ReMix: DuckTales 'Ebbed Tides and Webbed Feet'
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- Game: DuckTales (Capcom, 1990, NES)
- ReMixer(s): Doc Nano, Evory
- Composer(s): Hiroshige Tonomura
- Song(s): 'The Moon', 'Yearnings of the Wind'
- Posted: 2011-12-27, evaluated by the judges
I can see the headlines now: GROWN MEN WORLDWIDE FOUND WEEPING SILENTLY TO DUCKTALES VGM ARRANGEMENT. Women, too. And actually, there's some Chrono Trigger thrown in there, for good measure. Newcomer Evory (Jeremy Ng) penned this lovely solo piano arrangement, and Doc Nano, who himself debuted back in October, performed/recorded it. The result is a touching, beautiful, emotional journey, and I don't mean that in any sarcastic or ironic sense. Jeremy writes:
"This remix was partly inspired by a piano arrangement of The Moon floating around (you know, the moon, floating in the sky, kinda) on the forums, I've no idea if the poster submitted it, but it made me realise (again) how beautiful The Moon could sound on piano, so hopefully justice was done there. Another inspiration was Godowsky's transciption of The Swan, which carried the same kind of mood I tried to convey in the opening half of the piece. The remix is nowhere as complex musically as the transcription, but hopefully a similar effect comes across. Wind Scene just sort of drifted in halfway (you know, the wind, drifting, okay nevermind), and I thought it sounded pretty natural, so hopefully it avoids any symptoms of medley-itis (the A Theme from Wind Scene has its chords/melody altered to fit in with that of The Moon, so hopefully that worked). I've said my piece (as well as about it), so yeah, hope you enjoy it! "
It's hard not to. Judges were unanimous; OA writes:
"Wow, this is very elegant, and the transition into the B section of Wind Scene was a bit surprising, but worked very well, and just damn; this is packed with really intelligent ideas and modulations, well executed, and the piano sound is good as well."
Not much else to say; the source completely surrenders itself to the arrangement, the execution is emotional, accessible, and immediate, and the addition of CT is a welcome surprise that enhances the piece's unique identity. In some ways this feels like a mix that HAD to happen, as this source tune was born for solo piano, but I'm glad that it "happened" with such class, contemplation, and feeling; beautiful!
Discussion: Latest 14 comments/reviews; view the Very enjoyable.
- Martin Penwald on April 12, 2012
- Sparhawke on January 30, 2012
Keep up the work, i want to see more submissions in the future. :)
- Loning on January 1, 2012
- Crulex on December 31, 2011
A great track, you guys! Keep it up! :)
- Ando on December 27, 2011
- Mustin on December 27, 2011
Very well done, you two. I hope to hear more from you guys.
- Gario on December 27, 2011
- ryankeeton on December 27, 2011
- Nonamer on December 27, 2011
- OA on December 27, 2011
Rexy;830974 wrote: I do have one little tip if you're going to be using this dynamic contrast - try and watch the piano notes' attack when going louder. You managed to get this contrast working well, but I felt as if the attack was a little too soft to really match the full blown effect of the execution. If you can't cut the attack any further, then all I could really suggest was layer staccato notes over the top in post-production; it's a strange idea, but having handled piano production many times before it's definitely no easy task.
Yeah, the main S90 ES piano sound is definitely more suited to playing softer and more sensitive passages. Thanks for the tip!
- docnano on December 27, 2011
So indeed the intro does indeed carry a similar moode to Godofsky's arrangement of "The Swan", while being able to use the intro's rhythm patterns into good effect. And even when the melody came in, there's been enough recognisability for the source while still meaning for going into interpretation of the source. The "Wind Scene" cameos at around 1:15 and later at 2:20 made brilliant bridges, and managed to help transition this added feeling of dynamic nature towards it, which is definitely a good thing to go for. Even the louder parts were well expressed for the most part, and managed to give in that good attentive nature to it.
I do have one little tip if you're going to be using this dynamic contrast - try and watch the piano notes' attack when going louder. You managed to get this contrast working well, but I felt as if the attack was a little too soft to really match the full blown effect of the execution. If you can't cut the attack any further, then all I could really suggest was layer staccato notes over the top in post-production; it's a strange idea, but having handled piano production many times before it's definitely no easy task.
Regardless, a wonderful arrangement from Emory and a very sweet performance from Doc Nano! I think it's a little too exciteable for me to weep at though, but your mileage may vary; either way, I'm game to see what either of you would come up with next :mrgreen:
- Rexy on December 27, 2011
