it shows up on lemmy.world… though i can’t reply to it from there, which is a problem

anyway, the way crowned transitions into its climax is pretty neat. this is how the song is structured:

intro (0:00-0:12): magolor, the far flung traveler
main (0:12-1:08) {
    original melody (0:15-0:49)
    the adventure begins (0:41-0:54);
    magolor, the far-flung traveler (0:54-1:08)
}
repeat (1:08-1:50) {
    original melody (1:11-1:37)
    the adventure begins (1:37-1:47)
    magolor, the far-flung traveler (1:47-1:50)
}
climax (1:50-2:23): green greens (1:50-1:57); kirby's triumphant return (1:57-2:11)

notice how the repeat of magolor, the far-flung traveler is much shorter than the first time though? instead of letting the adventure begins play out in full and then transitioning into MtFFT, only a short excerpt of MtFFT plays to transition us from the adventure begins into the iconic green greens + triumphant return climax of the song. i think this little modification to the song structure is pretty cool! the rhythm in that little bit is really satisfying in my opinion.

i’m just gonna use this as my place for dumping small observations that don’t deserve a full thread

will probably be too preoccupied with another thing to contribute content to c/kirby over the next few days, so have this little thing before then:

here’s a thing i learned while making something that i’ll hopefully be able to show c/kirby sometime:

the b section of dedede’s theme, added in super star, is subtly different in most renditions of the theme (as far as i can tell) in modern games (return to dreamland onward). here’s super star’s version against star allies’s version for reference. by “b section”, i mean the 16 measures from the beginning of the timestamp until the point where the song loops.

• the lead-in note to measure 1 (and the more subtle lead-in notes to measure 7) – only there in the old versions of the theme. in contrast, the lead-in notes to measure 5 continue to be there, and there were never any lead-in notes to measure 3 to begin with. (you can split 0:28-0:40 KSS / 0:57-1:10 KSA into 4 “phrases” (not trying to use that word in the technical music theory sense) – measures 1, 3, 5, and 7 refer to the first measure of each phrase. first and last phrase have pickup notes only in the KSS version; regardless of version, second phrase never has any pickup notes and third phrase always has pickup notes.)
• the rhythm for the second half of the section – in particular, measures 9 and 10 [0:40-0:43 KSS / 1:10-1:13 KSA] – is different.