[GCN] Mario Kart: Double Dash!! - "Circuit" (Replacement) by LeviR.star

Started by Zeta, August 14, 2018, 07:58:10 PM

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Zeta

Submission Information:

Series: Super Mario
Game: Mario Kart: Double Dash!!
Console: Nintendo GameCube
Title: Circuit
Instrumentation Solo Piano
Arranger: LeviR.star


Replacement Information:

Links to Existing Sheet: MUS | MIDI | PDF
Replacement Type: Challenge (new arranger)

[attachment deleted by admin]

LeviR.star


As indicated by the title of my sheet, I'd like it to be renamed "Circuit" to give Mario & Yoshi Circuit credit for having the same theme.
Check out my Youtube channel for remixes and original music! LeviR.star's Remixes

Also check out my piano arrangements here on my PA thread! LeviR.star's Arrangements

Sebastian




Brassman388

This is good stuff that probably took loads of time to figure out some of those lines.

A couple of things, though.

The note about the left hand being played an octave lower doesn't seem necessary. Yes, the bass does do that, but I think it sounds fine written as is for the piano, the way finale is performing it. But, if you're set on keeping it that way, there is a way you can notate it without having the note. There's a clef option where there's a little "8" below the bass clef which says that everything is sounded an octave lower than written.

M. 20, 21; I think if you're gonna have another line that's being shared with the main melody, that the rests should be balanced in between the measure space. Having the whistle melody's rests being placed uncomfortably high because of the main melody's rests are centered in the measure doesn't look too good in my opinion. It's not terribly crucial to the sheet, just something to think about.

M. 23, 31; the 15ma doesn't have to extend the entire length of the note's duration, just above the note itself.

M. 34; consider detaching the eighth note from beat 1 from the two other eighth notes on beat 2.

M. 39, beat 3, 4; So this is a tricky one and definitely something to think about from a performance standpoint. The figure of a 16th note followed by an eighth rest doubly is a figure found in many jazz charts. It's not uncommon to see something like that because of the nature of interpreting syncopation. However, I feel like most piano players that use are sheets are more classically trained. So writing that with a staccato'd eighth note one the downbeat of beat 3 would certainly clarify to classical players what's happening there. Not a big deal, just something to think about.

M. 43; There's hidden rests on beat 4 that need to be there.


It's a nice sheet overall.

mastersuperfan

Quote from: Brassman388 on August 29, 2018, 06:35:43 PMThere's a clef option where there's a little "8" below the bass clef which says that everything is sounded an octave lower than written.

This isn't permitted in NSM submissions.
Quote from: NocturneOfShadow on February 11, 2016, 03:00:36 PMthere's also a huge difference in quality between 2000 songs and 2010 songs
Quote from: Latios212 on February 11, 2016, 03:29:24 PMThe difference between 2000 songs and 2010 songs is 10 songs.

Olimar12345

Visit my site: VGM Sheet Music by Olimar12345 ~ Quality VGM sheet music available for free!

LeviR.star

Quote from: mastersuperfan on August 29, 2018, 07:24:57 PMThis isn't permitted in NSM submissions.

Quote from: Olimar12345 on August 29, 2018, 07:30:38 PM^yeah, that's not a clef used in piano lit.

That's too bad; it really cleaned up my Yoshi's Island DS "Castle & Fortress" sheet...

Anyhoo,

Quote from: Brassman388 on August 29, 2018, 06:35:43 PMM. 20, 21; I think if you're gonna have another line that's being shared with the main melody, that the rests should be balanced in between the measure space. Having the whistle melody's rests being placed uncomfortably high because of the main melody's rests are centered in the measure doesn't look too good in my opinion. It's not terribly crucial to the sheet, just something to think about.

M. 23, 31; the 15ma doesn't have to extend the entire length of the note's duration, just above the note itself.

M. 39, beat 3, 4; So this is a tricky one and definitely something to think about from a performance standpoint. The figure of a 16th note followed by an eighth rest doubly is a figure found in many jazz charts. It's not uncommon to see something like that because of the nature of interpreting syncopation. However, I feel like most piano players that use are sheets are more classically trained. So writing that with a staccato'd eighth note one the downbeat of beat 3 would certainly clarify to classical players what's happening there. Not a big deal, just something to think about.

M. 43; There's hidden rests on beat 4 that need to be there.

Fixed all this, (but went for a non-staccato'd eighth note for consistency with the rest of the sheet)

Quote from: Brassman388 on August 29, 2018, 06:35:43 PMThe note about the left hand being played an octave lower doesn't seem necessary. Yes, the bass does do that, but I think it sounds fine written as is for the piano, the way finale is performing it.

M. 34; consider detaching the eighth note from beat 1 from the two other eighth notes on beat 2.

I kinda like the octave of the bass as it is right now, but if others would chime in with their opinions, that would be nice.

On that m. 24 note: should that apply to identical measures?

Files I'm posting here now for convenience: SUB - Circuit Replacement

Rhythmical inconsistencies are my worst fear here.
Check out my Youtube channel for remixes and original music! LeviR.star's Remixes

Also check out my piano arrangements here on my PA thread! LeviR.star's Arrangements

Brassman388


Latios212

Don't have time right now to check the whole thing, but can pop in to address a few things. Really neat sheet!

Quote from: LeviR.star on August 29, 2018, 08:10:24 PMI kinda like the octave of the bass as it is right now, but if others would chime in with their opinions, that would be nice.
Sometimes low notes can sound muddier on real pianos (especially imperfect ones) than they seem in Finale playback. It's up to you, though I think the switch to treble clef makes things a bit weird. You could get by with writing it as-is and using 8vbs when necessary.

Quote from: Brassman388 on August 29, 2018, 06:35:43 PMM. 39, beat 3, 4; So this is a tricky one and definitely something to think about from a performance standpoint. The figure of a 16th note followed by an eighth rest doubly is a figure found in many jazz charts. It's not uncommon to see something like that because of the nature of interpreting syncopation. However, I feel like most piano players that use are sheets are more classically trained. So writing that with a staccato'd eighth note one the downbeat of beat 3 would certainly clarify to classical players what's happening there. Not a big deal, just something to think about.
Seconded. Another thing I personally prefer is using a staccato'd eighth note instead of 16th+rest when it falls on the half beat as well. (Here, m. 38 beat 3.5 and similar places.)

Quote from: Brassman388 on August 29, 2018, 06:35:43 PMM. 34; consider detaching the eighth note from beat 1 from the two other eighth notes on beat 2.
Given that the rhythm of this song uses 16th notes liberally, there are hardly any places in the sheet with two consecutive beats beamed together, which is why this looks a little out of place. You can cut them off so that each beat is beamed separately. However, that's not to say you have to. Food for thought: this sheet maintains beams like that, although here I think it serves to maintain the contour of the melody line over the other layer. Ultimately I trust you can use your best judgement.

Other things just as I pass by: are the top layer expression markings in m. 9, 11, 17, 34 supposed to look as they are?

Flip the slur back and move the quarter rest back in the second half of m. 12.
My arrangements and YouTube channel!

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

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LeviR.star

Quote from: Latios212 on September 05, 2018, 05:03:21 PMSometimes low notes can sound muddier on real pianos (especially imperfect ones) than they seem in Finale playback. It's up to you, though I think the switch to treble clef makes things a bit weird. You could get by with writing it as-is and using 8vbs when necessary.

Another thing I personally prefer is using a staccato'd eighth note instead of 16th+rest when it falls on the half beat as well. (Here, m. 38 beat 3.5 and similar places.)

Given that the rhythm of this song uses 16th notes liberally, there are hardly any places in the sheet with two consecutive beats beamed together, which is why this looks a little out of place. You can cut them off so that each beat is beamed separately. However, that's not to say you have to. Food for thought: this sheet maintains beams like that, although here I think it serves to maintain the contour of the melody line over the other layer. Ultimately I trust you can use your best judgement.

move the quarter rest back in the second half of m. 12.

All this fixed.

- I took the octave up into account, (because I started thinking about the LH treble clef situation) but I'll wait for any updaters to point out necessary situtations to put occasional bass line notes in ()
- those 16th & 8th rest places are actually places I missed while double-checking my first draft. Fixed, along with several articulation inconsistencies with the LH. Right now I'm only putting certain articulations in the LH to match the RH style in specific measures.

Quote from: Latios212 on September 05, 2018, 05:03:21 PMOther things just as I pass by: are the top layer expression markings in m. 9, 11, 17, 34 supposed to look as they are?

They were fully intended to look like they are now. If you're referring to the oddly placed slurs and bent lines, those are scoops/pitch bends that I heard in the original. If you're not, I don't know what you're saying, sorry

Quote from: Latios212 on September 05, 2018, 05:03:21 PMFlip the slur back in the second half of m. 12.

Not sure what you meant here, but if you can explain a little more I'd be happy to fix
Check out my Youtube channel for remixes and original music! LeviR.star's Remixes

Also check out my piano arrangements here on my PA thread! LeviR.star's Arrangements

Brassman388

Quote from: Latios212 on September 05, 2018, 05:03:21 PMFlip the slur back and move the quarter rest back in the second half of m. 12.



   



I didn't move the rest back, tho.

LeviR.star

Not entirely sure why I didn't have to just flip layer 1 downwards, but I just went and manually flipped the slur down.
Check out my Youtube channel for remixes and original music! LeviR.star's Remixes

Also check out my piano arrangements here on my PA thread! LeviR.star's Arrangements

Brassman388

I would guess it's for visual consistency, I which case I would agree with that choice.

Also, don't forget to move that pesky quarter rest back a little.

LeviR.star

Quote from: Brassman388 on September 15, 2018, 09:38:09 AMAlso, don't forget to move that pesky quarter rest back a little.

Ooh, right. Done.

Also, a reminder for any updaters:

Quote from: LeviR.star on September 06, 2018, 05:16:11 PM- I took the octave up into account, (because I started thinking about the LH treble clef situation) but I'll wait for any updaters to point out necessary situtations to put occasional bass line notes in ()
Check out my Youtube channel for remixes and original music! LeviR.star's Remixes

Also check out my piano arrangements here on my PA thread! LeviR.star's Arrangements

Brassman388

There's a only a few measure where that's happening. In which case, I think it would be fine to move just those measure's bass figures down an octave so that they're no longer over lapping.

Try it, listen to it, and post it if it works.

Edit: don't forget the "https" in the copyright, also.