Submission Information:
Series: Super Mario
Game: Mario Kart 8
Console: Wii U
Title: Wild Woods
Instrumentation Solo Piano
Arranger: Rudolf Milter (http://forum.ninsheetmusic.org/index.php?action=profile;u=4965)
This one will need some tweaking. Firstly, split the composer names into two stacked lines so that it doesn't run into the title like it does now. Secondly, despite WaluigiTime64's inner voices, this piece is indeed in 5/4 time; it is just syncopated.
Quote from: Olimar12345 on December 30, 2017, 09:30:57 AMSecondly, despite WaluigiTime64's inner voices, this piece is indeed in 5/4 time; it is just syncopated.
ah shit please explain for me
Also this sheet did the thing I was struggling not to do, which was to not just use the bass and melody for the earlier part (because that's boring), although I honestly can't blame you. I think the chords in the LH later on need some work too but I can't check them right now.
What you're perceiving as the second down-beat group of three eighth notes is actually the syncopated up-beat of beat two in 5/4 time. Syncopation is the emphasis of weaker beats. The piece has a constant quarter note drive (I swear this isn't a pun) underneath it (listen for the drummer; they're hitting the hi hat on all 5 beats).
right from the beginning it uses the rhythm common to 5/4- dotted quarter dotted quarter quarter quarter
Quote from: Olimar12345 on December 30, 2017, 12:48:18 PMWhat you're perceiving as the second down-beat group of three eighth notes is actually the syncopated up-beat of beat two in 5/4 time. Syncopation is the emphasis of weaker beats.
Ok.
Quote from: Olimar12345 on December 30, 2017, 12:48:18 PMThe piece has a constant quarter note drive (I swear this isn't a pun) underneath it (listen for the drummer; they're hitting the hi hat on all 5 beats).
Ok this bit confused me because I kinda don't agree on the first bit, but you are correct in that the drummer hits the hi-hat on all 5 beats... ish?
I'm hearing:
Spoiler
(https://i.imgur.com/zA0DvaL.png)
In the first and last section. The parentheses are there because I hear that hi-hat on some measures but not others. Interestingly it's on a 5/4 on-beat and the often-ignored middle beat of the triplet rhythm (makes sense not to put a hi-hat there if you're going for the 3+3+2+2 rhythm. You can blame this one on bad hearing or sounds becoming muddled behind other sounds though lol.
But for your case, the middle section is 5/4 purely based on the hi-hat:
Spoiler
(https://i.imgur.com/fkzQlxJ.png)
From a compositional view, I'd write a 10/8 piece with that sort of hi-hat pattern in one section, just because it sounds nice (I doubt the composer really cares whether it's in 5/4 or 10/8 lol). Again, purely based on the hi-hat and the hi-hat alone, it's 5/4.
Personally I don't like the idea of one instrument being responsible for the time signature (especially in this case, where every other instrument is playing 3+3+2+2), but if that's the case then whatever lol.
While I do very much see your point, people could take it as either. I guess for this sheet the best option would be 5/4, but with 3+3+2+2 beaming from the 10/8 rhythm (because last time I checked, there's no drumkit in a solo piano arrangement lol, so it doesn't matter). I think it's important to get that 3+3+2+2 rhythm in there, because it's the way the melody and accompaniment (which is what's in the sheet) flow throughout the piece.
Quote from: Olimar12345 on December 30, 2017, 12:48:18 PMSyncopation is the emphasis of weaker beats.
Quote from: mikey on December 30, 2017, 12:51:49 PMright from the beginning it uses the rhythm common to 5/4- dotted quarter dotted quarter quarter quarter
It needs to be in 5/4 and beamed like 5/4. You won't find any piano rag beamed with the syncopation like 3+3+2 etc.
ok yeah i get that but that's just weird and loses the 3+3+2+2 flow
There has to be at least something on the sheet that points it out somehow.
Spoiler
(https://learningukulele.com/assets/pdf/images/UL529-1.png)
Guess I can't argue against Dave Brubeck.
I will still have this in the back of my mind when the sheet's finished though lol.
I'm still not sure:
You can hear the melody, the drums and specially the bass remarking each pulse of the 3+3+2+2 rhythm in Wild Woods and not 5/4 at all during the whole piece. But in the case of Take Five the melody clearly remarks each pulse of the 5/4 rhythm. It is not the same.
i'm kinda with you but i see his point too so honestly idk
do whatever makes sense
It's in 5/4. I've played plenty of modern music in */8 time signatures when it really doesn't need to be and it doesn't help. It's almost a strange kind of fad.
Anyway, as Olimar said, the high-hat is on crotchet beats.
Okay then. I will change it to 5/4.
Bump for arranger.
Sorry for being so late, I had some work.
It is now updated.
I don't have time to check it all, but it does need a fair amount of work before it gets accepted. Formatting-wise, most of the text boxes aren't properly aligned and the copyright info should only be on the first page. You'll also need page numbers and measure numbers. The music itself tends to overlap quite a bit (especially on the second page) and it can be difficult to read.
In a binary time signature like 5/4, one generally avoids grouping rhythms in a way which might suggest a ternary metre, like groups of three eighth notes, or successive dotted quarters. As such, you might want to write measures 2-3 and the like as:
(https://i.imgur.com/BMnqTpd.png)
and measures 6-7 as:
(https://i.imgur.com/zU6JjBA.png)
Since the right hand is pretty syncopated in general, it might be helpful to write out the bass pattern in quarters and eighths only for more legibility.
In measure 17, since the layer 2 part is has basically the same rhythm as the layer 1 part, consider merging them.
The 15ma line is never used in writing piano. Move everything up one octave and use a regular 8va line.
A 4-tuplet is a bit strange in a binary metre. Are you sure it's accurate?
The second half of measure 27 should be in treble clef (in general, don't go past 4 ledger lines above a bass clef), or ideally split between the two hands.
Measure 31 doesn't need to use two layers, and a sixteenth note triplet is incorrectly identified as a sextuplet.
Measure 35 doesn't need two layers either.
For measures 36-39, play the chord with the first one or two notes in the first layer (or just the second, to emphasize the syncopation), and leave it out for the rest. The pedal will make sure to sustain it throughout each measure.
For measures 40-43, I'd say drop the third layer, but you can add the F# in measure 41, the D in measure 42 and the E in measure 43 to the first layer. It's also possible to play the simultaneous D-E-E at the start of measure 42, if you really want to keep it in, but the chords before that aren't.
Just thought I'd jump in and respond to one of your comments...
Quote from: D3ath3657 on February 16, 2018, 09:23:56 PMThe 15ma line is never used in writing piano. Move everything up one octave and use a regular 8va line.
I'm not sure I've ever heard of this. I have seen many piano arrangements/music with a 15ma/15b added. They may not be necessary in some instances, but definitely not unused in piano music.
Quote from: Sebastian on February 16, 2018, 09:40:19 PMJust thought I'd jump in and respond to one of your comments...
I'm not sure I've ever heard of this. I have seen many piano arrangements/music with a 15ma/15b added. They may not be necessary in some instances, but definitely not unused in piano music.
I've played pieces that hit the highest C on the piano, pieces that hit the lowest A, and pieces that spend extended amounts of time in the registers that would theoretically find it applicable, but not once have I seen a 15ma line in a professional edition.
Unnecessary, perhaps. Unused, no. Personally, I use and have seen these in perfectly necessary situations.
15ma/mb is by no means a popular marking in piano literature, simply because as you said it's perfectly normal to find the final pitches in both directions written out with 8va/vb and ledger lines. Not only that, but it's often written that way to aid in the learning of reading ledger lines and becoming familiar with doing so. However, never say never, because it is used on occasion. Off the top of my head (and iirc) Ligeti used it in his Etude No. 9, but I'm sure with more research you could find many more (and better) examples.
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