[BS-X] BS The Legend of Zelda - "Overworld (Unused)" by LeviR.star

[Zeta]

Submission Information:
Series: The Legend of Zelda
Game: BS The Legend of Zelda
Console: Satellaview
Title: Overworld (Unused)
Instrumentation Solo Piano
Arranger: LeviR.star

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[LeviR.star]

Main differences:

- 12/8 instead of 4/4
- no 16th notes
- occasionally different notes

If anyone thinks that this version is not necessary, please speak up or forever hold your peace.

[Latios212]

If anyone thinks that this version is not necessary, please speak up or forever hold your peace.

It's fine. Haha this is almost like what'd you get if you tried to simplify the rhythms of the original, interesting.

Check the regular version on site for accidental help. Your spellings are kind of all over the place.

[LeviR.star]

There we go, I think it fixed it. However, since there are different notes at m17 and m19, I had to guess.

Latios, could you give me a firm explanation on when it is appropriate to use naturals, flats, or sharps? I still don't understand.

[Olimar12345]

This could be a good place to start (for accidentals):

http://forum.ninsheetmusic.org/index.php?topic=2223.msg350370#msg350370

[Latios212]

^Yep, read that post.

Here, I can point out a couple things - let's peek at m. 7. Before you were using C#'s, but look at the notes that the music spells - Gb, Bb, Db, which is a G flat major chord. This way, the intervals are consistent for the last 3 notes in the layers of the RH at the end of the measure - another important thing to keep in mind when voices are moving in parallel.

It definitely takes some getting used to, but it's not too bad. After arranging a while you'll start to get a feel for it.

[Altissimo]

i got this fam

as a general rule if you have a chromatic lower or upper neighbor note (defined as a pattern like A-B-A or A-G-A, where B/G is the neighbor note; basically a three-note pattern where the notes on the outside are the same and the note in the middle is related to it by step), then you're going to want it to be written as, for instance, A-Bb-A or A-G#-A instead of A-A#-A or A-Ab-A.
this can also apply to situations where there's just a chromatic half step but the first note of the neighbor figure isn't present. it's something you see a lot with grace notes - stuff like C#-D where C# is the grace note. basically, it's a safe bet that chromatic half steps that don't go in a linear direction are probably named with 2 different note names, as in the neighbor figures above and the C#-D mentioned earlier.

examples from my own arrangements: Fun Land, measure 9 and also 25, Hamour measure 6 and 26, Spat's Theme most instances of E-natural, Aquarium most chromatics in the piece

sometimes, looking at chords helps. most chords can be stacked into groups of 3rds. so, for instance, in m. 3, we have Gb in the bass and a Bb against Db dyad in the RH. Bb has to be Bb because that's in the key signature and it's not a chromatic pitch. So, our options for how to write the Db and Gb are:
Bb, Gb, Db
Bb, F#, Db
Bb, F#, C#
Bb, Gb, C#

only one of these allows a verticality that stacks into 3rds, and that's the first one: Bb, Gb, Db stacks to Gb, Bb, Db which is a series of thirds

examples: Hamour, the first half of m. 7 implies a chord using D, A, C, and either F# and Gb, and only F# allows this to stack into thirds (D F# A C), Sunny Peak m. 16, E# allows a third with G# as opposed to a 2nd with Fnat, Credits m. 3, the first beat's A-C#-E is a stack of thirds as opposed to A-Db-E

in minor keys, you'll see the pitch one half step below tonic represented often. Make sure this does not have the same letter name as tonic. in A minor you'll often see G# and it is G# and not A-flat. in C# minor you'll often see B# and it is B# and not Cnat even though Cnat is a nicer "note".
also it's common to see the sixth scale degree raised in minor but this isn't as common as raised 7th.

examples: Go Ham Rangers, all F#s are F# and not Gb and Eb is raised to Enat, Moonlight, it is in C# minor and so B# is the raised 7th as opposed to Cnat, Spat's Theme is in Bb minor and so the raised 7th is Anat

in general if you're moving in a linear direction up with chromatics, use sharps or naturals (naturals if you need them to cancel out a flat key sig). if you're moving down, use flats or naturals (naturals if you need them to cancel out a sharp key sig).

examples: Fun Land, measure 15, Condor's Wings, Harmony's Theme, measure 7


DAMMIT NINJA'D whatever I'm leaving this here

[Latios212]

Hey you wrote a lot more detailed stuff which is very appreciated

[Olimar12345]

^^Someone go quote this in the resources topic.

[Maelstrom]

On it.

[Latios212]

Some other small things:
- Compound time here, so keep in mine each beat is a dotted quarter. So don't use whole notes tied to eighth notes. Instead use a dotted half tied to a dotted quarter.
- Condense rests to a dotted quarter rest in m. 6 and 14.
- Superimpose the eighth rests in m. 9 just like  you did in m. 10 for consistency.
- Your courtesy accidentals are different in m. 18 and 20. Would recommend notating both the Cn and Fn for both.
- Keeping in mind everything said about accidentals above, fix m. 21 without referring to JDMEK5's version. (This is a test!)

[LeviR.star]

- Superimpose the eighth rests in m. 9 just like  you did in m. 10 for consistency.

Huh. I didn't even notice that I did that.

All fixed. I'm pretty sure that even though the bass notes in m17 and m19 are different than the original, they are accurate to this version.

[mikey]

yours is a fraction slower than the youtube video, try 140

[LeviR.star]

I don't know how you got the tempo figured out so accurately, but there we go. Files updated again.

[Dudeman]

In all likelihood, he used a tool such as this one to determine the BPM. If you haven't been using one, I highly recommend it.