[MUL] The Legend of Zelda: Breath of the Wild - "Divine Beast Vah Naboris (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 Naboris (Dungeon)
Instrumentation Solo Piano
Arranger: Bloop

[Bloop]

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 1:10 in video). With each terminal that's activated, some instruments get added. I left some versions out because the changes were too subtle. Three terminals active is at 2:53, four terminals active at 3:54, and all terminals active at 4:35.
Little note: I don't think there are official titles for the different versions within this track, so I gave them my own titles.

[Latios212]

piano abuse The Zelda series really has a way with music, pieces like this are so unique and memorable

Quick thought when peeking at the sheet: the "Rubato" text in the first making seems like it might be accidentally read as part of the section title. (Sounds like it could be a Divine Beast name too, lol) Any way you can differentiate that a little bit?

[Bloop]

ah yes, the four divine beasts, vah rubato, vah ritenuto, vah sforzando, and vah tempo

Changed the rubato to be lowercase italic, I think that should work fine ^^

[Latios212]

Apologies for the wait! It's piano-dropping time! I've never played something like this first section before lol, it's very interesting and a good bit of fun to smash those chords

Enter Divine Beast
I don't really have much to say about this one, I Think playability wise the way you have the hands overlapping feels alright to play. The layers in the right hand clash in pretty gnarly ways but I think overall it's not too hard to tell what's going on. So these will be just a few comments to tidy it up a bit.
- It's difficult to tell what's going on in the RH of m. 11. The Db in the lower layer is offset, and depending on if you interpret the beat 5 Eb as part of the upper or lower layer, one is missing a beat. The layers on beat 2 should be aligned, potentially forcing more horizontal space between beat 1.5-2 to allow room for the flats, and I think both layers should fill out their 5 beats. It's a bit weird here because you have the lower voice becoming the upper voice in the next measure, though.
- The articulation for the RH chord in m. 1 could be moved below like in m. 7 and others. You could also consider moving the rests back onto the staff.

One Terminal Active
- I hear the chords in m. 20-21 (and 24-25) inverted down once. I also hear m. 26 RH inverted down once but with an F instead of B on the bottom of the RH. Actually, pretty much all of the rest of them from here on too I hear in different lower inversions. Thoughts?

Three Terminals Active
- I get that it's a literal interpretation of what the original does, but I think it's not super clear what the performer is supposed to do with the tremolo overlapping with the chord in m. 41/45. Same for later sections.

[Bloop]

- It's difficult to tell what's going on in the RH of m. 11. The Db in the lower layer is offset, and depending on if you interpret the beat 5 Eb as part of the upper or lower layer, one is missing a beat. The layers on beat 2 should be aligned, potentially forcing more horizontal space between beat 1.5-2 to allow room for the flats, and I think both layers should fill out their 5 beats.

I think Finale's auto note placement may have messed up what I had before, but fixed!

It's a bit weird here because you have the lower voice becoming the upper voice in the next measure, though.

Yeah the lower/upper voices switch places if it helps visually, I added accents to make sure the melody is still clearly indicated.

- The articulation for the RH chord in m. 1 could be moved below like in m. 7 and others. You could also consider moving the rests back onto the staff.

Done!

One Terminal Active
- I hear the chords in m. 20-21 (and 24-25) inverted down once. I also hear m. 26 RH inverted down once but with an F instead of B on the bottom of the RH. Actually, pretty much all of the rest of them from here on too I hear in different lower inversions. Thoughts?

I had that before too, but upon closer listening I noticed there was a higher voice. It sometimes feels like it might be overtones playing a part, but I'm pretty sure I can hear the higher voice inversion throughout.

Three Terminals Active
- I get that it's a literal interpretation of what the original does, but I think it's not super clear what the performer is supposed to do with the tremolo overlapping with the chord in m. 41/45. Same for later sections.

I added a performance note to be sure, does that work? (also moved shifted the second layer to the right a little bit for clarity)

[Latios212]

I added a performance note to be sure, does that work? (also moved shifted the second layer to the right a little bit for clarity)

Yeah, I think that works! If you want the Eb to be part of the initial chord strike too, does it make sense to write it in both layers like the C? Don't have to if it's too confusing, but just a thought. Oh, and also are you able to use actual flat symbols in the performance note instead of just 'b'?

I had that before too, but upon closer listening I noticed there was a higher voice. It sometimes feels like it might be overtones playing a part, but I'm pretty sure I can hear the higher voice inversion throughout.

Hm, it still doesn't quite feel right with what I hear prominently in the original, but what you say does make sense and wouldn't be out of place arrangement-wise. I'll defer to whoever checks next.

I'll leave a conditional approval here anyway. Nice work!

[Bloop]

Yeah, I think that works! If you want the Eb to be part of the initial chord strike too, does it make sense to write it in both layers like the C? Don't have to if it's too confusing, but just a thought. Oh, and also are you able to use actual flat symbols in the performance note instead of just 'b'?

I decided to leave out the Eb as it's not really part of that voice (the synth pads). Changed the performance note b's to ♭'s though!

[Latios212]

Alrighty, looks good to me

[Kricketune54]

Not much to say here as well, m72 and m92 RH 1.0 this note has a little more space than the others, you could add a staccato to it.

[Bloop]

Good point, it probably doesn't change too much about the performance but I can hear a little bit of a difference yeah. Files updated!

[Kricketune54]

Excellent, I will now accept

[Zeta]

This submission has been accepted by Kricketune54.

~Zeta, your friendly NSM-Bot