[GBC] Pokémon Gold/Silver/Crystal - "Union Cave" by Olimar12345

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Gold/Silver/Crystal
Console: Game Boy Color
Title: Union Cave
Instrumentation Solo Piano
Arranger: Olimar12345

[attachment deleted by admin]

[FireArrow]

Uh，those are some nice violins.

[Olimar12345]

Uh，those are some nice violins.

What are you talking about?

[Bespinben]

I love this song! Thanks for arranging it. I never noticed before how until now how in the last 4 measures, the two voices are slowly detuning by a quarter tone per measure. Super cool.

Dang, if only I had written this post before you went cramming for exams  All that I have to say is superficial things really. I'd venture to say in the end, it'll stay the same way it is now (kinda like with the Super Metroid Boss Battle!). I just want to raise my voice and maybe hope to learn a few things.

First, I'd like to understand when to spell things as split thirds and when to spell things as sharp ninths. The E natural/ E sharp combinations in this song highlight that.

Second, the melody in the left hand of measures 21-24 is a transposition of the melody at the beginning of the song, but in Bb minor instead of C# minor. The passage is currently written as keyless. What are the reasons behind this? We're already thinking in flats now because of the previous D minor section, so it's not much a stretch....

Third. I know I'm usually a stickler when in comes to preserving hypermeter, but I think the second to last system in your sheet is really cramped. Maybe you could move 2 measures from the second to last system to the last system?

srsly though, id be totes accepting this in a jiffy

[Olimar12345]

First, I'd like to understand when to spell things as split thirds and when to spell things as sharp ninths. The E natural/ E sharp combinations in this song highlight that.

The majority of the tune is with a minor vibe, so E natural is the diatonic third. The E# is just borrowed from it's parallel major.

Second, the melody in the left hand of measures 21-24 is a transposition of the melody at the beginning of the song, but in Bb minor instead of C# minor. The passage is currently written as keyless. What are the reasons behind this? We're already thinking in flats now because of the previous D minor section, so it's not much a stretch....

I originally wanted to write this entire piece without a key signature, but opted towards one to help the sight-reader (the majority of the tune being in C# minor). 17-24 is more of a developmental section, so adding a key signature every few measures would be silly. The only reason I put a key change in 13-16 was because it was a perfect transposition up a whole-step.

Third. I know I'm usually a stickler when in comes to preserving hypermeter, but I think the second to last system in your sheet is really cramped. Maybe you could move 2 measures from the second to last system to the last system?

I usually don't care much about preserving that sort of thing, this piece being one exception, haha. I think that system works well, since there aren't nearly as many accidentals as before.