[GCN] Mario Kart: Double Dash!! - "Course Fanfare (Grand Prix)" by Jegilmer

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Submission Information:
Series: Super Mario
Game: Mario Kart: Double Dash!!
Console: Nintendo GameCube
Title: Course Fanfare (Grand Prix)
Instrumentation Solo Piano
Arranger: Jegilmer

[attachment deleted by admin]

[jegilmer]

I don't have a full version of Finale, so sorry about the crappy formatting.

[WaluigiTime64]

http://forum.ninsheetmusic.org/index.php?topic=481.msg6779#msg6779

The Formatting Guidelines thread has a link to the NSM Template File, which is what most Finale NotePad users use to format their arrangements. You can simply copy-paste the notes in.

EDIT: Oh, right, this song's in 2/4 time, so go here for templates of different time signatures.

[Sebastian]

Hey!
As always, here is the formatting fix for you.
[ZIP with all 4 files]

Some other things I fixed:
- Fixed the formatting, of course.
- I fixed up some wrong notes (the harmony section in the second layer).
- Changed it to 6/8.
- Deleted a measure and added a fermata to save some space.
- Added some dynamics.

Hope this looks good to you!

[jegilmer]

Looks and sounds great! Thanks for the help guys! I updated the links.

[Maelstrom]

A few changes I made. Feel free to dispute these if you don't agree with them.
-The synth is not present in the first measure, so I took out the chord, which allowed me to fit in the octave harmony for the horn.
-I adjusted the chord at the end in the RH a little to better represent the song.
Pretty sure that's it. Should be good to go after this.

Files (Please put the .musx in this time)
https://www.dropbox.com/sh/8if249jup3tbkhk/AACfFX8ZnztjA9xidPe1AGnva?dl=0

[Sebastian]

-The synth is not present in the first measure, so I took out the chord, which allowed me to fit in the octave harmony for the horn.

For consistency, you should do all of them as octaves or none of them. Also, the chord I had in was in there, just not the same instrument as the other three and an octave lower.

-I adjusted the chord at the end in the RH a little to better represent the song.
Pretty sure that's it. Should be good to go after this.

I don't hear that G that you added in and I also hear an A, D, Bb which are not included in the sheet.


Also, did you accidentally take out the 8vb?

[Maelstrom]

There is and was no 8vb in Jeg's .mus or your .musx

That chord is not there, and neither is the alternate chord you suggested. I just double checked, and analyzed the waveforms just to be sure.

[Sebastian]

How are you analyzing the waveform? I'm 100% I hear those notes.

[Maelstrom]

How are you analyzing the waveform? I'm 100% I hear those notes.

Double checked and I may have been wrong
There is no chord.
The 1st layer (horns) of the RH goes into octaves for the first two measures, but goes into a 5th in the 3rd one.
The final chord is a D, C, and F.
There is definitely not a Bb in that.

[Bespinben]

Pitch-perfect edition, and the flaws of being pitch-perfect:



1.) Including the horn octave doubling incurs the notational problem of lack of voice conservation, as well as conflicting with the 3-voice synth layer. It's also doesn't contribute to the sound texture much at all, pianistically speaking.

2.) Again voice conservation. The synth layer is ALWAYS 3-voices.  It can't just be 2 in m. 2-3 and then 3 all the sudden in m. 4, and it can't just all the sudden appear in m. 2 without a dotted half rest in m. 1. Ah, but then you have overlap between the synth and melody in m. 2-3! Oh the pain of pitch-perfect transcription...

3.) Where's the ottava? This should've been the FIRST thing that should've been noticed. Unless, of course, it was a pianistically driven decision to omit it based on closely vs openly spaced harmony, but... then that's not pitch-perfect, is it?

4.) It's an Ebmaj13(#11) with the 3rd and 5th omitted. Or more concisely abbreviated, Dm7/Eb. There's no G (3rd) or Bb (5th) whatsoever here, unless, of course, we choose to put it there.

[Bespinben]

The ball is in your court Seb Serve strong!

[Sebastian]

The ball is in your court Seb Serve strong!

Spoiler

[close]

1.) Including the horn octave doubling incurs the notational problem of lack of voice conservation, as well as conflicting with the 3-voice synth layer. It's also doesn't contribute to the sound texture much at all, pianistically speaking.

Agreed. I say take the horn octave doubling out.

2.) Again voice conservation. The synth layer is ALWAYS 3-voices.  It can't just be 2 in m. 2-3 and then 3 all the sudden in m. 4, and it can't just all the sudden appear in m. 2 without a dotted half rest in m. 1. Ah, but then you have overlap between the synth and melody in m. 2-3! Oh the pain of pitch-perfect transcription...

I hate to beat a dead horse, but I am positive I hear that voice in M. 1 (not the same instrument though). It is some sort of electric guitar in M. 1 and a synth in the other measures. If you guys insist that it's not there, I say we still add it for consistency's sake.....in a triad chord of course

3.) Where's the ottava? This should've been the FIRST thing that should've been noticed. Unless, of course, it was a pianistically driven decision to omit it based on closely vs openly spaced harmony, but... then that's not pitch-perfect, is it?

I originally added it in, but I think I removed it at the last second for that very reason. I say we add it back.

4.) It's an Ebmaj13(#11) with the 3rd and 5th omitted. Or more concisely abbreviated, Dm7/Eb. There's no G (3rd) or Bb (5th) whatsoever here, unless, of course, we choose to put it there.

Ok.

[Bespinben]

"Evrybawdy but me is cheaaating waaaah!"

Most of what I wrote above was satirical. It's good to consider those "rules" as you arrange, but don't let them dictate everything. Ya don't have to have a 3-note synth layer the whole time if you don't want to.

I'm equally adamant that there are no extra voices in m.1, but, if you want to write something in, more power to you. It makes for a more balanced, fluid piano accompaniment texture in the end, even if a product of quote-"creativity".

[Dudeman]

It makes for a more balanced, fluid piano accompaniment texture in the end, even if a product of quote-"creativity".

Sacré bleu! Foul heretic! How dare you go so far as to use such vulgar language as "creativity" on this collection of painstakingly-copy-pasta'd piano transcriptions posing as "arrangements"! I should have your head for this!