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Author Topic: [WiiU] Super Mario 3D World - "Captain Toad's Fiery Finale" by Sebastian  (Read 612 times)

Zeta

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Submission Information:

Series: Super Mario
Game: Super Mario 3D World
Console: Wii U
Title: Captain Toad's Fiery Finale
Instrumentation Solo Piano
Arranger: Sebastian
« Last Edit: April 03, 2018, 03:25:17 AM by Latios212 »
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Sebastian

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Re: [WiiU] Super Mario 3D World - "Captain Toad's Fiery Finale" by Sebastian
« Reply #1 on: February 24, 2018, 08:40:38 PM »

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Latios212

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Re: [WiiU] Super Mario 3D World - "Captain Toad's Fiery Finale" by Sebastian
« Reply #2 on: February 25, 2018, 03:56:11 AM »

Might wanna re-export your PDF. (I've noticed similar problems with Finale exports lately sometimes, I dunno why. Been using an external printer when that happens)
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Maelstrom

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bump for seb

Sebastian

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Sorry for the wait.

Might wanna re-export your PDF. (I've noticed similar problems with Finale exports lately sometimes, I dunno why. Been using an external printer when that happens)
Fixed.
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Sebastian

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bump
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Olimar12345

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-Measure 2, 4, and 32 should be notated with flats and not sharps. This way makes the most sense and is easier to read.

-Try to be more consistent with your choice of rhythms. Measures 1-4 RH share the same rhythms used in 29-32, but you wrote beat 3 as an eighth note in one and a quarter in the other. Pick one and do it the same in both places. I personally would prefer seeing the staccato quarter, but it could be written either way. Same issue with the LH in measures 1-4 and 31-32.

-A rest in measure 6 LH is above the staff for some reason. Measures 15 and 19 RH has the same issue, but it's below the staff.

-Measures 22-23 need to be built around F°7, since the figures are all descending by half-step (21-22 are F#°7, 22-23 are F°7, 25 is E°7).

-The end of measure 26 should be written with flats. It ascends from a C to a Db (the lowered 7th and key note in the dominant sound that makes up the harmony of that bar: Eb7b9). E natural should become Fb (lowered 9).

For details, consult this file containing all edits mentioned above:
https://www.dropbox.com/s/hz0sgv3yyf22mle/Captain%20Toad%27s%20Fiery%20Finale12345.mus?dl=1
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TheMarioPianist

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Honestly it looks pretty good to me. Really only a couple things to consider:

Measures 13-20: I don't know what the general rule is with cross staffing stuff, but maybe there's a chance cross staffing some more of those chords could make them even more legible. Its up to you and the other updaters whether they should all be done or not, but I'm especially thinking it could be a good idea for 18-20.

Measures 22 and 24: Those respective dyads on C-Eb and D-F Ebb-F (oops Olimar posted while I was typing) start on beat one of their respective measures and follow the eighth-two sixteenth pattern the whole way. I think you could probably add those in. (May need to move them all to a separate layer to make it look nicer).

Measure 26: There's kind of a weird sounding second voice in the right hand that would add an extra 3 notes to this measure. I'm gonna leave that on you to decide how necessary it is and how to put it in legibly and such. You're usually solid with styling stuff, so I don't see that being a problem for ya.

Good sheet overall, hopefully it'll be finalized soon!


And Olimar posted stuff while I was typing. I was looking at pitches only and was too tired to try to catch any of the stuff he went for. Well, I shoulda caught the rhythm thing and the oddly placed rests at least. Gimme a break, I've been on quite the hiatus :D.
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Olimar12345

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Woah, hey there TMP! How've you been?
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TheMarioPianist

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Not bad man, not bad! Just kinda got lost in a billion other things and my NSM time took the L for it big time unfortunately. I'm starting to try to get back into things here. Hopefully some arrangements will start pumping out soon! Hope you've been good as well!
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"I'm always here to help. Except when I'm not." ~Latios212

"If you're interested in 'balancing' work and pleasure, stop trying to balance them. Instead make your work more pleasurable." ~Donald J. Trump

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Sebastian

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-Try to be more consistent with your choice of rhythms. Measures 1-4 RH share the same rhythms used in 29-32, but you wrote beat 3 as an eighth note in one and a quarter in the other. Pick one and do it the same in both places. I personally would prefer seeing the staccato quarter, but it could be written either way. Same issue with the LH in measures 1-4 and 31-32.

-A rest in measure 6 LH is above the staff for some reason. Measures 15 and 19 RH has the same issue, but it's below the staff.

-Measures 22-23 need to be built around F°7, since the figures are all descending by half-step (21-22 are F#°7, 22-23 are F°7, 25 is E°7).

-The end of measure 26 should be written with flats. It ascends from a C to a Db (the lowered 7th and key note in the dominant sound that makes up the harmony of that bar: Eb7b9). E natural should become Fb (lowered 9).
I agree with this stuff. Those spellings were being a real bear. Thanks for the help. xD

-Measure 2, 4, and 32 should be notated with flats and not sharps. This way makes the most sense and is easier to read.
I actually disagree here. First, I used G# because the chord looks like the upper structure of the secondary dominant (EM7). Secondly, b5 (flatted 5ths) are very uncommon in a minor key vs. a #4 which is common...hence the secondary dominant spelling. Also, the Ab and Cb feel very unnatural to me and don't seem to fit. I'd much prefer the other spellings.


TMP YOU'RE BACK. WE'VE MISSED YOU.

Measures 13-20: I don't know what the general rule is with cross staffing stuff, but maybe there's a chance cross staffing some more of those chords could make them even more legible. Its up to you and the other updaters whether they should all be done or not, but I'm especially thinking it could be a good idea for 18-20.
As a personal rule, I tend to use cross-staffing if there is one note or even a dyad. Usually if there are three notes (a triad or more) then I don't use cross-staffing since it's not hard to distinguish the chord (well, for me anyway. As a piano performance major I tend to not mind things that other musicians do :P). Maybe, however, I'll consider using cross-staffing here.

Measures 22 and 24: Those respective dyads on C-Eb and D-F Ebb-F (oops Olimar posted while I was typing) start on beat one of their respective measures and follow the eighth-two sixteenth pattern the whole way. I think you could probably add those in. (May need to move them all to a separate layer to make it look nicer).
I'll check this out.

Measure 26: There's kind of a weird sounding second voice in the right hand that would add an extra 3 notes to this measure. I'm gonna leave that on you to decide how necessary it is and how to put it in legibly and such. You're usually solid with styling stuff, so I don't see that being a problem for ya.
I decided to leave those out as to keep with the general mood of the arrangement. Thanks for the tip though!

But bro! Great to have you back, man!!
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Olimar12345

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I actually disagree here. First, I used G# because the chord looks like the upper structure of the secondary dominant (EM7). Secondly, b5 (flatted 5ths) are very uncommon in a minor key vs. a #4 which is common...hence the secondary dominant spelling. Also, the Ab and Cb feel very unnatural to me and don't seem to fit. I'd much prefer the other spellings.

That’s one way to think about it (I think you mean E7 though, as dominant chords aren’t minor). The two major hang-ups I have with that is that 1) there is no E (root) in that entire bar, whereas if analyzed as D°7 as I suggested, not only is there a root to the chord, but it occurs on the down beat of 1 in the bass. Doesn’t get much stronger than that. 2) This piece puts a pretty good emphasis on the fully diminished chord, as seen in bulk later. It’s not hard to imagine this as foreshadowing to that.

I’m not sure I would agree with you about the commonality of #4s/b5s. Modaly speaking, they actually occur in the opposite manner; #4 lending themselves to the more major tonalities and b5 belonging to the diminished tonality. In jazz it is common for soloists to substitute major for Lydian. 


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Sebastian

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That’s one way to think about it (I think you mean E7 though, as dominant chords aren’t minor). The two major hang-ups I have with that is that 1) there is no E (root) in that entire bar, whereas if analyzed as D°7 as I suggested, not only is there a root to the chord, but it occurs on the down beat of 1 in the bass. Doesn’t get much stronger than that. 2) This piece puts a pretty good emphasis on the fully diminished chord, as seen in bulk later. It’s not hard to imagine this as foreshadowing to that.
Fair enough. This is enough reason to change the spelling.

(I think you mean E7 though, as dominant chords aren’t minor)
Yeah, I meant major.
I was taught that
M = major
m = minor
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Maelstrom

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Yeh, but it's easier to see if you say EM or Em

Olimar12345

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Yeah, I meant major.
I was taught that
M = major
m = minor

Dominant chords =/= major chords either. EM7 would be E Major 7, containing E G# B D#. E7 would be E dominant, containing E G# B D, being eligible for being a secondary dominant.

The M/m thing is correct terminology though btw. Lately I’ve been using a single m for minor and “Maj” for major because it is more comon in jazz notation like that.

« Last Edit: March 30, 2018, 04:17:00 PM by Olimar12345 »
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