Submission Information:
Series: Super Mario
Game: Mario Kart DS
Console: Nintendo DS
Title: Tick Tock Clock
Instrumentation Solo Piano
Arrangers: Sebastian (http://forum.ninsheetmusic.org/index.php?action=profile;u=3424), E. Gadd Industries (http://forum.ninsheetmusic.org/index.php?action=profile;u=4357) & TheClassicalLenny (http://forum.ninsheetmusic.org/index.php?action=profile;u=4957)
[attachment deleted by admin]
Hopefully we can get this in as a contribution to the NSM Y3K update!
oh hey i'm not the only one who has arranged this song
Maybe you could take a look at my arrangement (https://dl.dropboxusercontent.com/u/100796699/Nieuwe%20map/Unsubmitted/Tick%20Tock%20Clock.pdf) and compare a bit.
I forgot to say, I won't be able to help with this, as I'll be on a mission trip all week, so Seb and Lenny will have to see this through.
Great minds think alike, though! ;)
Did a couple more edits:
- Added staccatissimos in the first few measures.
- Center-aligned the second page title.
- Hid the dynamic in the last measure (I thought I had it hidden, but must've gotten "unhidden.")
- Some misplaced stuff.
- Added some notes.
Ooh, I think it looks good! :) You've chosen a hilarious track that's a little tough to transcribe to piano (because the "tick"-y sound of a clock that forms most of the accompaniment can't be recreated too easily), but for the most part, to my knowledge, you've got the notes and the feel! I like :)
Erm, personal thing against single-note tremolos though. I think you've got two in the piece, and...it's not nice to see those. In the original we've got tremolos, but in a performance context I don't think it works out.
My suggestion would be to take them out, and if you really want them, then keep the second one buuuuut change it to a split instead. Basically, low-high-low-high etc. The standard two-note tremolo over an octave. I think that'll have a better effect :)
Otherwise, great work, hope to see this up soon!
Next to that, I recommend changing a few of the 8th note chords into two 16th notes every two measures (like in my sheet in measure 4, 6, 8 etc.). It's clearly hearable in the original.
Also, I think you should make a musical distinction between the two parts of the song (m. 13-22 and m. 23-30). The drumbeat disappears in m. 23-30, which results in an emptier sound. I think something like that should be noticeable in the sheet too.
Quote from: Bloop on July 11, 2016, 09:44:41 AMNext to that, I recommend changing a few of the 8th note chords into two 16th notes every two measures (like in my sheet in measure 4, 6, 8 etc.). It's clearly hearable in the original.
Also, I think you should make a musical distinction between the two parts of the song (m. 13-22 and m. 23-30). The drumbeat disappears in m. 23-30, which results in an emptier sound. I think something like that should be noticeable in the sheet too.
Hi! I never even realized the two semi-quaver notes until I listened really hardly, so I'd say your listening skills are ON FLEEK. Also, what "drumbeat?" Is it the "tick tock tick tock" or the bass? Because if it was the bass, you could hear the bass if you listened close enough.
Quote from: dajwxp on July 10, 2016, 08:19:09 PMErm, personal thing against single-note tremolos though. I think you've got two in the piece, and...it's not nice to see those. In the original we've got tremolos, but in a performance context I don't think it works out.
My suggestion would be to take them out, and if you really want them, then keep the second one buuuuut change it to a split instead. Basically, low-high-low-high etc. The standard two-note tremolo over an octave. I think that'll have a better effect :)
Latios and I had a discussion about these. I think we decided to keep these in. A lot of the time, there is ambiguity to how fast/how many times a tremolo should be played. That's why tremolos are sometimes added (opposed to 16ths/32nds/etc.).
Personally, when I come across one that is really hard to play (M. 16 for example), I'll switch off fingers (pinky and thumb) instead of playing them at the same time (like the tremolos that are between two certain notes). I don't write it this way because I want it to be like the original, and because
some people can play them as they are written. I'd really like to not lose that original feel :P
tl;dr: If they are to hard to play, you can play them like tremolos that are between two notes instead of like the ones we have in the sheet.
Quote from: Bloop on July 11, 2016, 09:44:41 AMNext to that, I recommend changing a few of the 8th note chords into two 16th notes every two measures (like in my sheet in measure 4, 6, 8 etc.). It's clearly hearable in the original.
I would agree that they are "hearable" in the original; however, we didn't add them because we didn't want to throw off the clean left hand we have going. If we added those in M. 4 and M. 6, then we'd have to add them everywhere else and I don't want to add them in M. 6-18. It'd make it harder and it'd throw off the effect/mood (in my opinion) we have going in this piece.
Quote from: Bloop on July 11, 2016, 09:44:41 AMAlso, I think you should make a musical distinction between the two parts of the song (m. 13-22 and m. 23-30). The drumbeat disappears in m. 23-30, which results in an emptier sound. I think something like that should be noticeable in the sheet too.
We originally had the all the upbeats from M. 23-30 taken out. Latios recommended we add them in to make the piece fuller.
Quote from: Sebastian on July 12, 2016, 06:47:36 AMI would agree that they are "hearable" in the original; however, we didn't add them because we didn't want to throw off the clean left hand we have going. If we added those in M. 4 and M. 6, then we'd have to add them everywhere else and I don't want to add them in M. 6-18. It'd make it harder and it'd throw off the effect/mood (in my opinion) we have going in this piece.
We originally had the all the upbeats from M. 23-30 taken out. Latios recommended we add them in to make the piece fuller.
i have a hard time explaining myself in words so i made an example
The main thing that's bugging me is the fact that the bassline isn't that consequent, resulting in emptier and fuller sounding parts in places where they shouldn't be.
I'd recommend something like this (https://dl.dropboxusercontent.com/u/100796699/Nieuwe%20map/Not%20planning%20to%20submit/Mario%20Kart%20DS%20-%20Tick%20Tock%20Clock%20%281%29.musx).
In this version, the accompaniment is consequent throughout the whole song (mostly ascending fifths for the bass; chords are always on the same octave). I deleted the lower notes in m. 23-30, resulting in an emptier sound.
If you want the bassline to be more like the original (mostly descending fourths), I'd recommend this version (https://dl.dropboxusercontent.com/u/100796699/Nieuwe%20map/Not%20planning%20to%20submit/Mario%20Kart%20DS%20-%20Tick%20Tock%20Clock%20%282%29.musx). In this version, the bassline consists of mostly descending fourths. I also added the two 16th notes every two bars. In this way, the left hand won't be as hard to play, and I personally feel they do add to the mood of the song.
Quote from: Bloop on July 12, 2016, 08:00:29 AMThe main thing that's bugging me is the fact that the bassline isn't that consequent, resulting in emptier and fuller sounding parts in places where they shouldn't be.
I'd recommend something like this (https://dl.dropboxusercontent.com/u/100796699/Nieuwe%20map/Not%20planning%20to%20submit/Mario%20Kart%20DS%20-%20Tick%20Tock%20Clock%20%281%29.musx).
In this version, the accompaniment is consequent throughout the whole song (mostly ascending fifths for the bass; chords are always on the same octave). I deleted the lower notes in m. 23-30, resulting in an emptier sound.
I guess that works. I'll do some messing with it.
Quote from: Bloop on July 12, 2016, 08:00:29 AMIf you want the bassline to be more like the original (mostly descending fourths), I'd recommend this version (https://dl.dropboxusercontent.com/u/100796699/Nieuwe%20map/Not%20planning%20to%20submit/Mario%20Kart%20DS%20-%20Tick%20Tock%20Clock%20%282%29.musx). In this version, the bassline consists of mostly descending fourths. I also added the two 16th notes every two bars. In this way, the left hand won't be as hard to play, and I personally feel they do add to the mood of the song.
I don't like when there are notes repeating each other on the downbeat
and upbeat. Olimar has made his statement about this to me as well.
I say we leave it as is.
Quote from: Sebastian on July 12, 2016, 09:54:03 AMI don't like when there are notes repeating each other on the downbeat and upbeat. Olimar has made his statement about this to me as well.
I say we leave it as is.
I don't mind that personally: the upbeat is supposed to be played a bit louder than the downbeat, so there will be a distinction between the two. But that's just my opinion, you can keep it as is.
Quote from: Sebastian on July 12, 2016, 06:47:36 AMLatios and I had a discussion about these. I think we decided to keep these in. A lot of the time, there is ambiguity to how fast/how many times a tremolo should be played. That's why tremolos are sometimes added (opposed to 16ths/32nds/etc.).
Personally, when I come across one that is really hard to play (M. 16 for example), I'll switch off fingers (pinky and thumb) instead of playing them at the same time (like the tremolos that are between two certain notes). I don't write it this way because I want it to be like the original, and because some people can play them as they are written. I'd really like to not lose that original feel :P
tl;dr: If they are to hard to play, you can play them like tremolos that are between two notes instead of like the ones we have in the sheet.
Single-note tremolo is actually a really (like, pretty high up there) advanced technique haha buuut yeah, I get where you're coming from :)
Gotcha!~
:(
Quote from: Bloop on July 13, 2016, 04:07:04 AMI don't mind that personally: the upbeat is supposed to be played a bit louder than the downbeat, so there will be a distinction between the two. But that's just my opinion, you can keep it as is.
Haha, ok. The links have been updated.
Quote from: dajwxp on July 13, 2016, 04:28:06 AMSingle-note tremolo is actually a really (like, pretty high up there) advanced technique haha buuut yeah, I get where you're coming from :)
Especially with octaves.
Even for someone like myself who's fairly good at octaves, it's nearly impossible to get those octaves in rapid succession without creating an unwanted harsh tone.
Quote from: Pianist Da Sootopolis on July 13, 2016, 03:34:06 PMEspecially with octaves.
Even for someone like myself who's fairly good at octaves, it's nearly impossible to get those octaves in rapid succession without creating an unwanted harsh tone.
I'm thinking Ravel's Miroirs IV and Schubert/Liszt's Erlkonig! ;)
chances are you were thinking bout those too haha right
Yeah, but with those you aren't playing quietly in a relaxed piece.
Erlkonig especially, you're playing ff so it doesn't really matter.
Plus, the fact is that most pianists (period) can't play either, much less the people looking to play VGM from the site.
A few quick suggestions:
-There are 16ths missing in the bass clef. It's pretty clear when you listen closely.
-The intro gets intentionally out of sync in the original, but that's not in your piece.
-m23-30 - LH - Some clear 2nd harmonies are missing and it wouldn't be that hard to add them in. In addition, double check every off beat of that section. It moves.
Ugh.
Sorry about my inactivity. My bad.
Quote from: Maelstrom on July 13, 2016, 06:59:10 PM-There are 16ths missing in the bass clef. It's pretty clear when you listen closely.
This is what Bloop and I were talking about near the beginning of this sub.
Quote from: Maelstrom on July 13, 2016, 06:59:10 PM-The intro gets intentionally out of sync in the original, but that's not in your piece.
A few others and I discussed this. We decided to leave it out. It's just an echo that gets, as you say, noticeably out of sync. It's not technically a note change/addition or anything.
Quote from: Maelstrom on July 13, 2016, 06:59:10 PM-m23-30 - LH - Some clear 2nd harmonies are missing and it wouldn't be that hard to add them in. In addition, double check every off beat of that section. It moves.
Uh, I'll get this checked out.
What needs to be done to this?
I'll fix it up here soon.
Waitin' on Meal to reply ;)
Incorrect.
We're waiting on
Quote from: Sebastian on July 16, 2016, 12:48:41 PMQuote from: Maelstrom on July 13, 2016, 06:59:10 PM-m23-30 - LH - Some clear 2nd harmonies are missing and it wouldn't be that hard to add them in. In addition, double check every off beat of that section. It moves.
Uh, I'll get this checked out.
I didn't finish tonight, but I'll work on it first thing in the morning.
EDIT: Well, actually, Mael, would you mind doing it, please?
Quote from: Maelstrom on July 13, 2016, 06:59:10 PM-m23-30 - LH - Some clear 2nd harmonies are missing and it wouldn't be that hard to add them in.
Quote from: Bloop on July 12, 2016, 08:00:29 AMIn this version, the accompaniment is consequent throughout the whole song (mostly ascending fifths for the bass; chords are always on the same octave). I deleted the lower notes in m. 23-30, resulting in an emptier sound.
Quote from: Sebastian on July 12, 2016, 09:54:03 AMI guess that works. I'll do some messing with it.
We decided on deleting those to give it an "emptier" sound.
Quote from: Maelstrom on July 13, 2016, 06:59:10 PMIn addition, double check every off beat of that section. It moves.
The harmony note(s) change(s), but we don't have the harmony notes in the sheet for reasons above. The notes we have are in the original (the upbeat).
The only incorrect notes I found are beats 1.5 of 26 & 30. Those actually stay the same as the previous 2 beats for one
extra beat. Those have been fixed and links updated.
I have access to Finale. Yay! ;D
Sooooo... Is everything clear now?
This submission has been accepted by Bespinben (http://forum.ninsheetmusic.org/index.php?action=profile;u=2510).
~Zeta, your friendly NSM-Bot