[GCN] Pokémon XD: Gale of Darkness - "The Hexagon Brothers" (Replacement) by Kricketune54

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon XD: Gale of Darkness
Console: Nintendo GameCube
Title: The Hexagon Brothers
Instrumentation Solo Piano
Arranger: Kricketune54


Replacement Information:
Links to Existing Sheet: MUS | MIDI | PDF
Replacement Type: Challenge (new arranger)

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[Kricketune54]

Brb just gonna take over the Pokémon XD section

I think this should be called "The Hexagon Brothers" based off this track list I found relatively recently: https://www.sittingonclouds.net/album/1225

Video has a different title, but I only picked it really for the audio quality

Few things to acknowledge:
-I do hear a "piano part" in the original on beat 1.5 and 2.5 in m1-m3, but I think it would overcomplicate the RH if it was added.  I have included those notes on 3.5 and 4 though with those upper registry parts.  Maybe it would be fine to include En and Gn on 2.5 though?

-Not sure if that's the best way to do the goofy/whistle sounds in 14; but I felt like those chord pitches were close to what is heard and fit well

-The dynamics above the RH are intended for the RH as the part seems to muffle on that run; if that's not the best way to do it let me know an alternate way or I'll just remove if that's also better




Edit 11/9: resized system staff to better fit on one page

Edit 11/14: I have implemented the En-Gn pattern that I mention above, but only on beat 2.5.  I also moved it to the first layer because in layer 2 it looked bad imo, but it seemed playable on my keyboard.  I also fixed the LH part beat... 2.0 is a little ambiguous pitch wise in the m1-3 rhythm and I think I ironed it out

[Latios212]

Sorry... I skimmed over this one a few times but didn't get a chance to write up a post yet

This looks pretty solid! Some things:
- If you want for m. 1 and similar you could just use one layer since the two parts have the same rhythm and articulations on beats 3.5-4, and it's not too hard to follow the melody. Up to you though. If you do keep the parts separate be sure to raise the half rests up to normal mid-staff height
- Try to keep the intervals consistent for the RH notes in m. 3 and 8-9 RH, that is to say alternating major thirds. You could use G# instead of Ab on beat 3 of m. 4/7 and C# instead of Db on beat 2 of m. 9
- m. 10 beat 3.5 should be C# instead of A#
- Suggest using Ab/Bb at the end of m. 11 to be consistent with m. 12 - the way you are spelling the whole tone scale here
- Either the 8va is supposed to end on beat 4 of m. 12 or beat 4 needs to be lowered an octave
- The lower notes of the dyads in m. 13 would be much easier played in the left hand so the right hand doesn't have to do large leaps. Also beat 1 is missing a C (in between the two notes you have) and I think the top note on beat 4 is a D (repeated from beat 3.5)
- I'd suggest choosing another system to be 2 measures other than the last one, which contains two measures that are easily emptier than the rest.

[Kricketune54]

- If you want for m. 1 and similar you could just use one layer since the two parts have the same rhythm and articulations on beats 3.5-4, and it's not too hard to follow the melody. Up to you though. If you do keep the parts separate be sure to raise the half rests up to normal mid-staff height

I had considered this recently and agree it makes sense. 

- Try to keep the intervals consistent for the RH notes in m. 3 and 8-9 RH, that is to say alternating major thirds. You could use G# instead of Ab on beat 3 of m. 4/7 and C# instead of Db on beat 2 of m. 9

Fixed this, and thanks for explaining that about major thirds, which makes sense why the Gb and Eb in m.8 for example don't also need to be changed

- m. 10 beat 3.5 should be C# instead of A#

Ah fixed, certainly makes that easier to play (and correct 

- Suggest using Ab/Bb at the end of m. 11 to be consistent with m. 12 - the way you are spelling the whole tone scale here

Fixed

- Either the 8va is supposed to end on beat 4 of m. 12 or beat 4 needs to be lowered an octave

Ah nice catch I have taken the 8va off of beat 4.  I hope it's far enough over though for formatting's sake because I tried moving it to hang slightly over the last note it applies to in m.12 and that's as far as it goes before it wants to cover beat 4.0

- The lower notes of the dyads in m. 13 would be much easier played in the left hand so the right hand doesn't have to do large leaps. Also beat 1 is missing a C (in between the two notes you have) and I think the top note on beat 4 is a D (repeated from beat 3.5)

Yeah tempo considered this makes sense.  I disagree about that last note for m.13 in the RH though, I think you might be hearing the Dn from beat 4 (that is now in the LH).  I think the general progression of m.13 also lends to the current phrasing, though it was also easy to make out slowed down at .5 speed

- I'd suggest choosing another system to be 2 measures other than the last one, which contains two measures that are easily emptier than the rest.

I agree with this recommendation, and while I'd like to spell out m.10-12 on one system (easier that way at least from site read standpoint I think), I moved it down to be with 13 and 14.

Updated

[Latios212]

Fixed this, and thanks for explaining that about major thirds, which makes sense why the Gb and Eb in m.8 for example don't also need to be changed

No prob! G# in m. 9 RH beat 3 should be Ab though

I disagree about that last note for m.13 in the RH though, I think you might be hearing the Dn from beat 4 (that is now in the LH).  I think the general progression of m.13 also lends to the current phrasing, though it was also easy to make out slowed down at .5 speed

Hm listening again at full speed that does make more sense haha

The rest looks good, although for m. 1-3 and 5-7 be sure to reset some oddly placed staccatos and stem directions that presumably were altered when messing with layers but need to be restored. First use the stem direction tool to clear any manual stem up/stem down (for both the LH and RH) and then reset the staccatos so they're on the right side of the note if they're not already fixed. You can do that by highlighting them and pressing backspace, or just re-entering them.

[Kricketune54]

Okay, fixed the G# and readjusted those stems and articulations.  Files updated

[Latios212]

Looks good~

[Bloop]

I'm actually playing through this game right now for the first time, this guys are really something hahaha.

Anyway, nice work on this sheet! Here are my comments:
-m1-3 and 5-7: I don't particularly hear the bass note on beat 2.5, but if you included it as a sort of bass drum, you can keep it I guess ^^
-m4, 8 and 9: Maybe instead of a strict descrescendo, you could do half a bar decresc and half a bar cresc? The effect on the synth reverses halfway through the bar (maybe not really in m9 but I guess it's easier for continuity's sake)
-m10-12: Maybe I'd prefer the second half of the L.H. to be F# and G#-A#, so it fits better with the second half of m10 and 11 (F#7 chord). It would be a bit weird though in m12 with all the flats, so you could either changes these to sharps too, or just leave everything as is.
-m14: About this glissando, you could also do a quarter note glissando to an unspecified area like this:
You cannot view this attachment.
It does seem to go to the low G, but it's hard to go there in an 8th note length without hurting your fingers too much. I'd also rather not specify it going to a G exactly after a quarter note length, because then the jump to the C would be very awkward. I personally would play this as a glissando down to like an F above the central C, so I can take a very short break to land exactly on the C.

[Kricketune54]

I'm actually playing through this game right now for the first time, this guys are really something hahaha.

Yeah was watching footage of the Bros. recently when doing this and didn't realize how Abbott and Costello like their introduction is.  It's been probably over a decade since I last touched the game but a lot of good memories from it and Colosseum 

-m1-3 and 5-7: I don't particularly hear the bass note on beat 2.5, but if you included it as a sort of bass drum, you can keep it I guess ^^

I really only heard it best through pitching the original up; I'm in favor of keeping

-m4, 8 and 9: Maybe instead of a strict descrescendo, you could do half a bar decresc and half a bar cresc? The effect on the synth reverses halfway through the bar (maybe not really in m9 but I guess it's easier for continuity's sake)

Hmm good catch, I have added the cresc. as directed and to m9 as well

-m10-12: Maybe I'd prefer the second half of the L.H. to be F# and G#-A#, so it fits better with the second half of m10 and 11 (F#7 chord). It would be a bit weird though in m12 with all the flats, so you could either changes these to sharps too, or just leave everything as is.

Yeah I was a bit unsure what the best way to do for this was because the sheet this is replacing had it as sharps there iirc.  I've changed m10-12 because I feel like it's too janky for the reader to go from sharps to flats for that rhythm

-m14: About this glissando, you could also do a quarter note glissando to an unspecified area like this:
You cannot view this attachment.
It does seem to go to the low G, but it's hard to go there in an 8th note length without hurting your fingers too much. I'd also rather not specify it going to a G exactly after a quarter note length, because then the jump to the C would be very awkward. I personally would play this as a glissando down to like an F above the central C, so I can take a very short break to land exactly on the C.

Yeah I was wondering if that was pushing it to have it like it was lol.  I have made it a quarter note with the gliss as pictured.  Updated files

[Bloop]

Yeah I was a bit unsure what the best way to do for this was because the sheet this is replacing had it as sharps there iirc.  I've changed m10-12 because I feel like it's too janky for the reader to go from sharps to flats for that rhythm

I actually meant changing the R.H. in m12 (and the upbeat at the end of m11) to sharps too, so all Bb, Ab's and Gb's become A#'s, G#'s and F#'s. I don't feel as strongly about that though because it's less of a chord-context and more of a scale-context, and changing the Bb's to A#'s creates more diminished thirds than keeping it as flats. Up to you what you feel makes more sense I guess ^^

[Kricketune54]

Okay!  I have changed m12 to sharps from flats, updated.

[Bloop]

Awesome, then I'll accept!

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[Zeta]

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