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djRyoji's Corner - Video Game Piano Vol. I (20 arrangements + sheetbook)

Started by DonValentino, September 04, 2010, 09:40:06 AM

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FireArrow

Quote from: Jompa on March 25, 2013, 04:58:32 PMOk, what am I going to show you?
Why flats are stupid in B major? Is that it? 'Cause if that's all, then you could just read the stuff I have already written, you know. Or you could use common sense, either way is fine.
Or is it something else?

I think think he means to actually show him via sheet music (what it looks like when you arrange it your way.)
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

Jompa

But that is what WarioMan did!! And that's what any sane person writing in B would do!
And the point about this whole thing is that you don't use flats in B. How am I supposed to come with an example of when to not use flats, when I'm saying that you don't do that? That's just silly! If anything, he should come with an example to me, where he does use flats..
Anyone, come with an example of where you would use flats in B major!
Birdo for Smash

Dudeman

Oh my gosh. GUYS. Can you continue this discussion over, like, PM or something? I'm sure WarioMan doesn't appreciate having his thread being filled up by quarrel-posts.

And can I just say, how about we arrange our pieces the way we like? Jompa, you can leave flats out of B Major if you want to, and Brassman, you can put sharps and flats where you want to. You don't need to argue over Wario's arranging style (or anyone else's, for that matter).
Quote from: braixen1264 on December 03, 2015, 03:52:29 PMDudeman's facial hair is number 1 in my book

SlowPokemon

Quote from: Tobbeh99 on April 21, 2016, 02:56:11 PM
Fuck logic, that shit is boring, lame and does not always support my opinions.

Yugi

Quote from: Dudeman on March 25, 2013, 07:03:25 PMOh my gosh. GUYS. Can you continue this discussion over, like, PM or something? I'm sure WarioMan doesn't appreciate having his thread being filled up by quarrel-posts.
What?

I would pay people to post in my arrangments thread and give critique.

SlowPokemon

yeah thanks for that totally subtle hint. The problem is, this is no longer critique; it has turned into a debate that is no longer relevant to either the arranger or the arrangement.
Quote from: Tobbeh99 on April 21, 2016, 02:56:11 PM
Fuck logic, that shit is boring, lame and does not always support my opinions.

Brassman388

That's exactly what I meant, Firearrow.

Alright, fine. Check my thread at the break of dawn and we can duke it out there.

I apologize again, guys. I didn't mean for this to get this messy. I was just hoping I could enlighten all of you of kinda-proper theory.

I'll give you a critique after I'm done patching your sheet up. Cool, Warioman?

Jompa

Sorry for spamming your thread WarioMan.
I'll make up for it with an "Aru ame no hi"-arrangement for you...
Birdo for Smash

DonValentino

Quote from: Brassman388 on March 25, 2013, 07:44:28 PMThat's exactly what I meant, Firearrow.

Alright, fine. Check my thread at the break of dawn and we can duke it out there.

I apologize again, guys. I didn't mean for this to get this messy. I was just hoping I could enlighten all of you of kinda-proper theory.

I'll give you a critique after I'm done patching your sheet up. Cool, Warioman?
Of course. :)

Quote from: Jompa on March 26, 2013, 03:58:42 AMSorry for spamming your thread WarioMan.
I'll make up for it with an "Aru ame no hi"-arrangement for you...
Oh c'mon guys you don't have to apologize, really! It's ok! :D
But I want that arrangement anyways, aro.



Oh and Slow I started "Dance with Babies". Here's what I've got so far: http://db.tt/jnsvRkLY
Any comments, anyone?

DonValentino

Ok, so changed Bicycle to B maj and checked the accidentals:

Pokemon Diamond, Pearl and Platinum - "Bicycle" MUS

Jompa

Birdo for Smash

Jompa

Ok! Here are the accidental fixes you have to do:
(Measure# - wrong note - right note)

4 - C natural - B sharp
7 - D natural - C double sharp
16 - C natural - B sharp
17 - D natural - C double sharp
17 left hand - D natural - C double sharp
18 - D natural - C double sharp
18 left hand - C sharp - parenthesized  C sharp ;)
24 - D natural - C double sharp
28 - G natural - F double sharp
29 - D natural - C double sharp
32 - C natural - B sharp
33 - D natural - C double sharp
33 left hand - D natural - C double sharp
36 - G natural - F double sharp
37 left hand - C natural - B sharp
44 - D natural - C double sharp
46 left hand - C sharp - parenthesized  C sharp
48 - A natural - G double sharp

No fucking flats!

--------------

Also;
I still think this would make the arrangement better: Of course, it is up to you, but I just want to suggest it again:
QuoteIn the original, at measure#42, the mood of the song changes, into this pop rock kinda feel.
I have an idea of how to capture that in your arrangement:
So far the rythm in the left hand has been I-..-..-.I-..-..-.I-..-..-.I-..-..-.I
I think you should change that at measure#42 to #50 to I..--..-.I..--..-.I..--..-.I..--..-.I
I think that would sound amazing!

-----------------

Great work!
<3
Birdo for Smash

Brassman388

Be that as it may, there also shouldn't really be any use of the double sharp either. The only one you can get away with is probably the F double sharp, and that's based in its relative minor.

Alright, here it goes. Enclosed in this post is the final version of Bicycle that I feel is visually appealing. Here's why.

Measure 1 - The chord that is built in the bass is a F# Augmented 5th chord in the 2nd inversion. You could write that D natural as a C double sharp or leave it as is. Honestly, I think emphasis on the D natural really brings out the tension in the intro.

Measure 3 - Melody built on a B blues scale.

Measure 4 - Melody built on a D# blues scale.

Measure 7 - Melody built on a G# blues scale.

Measure 11 - Melody built on a G# blues scale.

Measure 16 - Melody built on an F# blues scale.

Measure 17 - This on you may want to write out with a C double sharp. Because the chord that's being built here is a F# diminished 7th chord. If you have that D natural clash with the E natural it can end up looking a little messy. To mimic that, I would also change the D natural in melody to a C double sharp, just so there's no confusion.

Measure 18 - Melody built on a G# blues scale.

Measure 19 - Melody built on a C# blues scale.

Measure 21 - Melody built on a B blues scale.

Measure 24 - Melody built on a G# blues scale.

Measure 28 - Melody built on a C# blues scale.

Measure 29 - Melody built on a G# blues scale.

Measure 32 - Melody built on a D# blues scale.

Measure 33 - Same thing here with the D natural, except this time, instead of a 7th being on top of this diminished chord, it's replaced with a 6th. E had taken the bass notes in this measure to ready our ears for the modulation that happens in the next measure.

Measure 34 - This entire section is kinda a switch between E major and our original tonic, B Major. It switches between the two constantly from here to the end. It starts us off with a nice E major chord, nothing too fancy.

Measure 35 - It expands on the idea of E being the only chord that exists turning the E major chord into a minor and placing a 6th on top of it and then switching it to it's 3rd inversion. G natural is considered a safe choice because its spelling makes sense to the chordal spelling.

Measure 36 - Melody built on a C# blues scale.

Measure 37 - This section is by far the most interesting in regards to tonal theory. Simple, yet elegant. What you're looking at is a G#7 chord. This is accomplished by turning the minor relative G# into a tonic function for a moment raising the B, then placing a D# blues scale on top of it. This relationship between 5th's is what gives these tones its unique sound characteristics.

Measure 40 - Melody built on a B blues scale.

Measure 41 - Chords in left hand and melody in the right built on a D# blues scale.

Measure 43 - F double sharp enharmonically spelt to G natural to fit chordal spelling.

Measure 44 - Melody built on a G# blues scale.

Measure 45 - Another case where the G# minor is turned into a tonic function, making it G# Major. Melody line built on a B blues scale.

Measure 47 - F double sharp enharmonically spelt to G natural to fit chordal spelling.

Measure 48 - Melody built on a D# blues scale.

Measures 51 and 52 - Melodies built on a F# blues scale.

...

Well, there's the logic behind the madness. I hope this is enough theory for all of you out there watching. If you have any questions, don't be afraid to ask. That's what I'm here for.

MUS

You'll find all the changes I made in this version. You may need to correct some document things about it.

Hope this helps.

Jompa

These are my critiquing against Brassman's suggestions:

Measure 1 - What Brassman says is true.

Measure 3 - You're calling it blues, but this is in major, Brassman..
Besides, that doesn't mean that it has to be F natural. In fact - F natural is incorrect, because the steps of the notes are escalating.
If Brassman needs an example:
You wouldn't write the notes Gb right before a G in C minor. You would obviously use a F#.
It's the same with B minor.
So what Brassman says here is wrong, and WarioMan is right.

Measure 4 - No. That is totally wrong.
Here you use a B sharp.

Measure 7  -.- Brassman..? When you go chromatically from a C sharp to a D sharp, what do you think is most visually appealing? An extra accidental, or an elegant glide from only one accidental that you don't even have to worry about afterwards?
Here you use a damn C double sharp, no D natural.


Also, I'm starting to get tired of this whole "built on a X blues scale"-stuff...
That is just not right at all...
Who thought you that? Seriously, I want to know!


Measure 11 - You did put the right accidental, but again - stop with the "built on a X blues scale"-stuff..
D natural is right here.

Measure 16 - Here you use a B sharp!

Measure 17 - To avoid unnecessary Accidentals you use C double sharp, and parenthesize in the left hand of the next measure. -.- Use your head.

Measure 18 - C double sharp, instead of D natural.

Measure 19 - Correct, but again; you obviously don't get why!

Measure 21 - Bullshit! You use E sharp.

Measure 24 - OMG that's so bullshit!!
C double sharp here.

Measure 28 - Wrong.
you use F double sharp.

Measure 29 - Here you use C double sharp.

Measure 32 - Wrong, you use B sharp.

Measure 33 - Brassman, when writing in actuality, you don't need to pay attention to music theory in chords. You really don't.
In this case you could actually choose, either D natural or C double sharp, but if you were to choose D natural it would be smart to parenthesize the D sharp of the next measure.
Therefore to prevent extra accidentals, I'd suggest C double sharp. It's the most appealing to the eye.

Measure 34 -
QuoteThis entire section is kinda a switch between E major and our original tonic, B Major. It switches between the two constantly from here to the end. It starts us off with a nice E major chord, nothing too fancy.
Brassman -.- it doesn't change tonic!!!!!!!!
Is this why you've been writing all these "based on X blues scale"-things!?? because you believe it changes tonic every time it changes chords??!?
I think I've found the source. You believe that a song changes tonic when it changes chords. That's it.
You know what? It doesn't! It is still B major throughout the whole song.
Do you want to know what it means to go over to E from B?
You just go overt to the subdominant chord! You don't change key!?!!
It is still B major.
The melody doesn't base on anything else <-- it's B major!

Measure 35 - You keep up with the same weird ass theory...
Here you do use G natural.

Measure 36 - NO.
here you use F double sharp.

Measure 37 -
QuoteThis section is by far the most interesting in regards to tonal theory. Simple, yet elegant. What you're looking at is a G#7 chord. This is accomplished by turning the minor relative G# into a tonic function for a moment raising the B, then placing a D# blues scale on top of it. This relationship between 5th's is what gives these tones its unique sound characteristics.
I was just about to write a HUGE text about how this is wrong, but I realized that it doesn't affect the accidentals anyway, and that's what we're here for..
Here you use B sharp.

Measure 40 - Stop with the "built on"-crap - it's E sharp here!

Measure 41 - Brassman, now you are contradicting yourself AND common sense:
Here you use C natural and A natural.

Measure 43 - Well, yeah, that's right. And this "rule" does apply other places as well, but there you have been against it  ???

Measure 44 -
-.- Here you use C double sharp.

Measure 45 -
QuoteAnother case where the G# minor is turned into a tonic function, making it G# Major. Melody line built on a B blues scale.
OMG, you are soo wrong, damn.... D:
Here you use E sharp in the right hand!!!
In the left hand you can choose 100% on your own, but you should parenthesize the next measure!

Measure 47 - Correct accidental, wrong theory.

Measure 48 - No.
Here you use G double sharp.

Measures 51 and 52 - No. but right accidentals



As anyone could obviously see, I am indeed suggesting to not listening to Brassman's suggestions.
His view of music theory is drastically incorrect.
Birdo for Smash

TheZeldaPianist275

You guys, this is getting absurd.  We both know neither one of you is going to budge.  Both of you need to calm down, specially you, Jompa.  Just cool it, and let it die.

And Jompa, whatever you say, Brassman is extremely qualified, more than most people on this site.  You can disagree with him, but for crying out loud don't insult him. -__-