Zeila's Replacements

[Zeila]

Edit ReplacementUndertale - Undyne: original

• I ended up modifying my original arrangement after someone mentioned the tempo marking, and it went from 120 to 115
• Articulations and general formatting were changed
• I added an extra note to the chords in the beginning, and I also kept it going throughout the rest of the song
• The melody in the middle was raised an octave

Challenge ReplacementsSuper Smash Bros. Melee

• Brinstar: original
• Dr. Mario (currently labeled as Fever on-site): original
• Flat Zone: original
• Fountain of Dreams: original
• Icicle Mountain: original

Tales of Symphonia

• Full Force (technically "Full force" according to vgmdb, although a 2008 album has "Full force!" instead): original

[Zeila]

I added Fountain of Dreams. If the section at m40 is too hard then I can just simplify it some more

[Zeila]

I finished Dr. Mario, Icicle Mountain, and Full force, so that's all from me for this update. With those 5 melee sheets complete, I think that's the last of the ones that need replacing apart from small edits or text/formatting fixes on a few others

[Static]

Brinstar

• Maybe consider having a drum pickup at the beginning similar to m54. Up to you though.
• m10 and similar: The 4-tuplets in the original have 2 voices; you included the lower one. I would only include the upper one (A-Bb-A-F) since that's the melody of the tune, it lines up with the top long notes.
• m18/20/22 kind of has the opposite problem; the melody note should be Bb, so that should be on top in those measures. In addition, the notes underneath should be D and F, not Eb and G. It's a Bb chord, but with a C in the bass.
• m17-24 should stay in G minor, it's more of an extended IV chord than a modulation.
• I'd add some extra space at the beginning of m39 (under Edit Measure Attributes to make some more space for the mezzoforte.
• In terms of rhythm, I hear beats 3-4 of m47 and similar the same as beats 1-2, but with the octaves flipped.
• The same comments I said about m9-24 apply to m63-78.

[Zeila]

• Maybe consider having a drum pickup at the beginning similar to m54. Up to you though.

I think I will just leave it as is, but thanks for the suggestion anyways!

• m10 and similar: The 4-tuplets in the original have 2 voices; you included the lower one. I would only include the upper one (A-Bb-A-F) since that's the melody of the tune, it lines up with the top long notes.

I wasn't sure if I was imagining that tbh so I just went with the more prominent tone (to my ears anyways...). I changed it

• m18/20/22 kind of has the opposite problem; the melody note should be Bb, so that should be on top in those measures. In addition, the notes underneath should be D and F, not Eb and G. It's a Bb chord, but with a C in the bass.

Yeah uh idk what I was thinking. Fixed

I also got rid of the cautionary accidental I mistakenly left in m35 for the F. Thanks for the feedback! I fixed the stuff I didn't address too

[Static]

I also got rid of the cautionary accidental I mistakenly left in m35 for the F. Thanks for the feedback! I fixed the stuff I didn't address too

You might want that accidental for the last note in m34 though, since the previous F was F#. It's fine as it is though.

Starting at m47, the 1st layer rests should be combined into dotted quarter rests like in the 2nd layer.

All the other changes look great!

[Zeila]

You might want that accidental for the last note in m34 though, since the previous F was F#. It's fine as it is though.

Sure, done.

Starting at m47, the 1st layer rests should be combined into dotted quarter rests like in the 2nd layer.

All the other changes look great!

Thanks! I updated it

[Static]

Looks good

[Latios212]

Dr. Mario
- In m. 12, the second group of notes, it sounds like the descending D-C should be D#-C#
- m. 16 RH first two beats - sounds like the lower voice goes D-F#-D-F# instead of D-D-F#-F#
- I think the beat 4 bass in m. 18 would make more sense as F# (chromatically ascending to the G in the next measure). Same for m. 30-31, writing F# instead of using Gb and courtesy natural
- Are the arpeggios in m. 21-28 extrapolated from the harmonies? I'm hearing a voice that's repeating C-B-C-G instead
- For the cross staff arpeggios, make sure that the beam doesn't angle downwards when the voice ascends. Measure 26/28 in particular have that awkward reverse beam angle.
- Move the eighth rests up where they're touching the lower layer (m. 24, 28)
- Measures 41-44 would be better with the octave doubling in the RH I think (this would give continuity to the descending line in m. 40 as well).
- I think m. 41-43 should be spelled using F#/C# instead of Gb/Db
- Regarding the overall layout, I would suggest sticking to the hypermeter of 4 measures per system. I recommend changing m. 12 to all have small noteheads to clarify it's a flourish as well as cut down on the space it takes up so you can bump it up a system. Also the systems on page 2-3 can be moved closer together to make more room around the header.

[Zeila]

Dr. Mario
- Are the arpeggios in m. 21-28 extrapolated from the harmonies? I'm hearing a voice that's repeating C-B-C-G instead

Yes those are

Everything else should be fixed, thanks for the feedback!

[Latios212]

No problem, sounds good! Approving

[Maelstrom]

Undyne
Just one thing - The chord you wrote in m13 is significantly different than the chord earlier. I'd recommend writing it like this instead:

[Latios212]

Icicle Mountain
Yay! I'm happy to see this one. Been wanting to do it myself for a while, but never got around to it...

In particular I really like the left hand accompaniment you wrote out for m. 53-58! Anyway, feedback time:

- Those chords at the beginning are pretty punchy and seem to imply more than triads. I think it would help if the second/third/fourth chords in m. 1 had both A and G in them. For m. 3, I think the first chord should have C instead of G and the second chord should have F too.
- I think the last two chords in m. 1 should be disconnected
- m. 9 first chord sounds like it should be inverted downward (hearing ascending E F# G in those three chords)
- Move the lower layer rests in m. 5 a bit down
- G in second triplet in m. 10 should be sharp
- Yikes... those are some tricky chords in m. 15-16. I'm hearing the contour a bit different from how you wrote it, and I also think it would make sense to keep them as dense right hand chords only given the style of the piece. Here's what I'm getting - although I'm definitely not 100% confident about it, I think it could look something like this...

Spoiler

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- Keep LH spelling consistent between m. 15/27 LH - I'd recommend A#
- I think the chords in m. 21-22 should be octave doubled
- Use Gb instead of F# in m. 22
- I think the chords in m. 39- would be nice octave doubled as well
- Measures 59-60 feel a bit empty in the RH after all the chords from before. I think it would be nice to add some harmonies and/or dynamic contrast. (Also the 3s are kind of squished together between the staves... you could do things like increase the inter-staff space or flip the 3's outside)

[Zeila]

Undyne
Just one thing - The chord you wrote in m13 is significantly different than the chord earlier. I'd recommend writing it like this instead:

Done, thanks!

Icicle Mountain
Yay! I'm happy to see this one. Been wanting to do it myself for a while, but never got around to it...

In particular I really like the left hand accompaniment you wrote out for m. 53-58! Anyway, feedback time:

- Those chords at the beginning are pretty punchy and seem to imply more than triads. I think it would help if the second/third/fourth chords in m. 1 had both A and G in them. For m. 3, I think the first chord should have C instead of G and the second chord should have F too.

Thank you! They do sound punchier, but after listening to it again it sounds like the actual chords in m1 are C6/9 and Eb6/9 in stacked fourths (idk about nomenclature, but note-wise yes). Since I think condensing it all to the RH within one octave would be too dense, I omitted the D and F respectively and put a Bb in the fourth chord of m1 instead of A like you mentioned

- Yikes... those are some tricky chords in m. 15-16. I'm hearing the contour a bit different from how you wrote it, and I also think it would make sense to keep them as dense right hand chords only given the style of the piece. Here's what I'm getting - although I'm definitely not 100% confident about it, I think it could look something like this...

Spoiler

You cannot view this attachment.

[close]

Yeah it makes sense to keep it with the RH. I think you're right about it except for the 3rd chord of that phrase, and the whole thing sounds like this to me:

Spoiler

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But in the actual sheet I just went with what you wrote except the A in the 3rd chord was changed to a Bb

- I think the chords in m. 39- would be nice octave doubled as well

I just did it for the whole notes

- Measures 59-60 feel a bit empty in the RH after all the chords from before. I think it would be nice to add some harmonies and/or dynamic contrast. (Also the 3s are kind of squished together between the staves... you could do things like increase the inter-staff space or flip the 3's outside)

I flipped the 3's and added both harmonies and dynamic contrast

Everything else was updated, thanks for the feedback!

[Maelstrom]

Undyne
approval