[Wii] Super Paper Mario - "It's Showtime" by Bloop

Started by Zeta, April 24, 2017, 06:06:20 AM

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Zeta

Submission Information:

Series: Super Mario
Game: Super Paper Mario
Console: Nintendo Wii
Title: It's Showtime
Instrumentation Solo Piano
Arranger: Bloop

[attachment deleted by admin]

Bloop


Sebastian




Latios212

My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

Spoiler
[close]
turtle

Yug_Guy

Quote from: Bloop on April 24, 2017, 06:06:53 AMThis is for the updaters I love and adore <3
It's okay, us SPM fans love and adore you too <3 <3

Also, could I ask what's going on in m.27? It looks a bit... peculiar right now.

Sebastian

Might look cleaner if you flip the layers in M. 27.



FireArrow

Recheck your melody second half of measure 9. You copy pasted when you shouldn't have :3
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

FireArrow

Also:
Measure 23: That eight note in the second voice should be a sixteenth note with another note following it
Measure 37: You could include that sixteenth triplet run I think it would be fun c:
Measure 38+ (namely 42-45): you could do a lot better with your voicing. I'd go over and double check for wrong notes, missing voices, etc.
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

Bloop

Quote from: Yug_Guy on April 24, 2017, 02:52:02 PMAlso, could I ask what's going on in m.27? It looks a bit... peculiar right now.
Quote from: Sebastian on April 24, 2017, 06:27:59 PMMight look cleaner if you flip the layers in M. 27.
I just chose to remove the upper voice. It mostly just played along with notes of the second layer, and when it didn't, it just made that part unnecessarily difficult, maybe humanly impossible. The 16th notes are hard enough as is.

Quote from: FireArrow on April 28, 2017, 06:54:38 PMRecheck your melody second half of measure 9. You copy pasted when you shouldn't have :3
Rechecked. Fixed.

Quote from: FireArrow on April 28, 2017, 07:28:08 PMMeasure 23: That eight note in the second voice should be a sixteenth note with another note following it
I listened to that part a couple of times again at half speed: it isn't.

Quote from: FireArrow on April 28, 2017, 07:28:08 PMMeasure 37: You could include that sixteenth triplet run I think it would be fun c:
Included!

Quote from: FireArrow on April 28, 2017, 07:28:08 PMMeasure 38+ (namely 42-45): you could do a lot better with your voicing. I'd go over and double check for wrong notes, missing voices, etc.
I double checked, but I found most notes to be perfectly fine. The second voice playing from (the upbeat to) m. 40 are all the right notes, just sometimes moved up or down an octave for playability. I added the strings Db - Eb - F in the second half of m. 41, and a Bb in m. 46.

Aside from all this, I had the cross-staff noteheads in m. 24 mirrored. Fixed that before I get olimar and pianoth to get into an argument about what is visually or theoretically better

FireArrow

just trying to double check everything at a slow speed gives me such a headache wtf is this ost

Quote from: Bloop on April 29, 2017, 06:54:53 AMI listened to that part a couple of times again at half speed: it isn't.

I'm listening at ~30% speed and very cleary hearing the beginning of the run as: Gb -> Db -> Bb -> Ab -> Bb (all sixteenths)
third opinion i summoen thou

QuoteI double checked, but I found most notes to be perfectly fine. The second voice playing from (the upbeat to) m. 40 are all the right notes, just sometimes moved up or down an octave for playability. I added the strings Db - Eb - F in the second half of m. 41, and a Bb in m. 46.

There's a missing Bb in 39 (halfway through the measure.)
The Db Eb F thing is not actually part of the middle voice so feel free to move that up an octave. The middle voice is just holding a Db right there (which makes playability sorta fun.) Also I swear to god I'm hearing another voice in the there but can't make out the notes so whatever >->

QuoteIncluded!

Technically it starts the measure before with the single note of D natural if you wanna include that. I would but I can see how notating that would be and ugly mess not worth it.
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

Static

Quote from: Bloop on April 24, 2017, 06:06:53 AMThis is for the updaters I love and adore <3
I'll be honest, I quite enjoy checking over SPM stuff, and this sheet is no exception. It looks great! The main concern I have with this right now is the time signature; I agree with 6/8 in m36-49, but the rest of the sheet definitely has more of a 3/4 feel. Writing that first page and a half in 3/4 not only more clearly gives the reader a better sense of the feel of the piece, but it will also mitigate some of those weird beamings and ties (while not wrong in 6/8, are out of place). The key of the song is actually also Ab minor up until m36, where it does switch to Eb minor.

More suggestions will come soon, but these are the biggest issues atm. Great work overall!

Bloop

#11
Quote from: Static on April 29, 2017, 09:11:52 PMThe key of the song is actually also Ab minor up until m36, where it does switch to Eb minor.
Then wouldn't it make more sense to write the piece in G# minor, then D# minor?

EDIT: Actually I'm not really sure what to think. I personally tend towards staying in Eb minor throughout the whole piece: m. 1-18 kinda sound Eb minor-ish to me (mostly i-I-vi progressions that usually resolve back to Eb minor in some way), but m. 19-30 are somewhat more Ab minor-ish, but m. 24-31 is just a long run up to a Bb major chord (resolving to Eb minor).
Quote from: FireArrow on April 29, 2017, 08:06:51 PMthird opinion i summoen thou

Dekkadeci

I find that the piece flickers between keys often enough--and enough of them are arguably just temporary tonicizations (such as the A flat minor shift and back within the first 4 bars)--that sticking to one key signature is good enough for me. For example, I hear the piece shift between E flat minor, A flat minor, and even G flat major.

As for whether to use 6 flats or 6 sharps in the key signature, my rule of thumb is that the key signature that lets me write the piece with the fewest double accidentals wins. In this case, with so many dominant-function B flat major chords with D naturals in this piece, E flat minor and its 6 flats wins. D sharp minor would bring a lot of A sharp major chords with their C double sharps instead.

Bloop

Updated the links again!

Quote from: FireArrow on April 29, 2017, 08:06:51 PMThe Db Eb F thing is not actually part of the middle voice so feel free to move that up an octave. The middle voice is just holding a Db right there (which makes playability sorta fun.)
I find the strings to be a secondary voice in that beat. The primary voice is played in octaves, so moving the Db - Eb - F run up an octave would either be unplayable, or negate the lower Ab while taking the place as primary voice (though it isn't). The Db isn't held in that part anymore, so it's still normally playable.

Quote from: FireArrow on April 29, 2017, 08:06:51 PMTechnically it starts the measure before with the single note of D natural if you wanna include that. I would but I can see how notating that would be and ugly mess not worth it.
I just included it as a grace note.

Bloop