated, the track changes to a faster-paced version in 4/4 time (at 4:30 in video).
Little note: I don't think there are official titles for the different versions within this track, so I gave them my own titles.

[Kricketune54]

Is there a reason you didn't include the A-F# as a sort of pickup into the first measure of "Enter Divine Beast"? 

I guess after I listened and referred back that the reason to leave it out is that it doesn't really appear in the arrangement in other instances.  They also aren't really notes you can carry through the piece

[Bloop]

It's mostly because I wanted the Enter Divine Beast parts to be as close to the solo piano part as possible and leave out effects that would other wise distract too much. That's why I left out the few notes on beats 2-4 of m6 and 14 as well.

[Latios212]

Oh boy Divine Beast music at last!

Vah Naboris, which I'll most likely submit another time

I can't wait to see the intro to that lol

With each terminal that's activated, some instruments will be added, but those don't add much to the arrangement, as they're usually either percussion or long held notes. ...
Little note: I don't think there are official titles for the different versions within this track, so I gave them my own titles.

May I suggest including a performance note to perhaps change the dynamic volume level at least, for each terminal that's activated? It's not much, but if nothing else it can imply that there are different versions of the music in the original.

Some feedback:
- The upper layer LH chords in m. 3 and 11 sound like they're missing tones (should be triads). The beat 1 chords are major triads (so A and B below what you have written in m. 3/11 respectively) and beat 4 chords are diminished (B and C# respectively).
- LH m. 5 beat 3 / m. 6 beat 1 - not sure I hear these exactly? Not sure about the Gb in m. 5, but in m. 6 I hear a (higher) Bb instead octave doubling the top note.
- p overlaps the tenuto in m. 11
- Beam need to be reattached in LH m. 11 beats 5-6

The middle staff in the second section is giving me a bit of trouble, so I'll come back to this a bit later.

[Bloop]

I can't wait to see the intro to that lol

It's in my personal arrangement thread, so if you wanna see it, it's there ^^

May I suggest including a performance note to perhaps change the dynamic volume level at least, for each terminal that's activated? It's not much, but if nothing else it can imply that there are different versions of the music in the original.

I'm not sure if that's really necessary imo, I can't imagine someone wanting to play the same part of a piece 5 times, but just slightly more intense. It also makes it a bit questionable how soft the player should start and how loud it should end, since the All Terminals Active part has the same dynamic markings as the One Terminal Active.

Some feedback:
- The upper layer LH chords in m. 3 and 11 sound like they're missing tones (should be triads). The beat 1 chords are major triads (so A and B below what you have written in m. 3/11 respectively) and beat 4 chords are diminished (B and C# respectively).

- LH m. 5 beat 3 / m. 6 beat 1 - not sure I hear these exactly? Not sure about the Gb in m. 5, but in m. 6 I hear a (higher) Bb instead octave doubling the top note.

Fixed m5, as well as m13 to look the same as m5 as these had some extra notes I didn't hear anymore as well. I'm not sure what you mean about m6 though?

Fixed everything else too!

[Latios212]

Sorry, been a bit occupied with various things lately

I'm not sure if that's really necessary imo, I can't imagine someone wanting to play the same part of a piece 5 times, but just slightly more intense. It also makes it a bit questionable how soft the player should start and how loud it should end, since the All Terminals Active part has the same dynamic markings as the One Terminal Active.

That's fine, I just like it when a sheet implies the structure of the original, in this case there being different variations. No big deal here though!

Fixed m5, as well as m13 to look the same as m5 as these had some extra notes I didn't hear anymore as well. I'm not sure what you mean about m6 though?

For m. 6, just that I think there's another Bb in the right hand you can write in below the triad you currently have.

The middle staff in the second section is giving me a bit of trouble, so I'll come back to this a bit later.

Coming back to this again I'm still not sure I can hear this verbatim in the original but it sounds right at speed... the right dissonant intervals and everything, so no further comment from me there I suppose

Last section, I don't have anything to add except you can make the first system on page 4 a two-measure system since it's shortened because of the indent. The notes look good though!

[Bloop]

Fixed those! Thanks for taking a look ^^

[Latios212]

Alright, approved

[Static]

• For Enter the Divine Beast, all those low C#s sound like they should have a G# in between. They sound muddier than just normal octaves to me, and I don't think it's just overtones. When raising that part up an octave, the G# sounds more prominent, but if you'd rather leave it that's fine too.
• I would spell the chords in One Terminal Active the same as you do in All Terminal Active; so G#s and C#s instead of Abs and Dbs (with a courtesy natural in m15). The chord is an AmM7#9.
• m15-26: The chord tones are all correct, but I'm not convinced they're all in the order you have. Almost always, each beat consists of an individual voice moving from one note, to the chord tone above/below, back to the first note, though with some exceptions. Here are some spots that stood out to me:
  
  • m15 beat 6: Top voice should be G# (below the following C) instead of E.
  • m16 beat 5: Top voice should be G# (below the following C) instead of E.
  • m18 beats 2-3: Staring on beat 2, lower voice goes E-G#-E-F-G#-F.
  • m26 top voice:
    
  • There are some other spots too, but I'd just recommend looking over that section once more, maybe taking things down an octave in Audacity to hear the upper intervals more clearly. It almost sounds like you're getting the voices mixed up sometimes, they are really hard to distinguish. Sounds like there are 3 moving harmony voices though.
• I know you mentioned you only wanted to include the piano part of the piece, but I think it might be a good idea to include another section(s) of One Terminal Activated to incorporate those extra background parts somehow. the RH could easily play a repeated pattern of "dyad-single note-dyad" while the LH does some other stuff. As it stands, it feels like a third of the track is missing from your sheet.
• All Terminals Activated looks good, I don't have much to add there
• missing https

[Bloop]

I'm still looking for a moment where I can really focus on fixing up that middle part, because I started to hear a lot more notes that I didn't hear initially. My response on other feedback will probably depend on how that section will look after I've rearranged it, so to be continued ^^

[Bloop]

alright, reuploaded the files with all feedback and a newly arranged One Terminal Active. I think (hope) this is what happens in that part, it's definitely a bit more complex now :s Thanks for mentioning it though, I wouldn't have noticed otherwise!

• m15 beat 6: Top voice should be G# (below the following C) instead of E.
• m16 beat 5: Top voice should be G# (below the following C) instead of E.

It's true that these G#'s are more prominent, but I do still hear the E above as well.

• I know you mentioned you only wanted to include the piano part of the piece, but I think it might be a good idea to include another section(s) of One Terminal Activated to incorporate those extra background parts somehow. the RH could easily play a repeated pattern of "dyad-single note-dyad" while the LH does some other stuff. As it stands, it feels like a third of the track is missing from your sheet.

The R.H. part has become too complex for your suggestion, but I think the biggest thing I'd be missing is the organ starting at Three Terminals Active (2:48), which does have its own line throughout the track. I think it'll be a bit much to ask of the player to try and bring out that line as well, together with the melody and the background piano stuff. The rest is just more bass rumbling and more percussion afaik, which won't add much to the sheet music.

[Static]

It's tough to tell what's really going on in that section, but... what you have now sounds a lot more like the original to my ear. Particularly the lower G#s in m16, etc. stand out to me, I didn't catch those before but they're definitely there in the original track... It all sounds good.

As for the extra background parts, I was thinking of simplifying the triplet part, like having it only play in the RH. Then, the LH could play some of the other parts in between bass notes, which could be written in the middle staff. But this probably wouldn't have the sound you're looking for, and certainly not be as dissonant. I suppose it's fine to leave it then.

I've got nothing more to add, except moving the p in m15 up a bit which I did for you, so I'll accept.

[Zeta]

This submission has been accepted by Static.

~Zeta, your friendly NSM-Bot