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

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

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Olimar12345

Quote from: Bloop on October 18, 2017, 07:13:42 AMCouldn't I give the same argument for it being a 6/8 hemiola in a 3/4 time signature?

You could if not for the fact that it literally starts in 6/8, and both syncopation and hemiola take us from one place to another, they don't change how/where we start.
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Sebastian

Wouldn't the first half of this sheet be better in 6/8? You could also go with 3/8 for the second section (I believe Olimar brought this up earlier). I'm just not feeling this 3/4 in the first section. The second sections, however, feels waltzy.



Bloop

Quote from: Olimar12345 on October 18, 2017, 01:03:30 PMYou could if not for the fact that it literally starts in 6/8, and both syncopation and hemiola take us from one place to another, they don't change how/where we start.
That's never stopped Bach before (i got this example from the hemiola wikipedia page)

Quote from: Sebastian on October 18, 2017, 01:08:52 PMWouldn't the first half of this sheet be better in 6/8?
that's literally what the last dozen of posts was about
It's just that counting in 6/8 feels too forced to me, but 3/4 comes more natural.

Would it be a good compromise, if I were to change the key signature to 6/8, but change the beaming of the notes in bars that really scream 3/4? (like bars 3-4, 15, 20-23)

Sebastian

That's what I was implying about the 3/8 / 3/4 idea. Not too big of a deal to me. Anyone else have any thoughts?



FireArrow

Quote from: Bloop on October 19, 2017, 04:08:05 AMThat's never stopped Bach before (i got this example from the hemiola wikipedia page)

That entire 22 minutes piece is in simple meter with short phrases of 6/8 sounding sections (which are sometimes performed as 3/4 anyways.)  So if this piece starts out in 6/8 it would be in bach's convention to leave it in compound meter, yes?
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

Olimar12345

Quote from: Bloop on October 19, 2017, 04:08:05 AMWould it be a good compromise, if I were to change the key signature to 6/8, but change the beaming of the notes in bars that really scream 3/4? (like bars 3-4, 15, 20-23)

That would be not only perfectly fine, but recommended probably (depending on the individual spot).
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Bloop

Finally edited the sheet. I still feel like 6/8 is wrong but whatever

Olimar12345

Ugh so sorry this one has dragged on. We've all been busy. Let me take another look at this one and see what's up....

-Composer names look nicer in two lines rather than stretched across the top. Also, use an ampersand instead of a comma when there's only two names.
-Bass should articulate an Ab on beat 4 (or 2 depending on how you think about it, I'll do all 6 beats in this for now just for simplicity) LH of measure 45.
-Bass should be a Gb on beat 1 and D natural on beat 4 of measure 47.
-Measure 47 RH doesn't slur the fourth-to-fifth eighth notes like you have notated; they're staccato there.
-The final measure V-I desperately needs to be slurred.
-Measure 2 beat 1 LH should be an F, not a G natural.
-You're probably going to hate me for this, but after more analysis I think that 15-33 should be in 3/4, like you said before. I still think that the first 14 bars should be in 6/8 though, but 15 sets up the 3/4 extremely well, and it's carried nicely by the bass line. 34 makes a good transition back to the 6/8. I'll change it back for you to hopefully make up for harassing you about that before xD
-I'd use shorter note values in the LH measures 16-23 on the fourth sixteenth of 1 since they're cut short in the original. You actually do this later, so this would make it more consistent too.
-There's a Db on the 5th beat of measure 14 LH that's missing.
-The third note in measure 22 LH should be a Db not an Eb.
-Low Cb in measure 25 (LH) should be a Db.
-Measure 28 should have a Db quarter note on beat 3, no Gb.
-Courtesy natural should be added to the RH F in 26 as well.


Aaaand I think that's everything. Notes look good otherwise. Hope we can get this one finished up finally. Here's the version I edited to have all of the above changes, lmk what you think.

https://www.dropbox.com/s/taurdru82snpcze/It%27s%20Showtime%20SPM12345.mus?dl=1
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Bloop

omg the end is nigh

Looks great, I updated the files! I changed two extra things in the new version though:
-The LH 4:3 syncopation in m. 24 was notated as four dotted eighth notes (as in a 6/8 bar), changed this to match the 3/4.
-The LH bass in the first beat of m. 31 is a C apparently

Olimar12345

xD I actually disagree with both changes. The dotted eighths make it easier to see the hemiola in that bar, and they are in fact A naturals in the bass in 31 (they move chromatically upwards).
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Bloop

But the dotted eighths really clash with the 3/4 notation in the RH imo. Maybe it's not as easy to see it's a hemiola, but it's easier to see where the note falls in the beat.
And after listening to bar 31 with earbuds on 50% speed, I hear something different again. It does start and end on an A, but there are a few C's thrown in between too apparently

Olimar12345

#41
Quote from: Bloop on December 22, 2017, 01:33:04 PMBut the dotted eighths really clash with the 3/4 notation in the RH imo. Maybe it's not as easy to see it's a hemiola, but it's easier to see where the note falls in the beat.

It lines up nicely and clearly with the first layer, which is also showing signs of 6/8 there. I don't think it's as bad as you think it is. the middle layer isn't even some tricky rhythm, it's all 16th notes, which divide into both other parts perfectly and easily.

Quote from: Bloop on December 22, 2017, 01:33:04 PMafter listening to bar 31 with earbuds on 50% speed, I hear something different again. It does start and end on an A, but there are a few C's thrown in between too apparently

The bass definitely plays an A natural, there's no question about it. Throughout that section there are other things going on that aren't included in your arrangement, which I thought you left out intentionally. The C you're hearing comes from another part. Including it in this one place imo would make it highly inconsistent with the rest of this section unless you went back and decided to include more of this part elsewhere. I think that is more work than is needed, and the simplicity of just having the bass works well for an arrangement like this.

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Bloop

alright i'll just go with your version then
updated the files

Olimar12345

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Sebastian