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What key/time signature is this song in?

Started by The Deku Trombonist, March 24, 2013, 03:27:01 PM

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Maelstrom


Jompa

Birdo for Smash

Sebastian




Maelstrom

Quote from: mariolegofan on February 02, 2015, 09:15:21 AMAND C# - minor?
It's Jompa. He's never wrong when it comes to Key sigs.

And is mine really 6/8?

Jompa

Thank you for your indirect compliment^.^
Quote from: Maelstrom on February 02, 2015, 09:23:58 AMAnd is mine really 6/8?
Considering the eightnote tuplets will have such a big presence on the sheet it would definitely be the smartest to have it in 6/8. That is one reason at least.
Birdo for Smash

Maelstrom

Thanks. And you're welcome.  :P

I just wanted to check before I arranged the entire piece in the wrong time sig.

Sebastian

Quote from: Maelstrom on February 02, 2015, 09:23:58 AMIt's Jompa. He's never wrong when it comes to Key sigs.

Whoops, I didn't mean I thought it was wrong. Just wondering where it changes.....



Maelstrom


Here's what I have so far (NOT FINAL):
[.mus]
I know it changes to G Major repeatedly (for the, idk, answer part of the main theme)
Is it in B flat instead of F?
I notated it in 2/4 because anything else just felt wrong.

Bespinben

Actually, it's just in plain ol' A minor. The Bb's and F#s make a lot more sense in that context, plus the chromatic descent of the bass from m.14-17 starting at A gives it away (look up "lament bass").

Oh, and since m. 25 is derived from a DbM7 chord, you're gonna wanna spell the C# as Db and the G# as Ab.
Quote from: Nebbles on July 04, 2015, 12:05:12 PM
Someone beat Bespinben to making PMD music?! GASP!

MLF for Chatroom Mod next Tuesday

Maelstrom

Well, that's what I had it in to start, if that counts for anything......

But, what about the time sig? That's the real reason I posted this.

Bespinben

#430
This song has the quirky aspect of having an irregular hypermeter. Written as 2/4 currently, you can see there is a 5-bar phrase, then a 4-bar phrase, followed by a 4 & 1/2 bar phrase, then 4, then 5 & 1/2, and then just more madness. It fits well with the idea of the song.
The problem with keeping it in 2/4 is that these overarching metric divisions aren't as immediately apparent as they could be, and we want to communicate this information to the player with the most efficiency as possible. The other problem is I don't have a lot of experience with this subject, so I'm not sure what to tell you from there. Maybe set a "standard" key signature like 4/4, and then accommodate the "hiccups" with a momentary 2/4, or a 5/4.
(For example, doing it this way, the beginning would have two 4/4 measures, then one 2/4, then three 4/4 measures, then a 5/4 measure, then three 4/4's , then a 7/4..... ugh....)
[Actually, look at old Renaissance music - think it has a lot of similar time irregularities {ex: "Fair Phyllis I saw sitting all alone"}]
Quote from: Nebbles on July 04, 2015, 12:05:12 PM
Someone beat Bespinben to making PMD music?! GASP!

MLF for Chatroom Mod next Tuesday

Jompa

Quote from: Bespinben on February 10, 2015, 05:39:52 PMThe Bb's and F#s make a lot more sense in that context.
Those contexts are kinda like this:
As Bespin said; F# showing up in A-minor isn't all that big of a deal, and then there is descending bass too.
But the B-flats show up because it modulates to D-minor out in there.
Birdo for Smash

Maelstrom

But where? The B flats pop up repeatedly. Is it worth notating as such?

Jompa

I'd say it starts being D-minor at like 00:20 when the marimba comes in there, but it's mainly at the next part it is easy to identify it as D-minor. I'd notate it.
Birdo for Smash

Latios212

My arrangements and YouTube channel!

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