Submission Information:
Series: Super Mario
Game: Mario Kart Wii
Console: Nintendo Wii
Title: Rainbow Road
Instrumentation Two Pianos
Arranger: WaluigiTime64 (http://forum.ninsheetmusic.org/index.php?action=profile;u=4771)
[attachment deleted by admin]
AUGH NOOO
Actually, I like this song, so this should be fun. If I ever have the patience to check the whole thing.
Wait, what? Dang it, Waluigi! I thought this was of MK64, but I realize that there's a 64 in your name...
Alright, here we go. Definitely not getting through all of this in one sitting, so here's round one. @__@
- No "(Two Pianos)" in the title.
- M. 3, piano 2, LH - just make it a quarter? Doesn't seem like that note's any shorter than the others.
- M. 4, beat 4 sounds like just D instead of A-D.
- M. 5-8, piano 2, LH, hearing something different like this:
Spoiler
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FRQE9g7K.png&hash=e9bd1427a361ec31a64d2d405feffe4c22fe9b0d)
Quote from: Deku Trombonist on November 24, 2016, 04:35:22 AM-Any reason why in bar 9 you didn't use the actual bass line? It would definitely be more harmonically interesting, which I think is important given that it's for piano.
Quote from: WaluigiTime64 on November 25, 2016, 12:26:36 AMBecause I can't hear it, no matter what I try. I agree that it would be really good if it was there, but I can't transcribe it.
I can hear it pretty clearly up until around the section change on page 3, then it stops doing cool stuff, at least that I can hear. I can help you write that in sometime, but then again I really do like the simplicity of your LH right now, and the way it captures the percussive rhythm. There's an empty staff from 9-16 so I'm tempted to try and keep both, but once 17 comes around we're already got our hands full. Hmm....
- m. 14 E#-->Fn.
- m. 29 There's a D grace note in front of those two you have there.
- m. 31 - Start the slur at the grace note.
You can tell I started out checking everything from the beginning then pretty quickly lost focus. But overall this sheet seems pretty solid, the right things seem to be in place. Nice.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- No "(Two Pianos)" in the title.
Oops.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- M. 3, piano 2, LH - just make it a quarter? Doesn't seem like that note's any shorter than the others.
I swear I'm hearing a noticeable gap between them.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- M. 4, beat 4 sounds like just D instead of A-D.
I wasn't sure, but I went with that anyway.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- M. 5-8, piano 2, LH, hearing something different like this:
Spoiler
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FRQE9g7K.png&hash=e9bd1427a361ec31a64d2d405feffe4c22fe9b0d)
I went with a slight variation based on both transcriptions, which is on the sheet now.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- m. 14 E#-->Fn.
Oops.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- m. 29 There's a D grace note in front of those two you have there.
I can't actually place a grace note there (NotePad reasons).
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- m. 31 - Start the slur at the grace note.
Oops.
Quote from: Latios212 on February 12, 2017, 02:30:08 PMYou can tell I started out checking everything from the beginning then pretty quickly lost focus.
Understandably so. I'm grateful for what you've done already.
Quote from: Latios212 on February 12, 2017, 02:30:08 PMBut overall this sheet seems pretty solid, the right things seem to be in place. Nice.
Hopefully it won't require too much more fixing. Thanks.
Did a quick playability/pianistic check, everything looks good! ^^ This is something I might want to play with someone someday, ahaha~
One thing though - i know notepad makes it impossible, but would you consider scoring the last section in D-flat major instead of C-sharp major? xD Five flats are generally easier to read than seven sharps~
Quote from: daj on February 13, 2017, 05:46:12 PMOne thing though - i know notepad makes it impossible, but would you consider scoring the last section in D-flat major instead of C-sharp major? xD Five flats are generally easier to read than seven sharps~
I was thinking this too, but didn't say anything 'cause you went from a sharped key signature to another sharped signature and I thought maybe going from sharped to flatted was bad juju.
Brilliant as always, Waluigi! About time someone did this one.
Quote from: daj on February 13, 2017, 05:46:12 PMDid a quick playability/pianistic check, everything looks good! ^^ This is something I might want to play with someone someday, ahaha~
Oh sweet. Thanks!
Quote from: daj on February 13, 2017, 05:46:12 PMOne thing though - i know notepad makes it impossible, but would you consider scoring the last section in D-flat major instead of C-sharp major? xD Five flats are generally easier to read than seven sharps~
Well...
Quote from: Dudeman on February 13, 2017, 05:54:46 PMI thought maybe going from sharped to flatted was bad.
^This basically.
Quote from: LeviR.star on February 13, 2017, 06:48:40 PMBrilliant as always, Waluigi! About time someone did this one.
Thanks! I get why no one bothered with this before. It's hard.
BUMP
Don't take this as any sort of definitive source, but I remember having this book of Super Mario piano arrangements that included this track, and the arranger used flats for the key change instead of adding more sharps. Personally, seven flats is a bit much for me to read, but staying sharps might also be right; I don't actually know.
Latios is right on both of these points (slowed it down to check):
Quote from: Latios212 on February 12, 2017, 02:30:08 PMM. 3, piano 2, LH - just make it a quarter? Doesn't seem like that note's any shorter than the others.
Quote from: Latios212 on February 12, 2017, 02:30:08 PM- M. 5-8, piano 2, LH, hearing something different like this:
Spoiler
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FRQE9g7K.png&hash=e9bd1427a361ec31a64d2d405feffe4c22fe9b0d)
A few points of my own:
- Piano 2, LH, m4, beat 4: the D is just an eighth note instead of a quarter note.
- Piano 2, RH, m5, beat 4: the Cn goes back to a B on beat 4 instead of staying.
- Piano 1, RH, m10, beat 2.5: that note is also just an eighth note, instead of being tied across the measure half. Same in m18.
- Piano 1, RH, m23-24: the A at the end of m23 is an octave down (in the same octave as the previous A) that ties across to a quarter note A on beat 1 in m24. You've notated the line Piano 2's RH instead.
- m25-26: There's some sort of lower brass horn instrument or something (I'm not good with instruments) that you're missing there. As far as I can tell, it only seems to play a few notes between and after Piano 2's RH staccato quarter notes. It might be playing other notes as well, but it's hard to hear.
- Piano 1, LH, m33, beat 1: the grace notes there look a little too... tall.
- I could see more staccatos being used throughout this arrangement. While not necessary, I think they'd help to show that the pianist should play it with that same quick, light feel of the original. I imagine it'd be easy to go out of control spamming staccatos everywhere, though.
The original bass is doing some pretty cool stuff, in my opinion. Personally, I would prefer the actual bass line in the arrangement, though what you have now isn't necessarily bad. If you want to use the actual one but can't hear it well enough, Latios and I are willing to help you with that (and I can still kind of hear it on page 3... the track I'm arranging right now has a horribly hard to hear bass line o.o). At the least, if you want to keep what you have now, I'd recommend using it in the measures where one hand is free.
After going through all these, I decided I might as well give you the edited version including these changes, since I'd already played around with these changes myself and since you're having to deal with Notepad. It includes most of the things I listed above, as well as Latios' note about the D grace note. I didn't add that instrument I mentioned in m25-26, nor did I transcribe the bass line, but feel free to ask if you're having trouble with those yourself.
Updated MUS here (https://www.dropbox.com/s/gu8hb5io4w8k3yq/Mario%20Kart%20Wii%20-%20Rainbow%20Road%20%28Two%20Pianos%29.mus?dl=0)
Overall, though, a really awesome arrangement all around! Mario Kart Wii is one of my favorite games ever and I'm really glad to see that this has finally been done.
Updated the OP with what you gave me, but I'll try doing the other things later. I've been suddenly attacked with Physics homework, so I can't do much right now.
Huge thanks for going through the effort of doing it for me! Much appreciated.
My gosh. That bassline was pure, unadulterated
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fvignette3.wikia.nocookie.net%2Fmegaman%2Fimages%2Fd%2Fdf%2FCancer.png%2Frevision%2F20120307031146&hash=41591e399cdaef1cd49ba0d94fbc80bad05691d3)
I'm going to be attacked for making this joke.
SUB edited.
Quote from: WaluigiTime64 on February 22, 2017, 09:08:22 PMimage
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fvignette3.wikia.nocookie.net%2Fmegaman%2Fimages%2Fd%2Fdf%2FCancer.png%2Frevision%2F20120307031146&hash=41591e399cdaef1cd49ba0d94fbc80bad05691d3)
If there was ever an obscure reference, that was the obscure reference to end all obscure references.
seriously man when I have to look up a character that looks Mega Man-ish in order to check that it's actually a Mega Man character you've gone too far
Never forget.
Send help.
Please.
There's a fair bit going on here so it might take me a little while but hopefully life won't get in the way this time.
"help is on it is way"
I'll give it a week. After that it's just consuming space.
I've been PM'd about it. It's ok.
Not exactly sure why this one is buried in submissions. I think it's great. What is everyone's thoughts on it?
It has yet to be fully notechecked by an updater, and iirc the ones who did a bit had a few comments they haven't said?
I think it's because no one wants to fully check the notes.
I can't blame them.
Bump for Waluigi.
Ditto. While I didn't check any notes, I think it sounds good when I listen to it.
There are plenty of notes that need to be checked. It'll be a while.
It already has been a while, msf. Give it another few weeks, and it'll hit its anniversary.
Has any updater started checking these notes?
Trust me, there's been plenty of starting going on with checking this sheet already.
Deku and I have given Waluigi some ideas for getting this sheet fixed. Basically, some notes are wrong. Still waiting on that...
fine fine i did a bunch of stuff up to M.33
beyond that will happen likely a year from now lol
also funny thing i got the chord for M.22 completely wrong (it's actually some kind of weird G#dim chord, unless my spelling's all screwed too)
happy to celebrate this submission's fricking birthday
this is also technically a bump
C'mon updaters we need this
*looks at topic*
*scrolls down*
Good news. This submission is progressing. I am proud to say that the entire bassline has been overhauled.
Going off of Mael's edit:
-The guidelines for duets says that you should abbreviate each instrument in a duet with I and II.
-Change "8va" in the bass to "8vb."
-Why is there an E held for four bars at the beginning in the second piano part? Nowhere does that happen in the original. I would suggest replacing it with a chord consisting of second-space A, fourth-line D, and A above the staff, as two whole notes (tied in measures 1 and 2), for the D.C. You'll need to specify that though, with something written along the lines of "play on D.C. only."
-And about the repeat: it desperately needs to be written as a D.C. after playing for four pages, I would rather know that I am repeating back to the beginning rather than search for a forward-facing repeat bar.
-Why does piano II get to fortissimo two bars later in 45 rather than in 43 with Piano I? In general, many of your differing dynamics are odd, but I feel like this is the worst instance. 32 is a close second.
-RH Pno I measure 29 should include another note in that grace note pick-up: it should start with an additional D.
-RH Pno I measure 31 should include another note in that grace note pick-up: it too should start with an additional D.
-RH Pno I measure 33 is missing the E#-F# grace note pick-ups.
-General comment: you should consider the need for the 8va line on that uppermost staff. You've got a considerable amount of that line in the bottom end and even below the staff. Ledger lines aren't a bad thing at all.
-Sorry Mael, but the bass line from the key change to the end has major issues regarding correct pitches, the glaring pinnacle of which is the last four bars. Y-ouch!
-33-34 should be F#
-35 should be A#
-first half of 40 should be G#
-41-42 should be F#
-43 should be E# (last note should change to A# early)
-45 should be D#
-46 should be E#
-47 should be F#
-48 should be B natural
There is so much more to say but only so much effort and time to spend on it right now. Here's a version of the arrangement with the above changes made. Please use it and continue to comb through this arrangement:
https://www.dropbox.com/s/j6aaa3rqyj5wagg/Mario%20Kart%20Wii%20-%20Rainbow%20Road%20%28Two%20Pianos%2912345.mus?dl=1
Quote from: Olimar12345 on February 17, 2018, 01:49:02 PM-Change "8va" in the bass to "8vb."
-And about the repeat: it desperately needs to be written as a D.C. after playing for four pages, I would rather know that I am repeating back to the beginning rather than search for a forward-facing repeat bar.
-Why does piano II get to fortissimo two bars later in 45 rather than in 43 with Piano I? In general, many of your differing dynamics are odd, but I feel like this is the worst instance. 32 is a close second.
-RH Pno I measure 29 should include another note in that grace note pick-up: it should start with an additional D.
-RH Pno I measure 31 should include another note in that grace note pick-up: it too should start with an additional D.
-RH Pno I measure 33 is missing the E#-F# grace note pick-ups.
-Sorry Mael, but the bass line from the key change to the end has major issues regarding correct pitches, the glaring pinnacle of which is the last four bars. Y-ouch!
-33-34 should be F#
-35 should be A#
-first half of 40 should be G#
-41-42 should be F#
-43 should be E#
-45 should be D#
-46 should be E#
-47 should be F#
-48 should be B natural
Fair enough. Thank you for your time and effort.
Quote from: Olimar12345 on February 17, 2018, 01:49:02 PM-The guidelines for duets says that you should abbreviate each instrument in a duet with I and II.
Funny enough this was in my sheet before Mael's edits, so I don't know what happened there. Also you forgot the "I" in "Piano I" in the first system.
Quote from: Olimar12345 on February 17, 2018, 01:49:02 PM-Why is there an E held for four bars at the beginning in the second piano part? Nowhere does that happen in the original. I would suggest replacing it with a chord consisting of second-space A, fourth-line D, and A above the staff, as two whole notes (tied in measures 1 and 2), for the D.C. You'll need to specify that though, with something written along the lines of "play on D.C. only."
What I'm wondering is how you managed to hear that accompaniment before the melody. That E is the last note of the melody, and it should be
very obvious. I did take most of this into account, and compromised with an A-D-E chord (whatever you'd wish to call that (Asus4? (the A is the most prominent note in that chord anyway))). Sliding from two 16ths to an octave at 162bpm isn't easy anyway.
Quote from: Olimar12345 on February 17, 2018, 01:49:02 PM-General comment: you should consider the need for the 8va line on that uppermost staff. You've got a considerable amount of that line in the bottom end and even below the staff. Ledger lines aren't a bad thing at all.
I would've dealt with this but I'm not 100% sure where I could remove it. Some places obviously need the 8va (the earlier section, for example), but whenever there's a part that is lower down, it's typically followed immediately by a higher part, and I see no reason to remove an 8va for 4 measures. The consistency may help the pianist too (very subjective though).
Quote from: Olimar12345 on February 17, 2018, 01:49:02 PM-43 should be E# (last note should change to A# early)
You sure about the early A#? Something sounds strangely off about that.
Wait, was the file in the op the one containing Mael's edits? Now I'm not sure.
Quote from: WaluigiTime64 on February 17, 2018, 02:50:54 PMWhat I'm wondering is how you managed to hear that accompaniment before the melody. That E is the last note of the melody, and it should be very obvious. I did take most of this into account, and compromised with an A-D-E chord (whatever you'd wish to call that (Asus4? (the A is the most prominent note in that chord anyway))). Sliding from two 16ths to an octave at 162bpm isn't easy anyway.
I hear the E now, but the line ends with A being the most important pitch there and as such it should be the highest note. The D-A relationship is much stronger than the E. I'd still suggest it to be in both octaves, but at the minimum it should have the one above the staff. Regardless, that part only happens on the second time through the piece and only for two bars, both of which were not qualities present previously.
Quote from: Olimar12345 on February 17, 2018, 03:04:53 PMWait, was the file in the op the one containing Mael's edits? Now I'm not sure.
I don't know actually. Not sure if he put it in himself because I didn't edit it. I know for sure that my old pitches for the bass in the last section were definitely wrong though.
Quote from: Olimar12345 on February 17, 2018, 03:04:53 PMI hear the E now, but the line ends with A being the most important pitch there and as such it should be the highest note. The D-A relationship is much stronger than the E. I'd still suggest it to be in both octaves, but at the minimum it should have the one above the staff.
Hehe, I knew there'd be some discussion on this one.
I wouldn't say the D-A relationship is any stronger than the E-A one, because both are fairly weak, hidden behind a very prominent A. A is the most important pitch there, yes, but the highest A has the most noticeable single-note crescendo, making it far more prominent on M.2 than M.1. The E however, is instantaneous in its dynamics, albeit weak regardless. The crescendo (which as we know wouldn't exactly be possible on a piano) is why I consider using the higher A immediately as rather jarring, which is why I didn't put it in. I do agree that the A should have the most focus, but I couldn't put in a better alternative.
"The line ends with A" was referring to the last four bars of the piece, not the dynamic shaping of the D.C. The line ends with the 16th notes G# and F# leading up to an A. Without it in that register, the voice leading ambiguously suggests that it drops to an E from the F#, which does not happen.
Quote from: Olimar12345 on February 17, 2018, 03:39:00 PM"The line ends with A" was referring to the last four bars of the piece, not the dynamic shaping of the D.C.
I got that far.
Quote from: Olimar12345 on February 17, 2018, 03:39:00 PMThe line ends with the 16th notes G# and F# leading up to an A. Without it in that register, the voice leading ambiguously suggests that it drops to an E from the F#, which does not happen.
It took me a while to really wrap my head around this. I get it, but the only time I can agree with it is when I listen to the piece without actually focusing on it at all, otherwise my brain naturally tracks the melody (like any normal listener), which does in fact descend from F# to E. This isn't to say that I haven't already updated the files with a different inversion of the chord, but hey, that's just my opinion being thrown out there.
What probably confused me was how you said that the 16th notes G# and F# lead to an A, even though they're strictly in the melody line only, which descends to an E.
Also no octave because easier playability.
woops
Here it is (https://www.dropbox.com/s/3yj14p0kho7szdg/Mario%20Kart%20Wii%20-%20Rainbow%20Road%20%28Two%20Pianos%29.mus?dl=1).
I just edited the bassline and added slurs for grace notes, so you can probably copy+paste that line in
Bump for arranger.
Let's finish this up.
*quickly dashes into the corner and hides behind half-yearly exams*
You can run but you can't hide.
Well ok maybe you can hide.
bump for arranger. We're nearly at the delete for inactivity point so just finish it already
can't delete for inactivity if there's still a bit of activity
Updated the files with a version that includes Mael's bassline (which managed to not be there before oops).
I still have school right now, but next week I'll be free-ish, so I'll work on it more then.
As it turns out I have no idea what I'm doing. Then again I've never had any idea of what I'm doing, so whatever I did is probably the usual bunch of errors... multiplied by 7.
Files updated with edits of the accompaniment lines for the final section.
Quote from: Maelstrom on February 18, 2018, 09:38:12 AMwoops
Here it is (https://www.dropbox.com/s/3yj14p0kho7szdg/Mario%20Kart%20Wii%20-%20Rainbow%20Road%20%28Two%20Pianos%29.mus?dl=1).
I just edited the bassline and added slurs for grace notes, so you can probably copy+paste that line in
Err, grace note lines are still amiss. We can edit that in for you if you want.
Other passing suggestions:
- Omit the G# in piano 2 m. 33 RH? It's a slight stretch, and piano 1 already has that note.
- Measure 39-40 are fine to emphasize, but I'm not much a fan of the octave tripling in piano 1 - it feels a bit out of place to me. Would you be willing to try something else there?
- I'd suggest a clef change for piano 1's right hand from measure 37 to 45.
Quote from: Latios212 on April 13, 2018, 09:04:14 PMErr, grace note lines are still amiss. We can edit that in for you if you want.
Oops. Should be fixed now.
Quote from: Latios212 on April 13, 2018, 09:04:14 PM- Omit the G# in piano 2 m. 33 RH? It's a slight stretch, and piano 1 already has that note.
Done.
Quote from: Latios212 on April 13, 2018, 09:04:14 PM- I'd suggest a clef change for piano 1's right hand from measure 37 to 45.
I'm going to assume you meant left hand. Done.
Quote from: Latios212 on April 13, 2018, 09:04:14 PM- Measure 39-40 are fine to emphasize, but I'm not much a fan of the octave tripling in piano 1 - it feels a bit out of place to me. Would you be willing to try something else there?
I definitely see what you mean. The clef change emphasises this point too lol. Unfortunately my brain is kinda fried, so I'm not sure what to do there right now. Feel free to offer suggestions. I'll be sure to change it.
Thanks.
My final feedback for this song. This will be unorganized.
m3,6,7 RH1 - You have staccato quarters on the off beat. Shouldn't those be 8ths then? Also in m33/35/37 RH2
m8 RH1
Spoiler
(https://i.imgur.com/uIERPVd.png)
I get why you notated it like this, but it's hard to read the rhythm instinctively with an off beat dotted q. Also in m12 in RH2, m16 LH2, and probably elsewhere.
system of m29 LH2 - that 8vb mark is quite close to those 8th notes....
Aaaaand that's all from me. Great job, this is finally coming together
Should be updated with Maelstrom's feedback. Thanks.
What else do we need for this one, Updaters?
It needs to be accurate and playable. Haven't seen it as of it's latest update, but it would need the same things all subs need ._.
I don't appreciate the snark here... this is clearly just asking someone who's reviewed it more recently about the current status of the sheet (i.e. their current thoughts on it).
No snark-ness from me, I was simply suggesting that they actually look at it. It's a new file and no updater has commented on it yet, meaning that probably no one has seen it since it was last edited.
Quote from: Maelstrom on April 26, 2018, 07:35:27 AMMy final feedback for this song. This will be unorganized.
Aaaaand that's all from me. Great job, this is finally coming together
Quote from: Latios212 on May 11, 2018, 09:13:16 PMI don't appreciate the snark here... this is clearly just asking someone who's reviewed it more recently about the current status of the sheet (i.e. their current thoughts on it).
Thanks.
QuoteQuote from: Maelstrom on April 26, 2018, 07:35:27 AMMy final feedback for this song. This will be unorganized.
m3,6,7 RH1 - You have staccato quarters on the off beat. Shouldn't those be 8ths then? Also in m33/35/37 RH2
m8 RH1 Spoiler
(https://i.imgur.com/uIERPVd.png)
system of m29 LH2 - that 8vb mark is quite close to those 8th notes....
Aaaaand that's all from me. Great job, this is finally coming together
I'll give this one a check then.
Looking through the new file.
-Piano 2, LH measure 17 is the same figure that is played before (13, etc.) but you've made the third-line D on the up beat of three a quarter instead of an eighth. When I listen to it I can distinctly hear the release and space between the notes there (like before), so that should be an eighth note and eighth rest, mirroring measure 13.
-P2, LH, m.18 sounds off. Check out the file below for details.
-P2, LH, m.21 is missing a fifth-line A natural on beat 3. The last eighth note in that bar should be an F natural as well.
-P2, LH, m.22 & 23 have some incorrect pitches (rather than post a bunch of pictures, see the file below).
-P2, LH, m.24 beat 4 should be a first-line G natural.
-P2, LH, m.26 up beat of 3 should be a first-line G (drop the octave).
-P2, LH, m.27 up beat of 3 should be a first-space A (repeated).
-P2, LH, m.29 & 30 were edited with similar things.
-P2, LH, m.40 the two F#'s should be G#'s.
-P1, LH, m.36 the last eighth rest and the bass clef were overlapping.
-P2, RH, m.28 you've got a rest on beat four when there should be a staccato quarter note pick-up into the next bar. It should be the same chord that plays on beat one of m.29 but with a C# instead of a C natural.
-P1, RH, m.29 you're missing that staccato quarter note chord that happens on beat 3 (same idea as 25 is happening here, just different harmony).
-P1, RH, m.30 D on Beat 3 should be a first-line E.
-P1, RH, m.31 the last E in the measure should be am F natural. The following bar (m.32) should have an F natural on the up beat of 2 instead of the E, and the last C#should be a first-space F#.
-P1, LH, m.35 the last three eighth notes should have a 6th playing above in harmony (C#-D#-C#).
-Is there a reason you left out the long held chords in measure 13-16? The RH isn't doing anything there, unless this was intentional I think it could be covered.
-P1, LH, m.28 the chord on the up-beat of 3 shout be a whole step lower (G-B-D).
-P1, LH, m.29 the whole note G should be an A.
-P2, RH, m.33 I'd recommend changing the low F# up to an A#. The F# (root) is already being played in the bass and the third is absent from your arrangement here, despite being in the recording.
-P2, RH, m.37 same thing as m.33, but with the low G# (9th). It's already being played by both hands in the P1 part.
-P2, RH, m.46 up-beat of 2 (the tied D#'s) should be C#'s. Also add G# to that chord as well as per the recording.
-You're inconsistent with your dynamic placements. Technically, you should try to place your dynamic marking underneath the moment you want it to be applied. Sometimes you place it way over to the left of where I think you want it to sound (see m.33, 39). Not sure if this is intentional, but it's inconsistent as-is.
-P1, LH, m.43 the last chord you have on beat four should actually be half of a beat sooner. Same thing with the first chord of the next measure; it should start on the up-beat of four in 43 (Leave out the E# on that chord btw).
-P1, LH, m.48 make the stem go down on the chord and up on the single B. That'll be easier to read.
Check it out:
https://www.dropbox.com/s/i2cx9tn6lh5rj5g/Mario%20Kart%20Wii%20-%20Rainbow%20Road%20%28Two%20Pianos%29123456.mus?dl=1
Sorry this has taken so long. Tbh, I am excited to get this arrangement up and going finally :)
Sorry for the wait. Files should be updated now.
Something feels kinda off about M.22, but I'll leave it.
I will double check that this afternoon when I get home. Once that is settled, this arrangement will have my SEAL OF APPROVAL
Measure 22 looks good to me. As-is, it gets my SEAL OF APPROVAL.
Hi, just popping in here to (hopefully) finally help finish this one off. Just a bunch of really tiny visual things.
- End the bracket in m. 2 at the barline.
- Optimize space on page 1 to allow a bit more room around the third system.
- Move the 8vb just a bit down at m. 25.
- Fix rest heights in m. 29 piano 1.
- Nudge dynamics in a few places to give them a bit more space.
- Flip the tie between m. 47-48 piano 1 LH.
- End the 8va on the last note of the last measure (piano 1 RH) instead of arbitrarily after. (This also makes a bit more room for the D.C.)
[Files] (https://www.dropbox.com/sh/fqf0y5qn9uk0tne/AADIQo5NZhVIBY67iSj8TFexa?dl=0)
Once again, nice work.
Files should be updated. Thanks.
It is done.
This submission has been accepted by Olimar12345 (http://forum.ninsheetmusic.org/index.php?action=profile;u=83).
~Zeta, your friendly NSM-Bot