[Wii] Kirby's Epic Yarn - "Gourmet Race" by E. Gadd Industries

[Zeta]

Submission Information:
Series: Kirby
Game: Kirby's Epic Yarn
Console: Nintendo Wii
Title: Gourmet Race
Instrumentation Solo Piano
Arranger: E. Gadd Industries

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[E. Gadd Industries]

[Zeila]

- You're missing some harmonies in the beginning. Is that intentional for playability?
- Maybe you could put tenutos on the down beats. If you do, then perhaps you could also put simile and hide the markings after a few measures
- This might not be necessary (or even allowed), but maybe you could add a higher octave from m11-18 to account for the second voice that plays in unison
- m22 and 30 should just be a quarter+rest with a regular accent instead of half notes with a staccato accent. Also in those measures, the C and G are still present on beat 3
- You should put staccatos on some of the notes in the melody, as some notes sound longer than others. Some notable spots are m23-26, and 49-end
- This is really nitpicky, but I think the eighth note in m42 beat 3 should be a quarter note

[Sebastian]

Since I helped E Gadd with this sheet, I'll go ahead and step in here.

- You're missing some harmonies in the beginning. Is that intentional for playability?

Yes. We thought that leaving these harmonies out would be for the best since it'd be really hard to play an octave plus other notes at 170.

- Maybe you could put tenutos on the down beats. If you do, then perhaps you could also put simile and hide the markings after a few measures

Actually, this is a pretty good idea, but my thinking for this piece is, "Why clog up the left hand with markings if you can barely play it?" It's really fast and almost too hard to play as it is, so it will just confuse the performer (imo) if you add more markings (assuming you're talking about the left hand).

- This might not be necessary (or even allowed), but maybe you could add a higher octave from m11-18 to account for the second voice that plays in unison

Haha, that's what he originally had, but for playability and the clashing with the left hand, he took it out. Maybe a different dynamic or something could go at that part to make them different. I'm not sure.

- m22 and 30 should just be a quarter+rest with a regular accent instead of half notes with a staccato accent. Also in those measures, the C and G are still present on beat 3

I agree with this.

- You should put staccatos on some of the notes in the melody, as some notes sound longer than others. Some notable spots are m23-26, and 49-end

I guess that is up to E Gadd. Some staccatos wouldn't hurt.

- This is really nitpicky, but I think the eighth note in m42 beat 3 should be a quarter note

I agree with this.

Also, one more thing I spotted:
- The dynamics in 19 & 27 look like they are clashing on the PDF. Sometimes the export messes things up. You might wanna check that out.

Sharp eye, Zeila!

[Tobbeh99]

Nice arrangement!

some feedback:

-measures 21-22 and 29-30: I think that you should shorten the period you use the 8vb in the LH. The last notes have like 2 ledger lines ABOVE the staff. Maybe only have the 8vb in the first measure of both periods.

-The very last measure, last beat: You're missing a glissando there. The song repeats but from a glissando up again, I think the glissando adds much to the song as well. And it also doesn't make it a lot more difficult as well.

[E. Gadd Industries]

- You're missing some harmonies in the beginning. Is that intentional for playability?

Yes, they are missing for playability. If you think they are completely necessary for the completeness of the piece, I will add them. Thoughts?

- Maybe you could put tenutos on the down beats. If you do, then perhaps you could also put simile and hide the markings after a few measures

Basically what Seb said & what I said above. If you think they are 100% necessary, I will add them.

- This might not be necessary (or even allowed), but maybe you could add a higher octave from m11-18 to account for the second voice that plays in unison

As Seb said, I originally had that. As before, is it 100% necessary? I want to make this piece as playable as possible; I don't want people associating my name with broken hands, fingers, and keyboards.

-The very last measure, last beat: You're missing a glissando there. The song repeats but from a glissando up again, I think the glissando adds much to the song as well. And it also doesn't make it a lot more difficult as well.

A few questions:
1. Is this for both LH & RH, or?
2. Which note(s) would I tie the gliss to for the intended situation (answered in Q 1)?
3. How would I wrap the gliss from the end of the piece to the front? Would I add an extra 1-2 measures at the end that repeats the first 1-2 measures in the front, and then add a forward repeat on the next measure at the beginning?

[Zeila]

Yes, they are missing for playability. If you think they are completely necessary for the completeness of the piece, I will add them. Thoughts?

That's fine with me

Basically what Seb said & what I said above. If you think they are 100% necessary, I will add them. As Seb said, I originally had that. As before, is it 100% necessary? I want to make this piece as playable as possible; I don't want people associating my name with broken hands, fingers, and keyboards.

I'm confused. Is it because you plan on having the right hand play part of the chords? Otherwise, adding an octave above the melody shouldn't be difficult (at least by itself). My guess is that playing that in conjunction with the LH is what makes it hard. Either way it's not necessary

few questions:
1. Is this for both LH & RH, or?
2. Which note(s) would I tie the gliss to for the intended situation (answered in Q 1)?
3. How would I wrap the gliss from the end of the piece to the front? Would I add an extra 1-2 measures at the end that repeats the first 1-2 measures in the front, and then add a forward repeat on the next measure at the beginning?

You could do option 3 or create an ending for the song and tie to glissando to that. Idk about the first two questions though

[Tobbeh99]

I think the best solution in adding the gliss is by making a wavy line at the end, from the LH upwards. If you add a regular gliss, the sound get's messed up and the gliss sound weird because it isn't attached to anything. So maybe only make a "gliss on paper" that doesn't sound anything, because I don't know how to make it sound properly. 

Also:

The last part: measures 35-43 sounds different from measures 43-50 on the original, being played by different instruments. I'd recommend doing something to differ that. Either a dynamic, like mp the first part, the f for the later part. And/or make the second parts play octaves.

[E. Gadd Industries]

Every necessary change has been acknowledged in this newest version. Any other revisions need to be made?

[Th3Gavst3r]

Edited you a slightly better glissando, it's kind of a difficult process even with full Finale
[Mus]

[FireArrow]

Yes. We thought that leaving these harmonies out would be for the best since it'd be really hard to play an octave plus other notes at 170.

Leave out the octaves and add the harmony. Octaves are not important musically so you lose little by dropping them to single notes and gain a lot by adding the harmonies.

[E. Gadd Industries]

Edited you a slightly better glissando, it's kind of a difficult process even with full Finale
[Mus]

Thanks!

Leave out the octaves and add the harmony. Octaves are not important musically so you lose little by dropping them to single notes and gain a lot by adding the harmonies.

I don't particularly remember how I had the harmony (as I had that even before the octaves), but this is what sounded the most correct. The revisions have been made.

[E. Gadd Industries]

Bump

[JDMEK5]

Measure 19-22 and 27-30: I would be inclined to, rather than have the fortissimo apply to both staves, have it under the bass clef staff so as to indicate where the melody is. I doubt you want the off-beat chords in the RH played just as loud as the melody. Take this idea and apply it wherever else you see fit within the sheet.

Measure 43: Do you mean to have the forte on the downbeat of m.43? Since the right hand melody has a pickup, it only makes sense to me to have it on the pickup rather than come in after the melody has already started. Melodic phrases are like sentences. I don't SUDDENLY GO FROM REGULAR SPEECH TO ALL CAPS WITHIN A SENTENCE WITHOUT A REALLY SPECIFIC REASON.

[E. Gadd Industries]

I have fixed that along with replaced the octaves with harmonies in m1-2. Hopefully this is everything that needs fixing up!