[DELETED] [Wii] The Legend of Zelda: Twilight Princess - "The Legend of Zelda: Orchestra Piece #2" by Zeila

[Zeila]

Ok, my mistake then. Also, since it would be easier, I ended up doing it Sebastian's way after all. However, instead of the Gb and B in m8, I put an E and A, and instead of the A and C in m7, I put a G and C (all 2nd layer). I changed it for all instances

[The Deku Trombonist]

Hmm, I wonder if more of the harmonies could make their way into the first bar. I know it's pretty thickly scored so picking out notes can be a bit tough, but I reckon it's worth a shot.

[Zeila]

I tried

[Zeila]

Bump

[TheZeldaPianist275]

Since I just saw the ending of Twilight Princess HD, this jumped out at me: this is the second theme that plays during the credits, so I'm not sure that Orchestra Piece #2 is the proper name for it.

[Zeila]

I've never heard it referenced as anything other than Orchestra Piece #2, and the HD Sound Selection lists it as "The Legend of Zelda: Orchestra Piece (Teaser Music) #2." I omitted the parenthesis part since I didn't think that was necessary and it would've made the title too long, but if it is then I can put it in

[Zeila]

Bump

[Zeila]

Bump

[Bespinben]

I'm going to use m. 1 as a sort of microcosm of my thoughts on the whole arrangement.

There's a fundamental difference between glissandi on piano and the harp that makes translation between the two mediums inexact. A concert harp uses pedals that can chromatically alter the pitches of the strings, and therefore a harpist can execute glissandi on any scale he or she pleases. For this song, that would be D minor. A piano cannot do this, except on a C major scale (white key gliss.) or a pentatonic scale (black key gliss.). That means, for a piano transcription of this song, you would have to either: (1) manually finger the a D minor scale starting from F3 up to D6 all in the time of a half-beat (egad!), or; (2) reinterpret the passage as something more pianistically viable, such as an octuplet D minor 1st inversion arpeggio in unmeasured time.

There are also pitch errors in m. 1 (chords are Dm, Ebmaj7(add13), C(add4)/E, and Fsus2), but that's not my concern really. Rather, it is timbre and color. Just like how an orchestrator will use different instrument classes to create various sonic images, so too must you consider the the different ranges and registers of the piano as different instruments. For example, instead of writing that block 4-note C major 1st inversion chord crammed together in LH the bass register in beat 3 (resulting in a blurred, muddy sound), you could have spaced it out wider by utilizing the untapped mid and upper ranges of the piano (as per the concepts of close vs openly spaced harmony).

[Zeila]

Thanks for the tips, Bespinben! I changed both glissandi so now the pickup measure is a septuplet and m50 is now a sixteenth note arpeggio. I also tried experimenting with m1, but it may still need some improvements

Other changes:
- Got rid of the 8va in m1 and lowered the septuplet by an octave
- Put staccatos on beat 1 from m43-45
- Got rid of the 5ths in the 1st layer LH and changed the eighth notes on beat 3 RH to quarter notes from m47-50
- Changed a few stem directions

[Pianist Da Sootopolis]

Just a thought, expanding on Bespinben's comment of using the different registers of the piano. At the last measure, I would include the C# in the right hand, to make it a resounding A major chord (personal thing). I would also lower the tremolo an octave to better imitate the timpani.

[Zeila]

Thanks for the suggestion! Done.

[Zeila]

Bump

[Zeila]

Bump

[Zeila]

Bump