[NDS] Pokémon Black/White - "Battle! Elite Four" (Replacement) by JDMEK5

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Black/White
Console: Nintendo DS
Title: Battle! Elite Four
Instrumentation Solo Piano
Arranger: JDMEK5


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

[attachment deleted by admin]

[JDMEK5]

Song Title should be changed to "Battle! (Elite Four)" as written on sheet.

Original:

[Bespinben]

I'm glad to finally see a good arrangement for this song.

*For my own education, what does "p -- mf" mean in measure 1? I'm assuming it's the equivalent of "piano on 1st; mezzo-forte on 2nd", but I've never seen that notation before. Could you show me an example?
*M. 7 (and 12) ~ The Bb should be an A#, like you wrote in m. 5. Raised 3rd. I can see why you wrote it this way, because Bb goes straight into A natural in the next measure, but a chord is still a chord. It's gets problematic if you keep it as Bb when you get to m. 20 with the parellel 5ths harmony (which I'll explain next)
*M. 20 (and 24) ~ Very similar too the above, but now you have that Eb harmonizing with the Bb. In the bass you wrote a D# (raised 6th), but in the RH you have the same note, but written as Eb. I think this is kind of an immediate warning sign something is up. So, changing the RH's "Eb" to D#, you would also need to change the Bb to A# (further support for my last bullet point).
*I don't hear a shift in tonal center between m. 23-55, so I think it should stay in the F# minor key. The B#'s in 16th runs in m. 36-38 speak against B minor anyway.
*M. 42 - Ab should be G#

[Xaoz]

I'm glad to finally see a good arrangement for this song.

Nothing to add.

*For my own education, what does "p -- mf" mean in measure 1? I'm assuming it's the equivalent of "piano on 1st; mezzo-forte on 2nd", but I've never seen that notation before. Could you show me an example?

I find this confusing aswell. I think I have seen that notation somewhere before, where the piece could be played between those two volumes, but I really have no idea. Would like to have an explanation aswell

Good job!

Maybe add expression text?

[JDMEK5]

*For my own education, what does "p -- mf" mean in measure 1? I'm assuming it's the equivalent of "piano on 1st; mezzo-forte on 2nd", but I've never seen that notation before. Could you show me an example?

I would show an example but I've seen it used before in my "Royal Conservatory" books which are kinda under copyright in a huge way. But that's exactly what it means and I can assure you that it's a thing.

*M. 7 (and 12) ~ The Bb should be an A#, like you wrote in m. 5. Raised 3rd. I can see why you wrote it this way, because Bb goes straight into A natural in the next measure, but a chord is still a chord. It's gets problematic if you keep it as Bb when you get to m. 20 with the parellel 5ths harmony (which I'll explain next)

Righteo. Done.

*M. 20 (and 24) ~ Very similar too the above, but now you have that Eb harmonizing with the Bb. In the bass you wrote a D# (raised 6th), but in the RH you have the same note, but written as Eb. I think this is kind of an immediate warning sign something is up. So, changing the RH's "Eb" to D#, you would also need to change the Bb to A# (further support for my last bullet point).

Yes sir.

*I don't hear a shift in tonal center between m. 23-55, so I think it should stay in the F# minor key. The B#'s in 16th runs in m. 36-38 speak against B minor anyway.

Good point.

*M. 42 - Ab should be G#

Fixed.

Maybe add expression text?

Eh, no thanks. This piece doesn't have a whole ton of expression in it anyways and I don't know what to put and I don't think it needs it and I don't think I want to put anything there.

[InsigTurtle]

Just wondering, why didn't you add the second voice from m.6 to m.13? Also, only in that part, it sounds like the first dotted quarter of every phrase should be replaced with a quarter and a eighth. That really wasn't the best way to explain it... but... I hope you understand?

[JDMEK5]

Just wondering, why didn't you add the second voice from m.6 to m.13?

If you're talking about the harmony, I left it out because it's not in the original and so it will add contrast to the later repeated section (which I'm sure is what the composer was thinking).

Also, only in that part, it sounds like the first dotted quarter of every phrase should be replaced with a quarter and a eighth. That really wasn't the best way to explain it... but... I hope you understand?

The way you explained it and I understood it would be wrong if done on an exam. Because a dotted is easier and completely legitimate. So no.

[InsigTurtle]

Ah, I meant that it sounded like there were supposed to be two separate notes instead of one single note. It's only for that first part. And I'm pretty sure I hear that second voice in that part, but it isn't as prominent. I don't think I explained that very well either...

[JDMEK5]

Ah, I do see what you mean. I'll add that in when I get the chance.

EDIT: Ok hold on, when I changed stuff last it completely transposed stuff in the middle. I'll have to be fixing that too

[JDMEK5]

Ok. Everything should be fixed now.

[Zeta]

This submission has been accepted by Bespinben.

~Zeta, your friendly NSM-Bot