[3DS] Pokémon Super Mystery Dungeon - "Fire Island Volcano" by Zeila

Started by Zeta, March 28, 2016, 08:23:29 PM

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braix

Quote from: MaestroUGC on August 19, 2015, 12:22:27 PMBraixen is a wonderful [insert gender] with beautiful [corresponding gender trait] and is just the darlingest at [stereotypical activity typically associated with said gender] you ever saw.

FireArrow

Quote from: AwesomeYears on June 07, 2016, 01:46:50 AMHey look, I've found my new favourite song!

One comment, bar 10-13, add the quiet strings in the bass line, it feels too lonely without it :P. Other than that, I think that'll didgeridoo.

Read like, the three comments above yours.
Quote from: Dudeman on January 23, 2017, 05:35:59 PM
straight from the department of redundancy department

daj

I think I've found a new interest in the track after looking at your score. it's weird right idk how either

So, I don't really have playback devices where I am, but I do have a decent idea of how your track sounds, and your intentions in your writing were very clear, so that helps a lot! Most of this will be theory-whacking.

The first thing that I wonder is why you have an F-sharp minor key signature when there are B tonic pedals throughout the first section. I took a look through it (knuckles are awesome btw), and I'm completely convinced that this is B Dorian. With that in mind, I would definitely cut the G-sharp in the key signature and, believe it or not, add it to every single G in that section. I'm pretty sure that's the standard way of notating if you're using a mode. In Sibelius this process is easy, but I'm not sure if you have to manually change all the Gs in Finale...so if it's too much work, maybe you don't have to be too particular this time :)

Same thing applies to bars 26-30ish. Basically I think you can keep the two-sharp time signature until the part where you -really- change key around the fourth page.

Parts cross at bar 35! I don't think it sounds too bad but to be safe you could just remove the F-sharp in the bass~

I don't think you need to change key to the parallel major in that section either. There's no cadence - no resolution, even if we don't think about cadences - to B major. The A-sharp is kinda troublesome but I would argue that as a pivot-chord-ish that kills the tension and helps with the real modulation to F-sharp minor.

With that in mind, your F-sharp minor section at the end is actually based on the original semiquaver-spam section after the arpeggic-ish part with accented first beats succeeding the knuckle frenzy (god i love structural analysis!). It's in Dorian mode too, so all your E-flats are probably D-sharps. Yup.

(edit: on second thought I realised augmented sixth chords are a thing. Sorry bout that :p)

Other than that, looks great, hope this goes up soon! :)

p.s. that section in fourths is unplayable. man. appreciate the fingerings though.

Zeila

Quote from: dajwxp on June 08, 2016, 07:25:06 AMThe first thing that I wonder is why you have an F-sharp minor key signature when there are B tonic pedals throughout the first section. I took a look through it (knuckles are awesome btw), and I'm completely convinced that this is B Dorian. With that in mind, I would definitely cut the G-sharp in the key signature and, believe it or not, add it to every single G in that section. I'm pretty sure that's the standard way of notating if you're using a mode. In Sibelius this process is easy, but I'm not sure if you have to manually change all the Gs in Finale...so if it's too much work, maybe you don't have to be too particular this time :)

Same thing applies to bars 26-30ish. Basically I think you can keep the two-sharp time signature until the part where you -really- change key around the fourth page.
Fixed

Quote from: dajwxp on June 08, 2016, 07:25:06 AMParts cross at bar 35! I don't think it sounds too bad but to be safe you could just remove the F-sharp in the bass~
I ended up putting a parenthesis around the F# in the RH

Quote from: dajwxp on June 08, 2016, 07:25:06 AMI don't think you need to change key to the parallel major in that section either. There's no cadence - no resolution, even if we don't think about cadences - to B major. The A-sharp is kinda troublesome but I would argue that as a pivot-chord-ish that kills the tension and helps with the real modulation to F-sharp minor.
Okay

Quote from: dajwxp on June 08, 2016, 07:25:06 AMOther than that, looks great, hope this goes up soon! :)
Thanks! :3

Quote from: dajwxp on June 08, 2016, 07:25:06 AMp.s. that section in fourths is unplayable. man. appreciate the fingerings though.
Hmm, I'll just leave them out for now then, but if an updater deems leaving in the 4ths okay then I'll change it back (I saved it as a separate version (v2)). I could also put an optional sign as most people wouldn't be able to play that, and it would be easier to ignore as opposed to adding the soft string part (or probably not since it's kind of cluttered)

I also fixed the copyright

Zeta

This submission has been accepted by Bespinben.

~Zeta, your friendly NSM-Bot