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FunkyEntropy

wip World's End - Dancing Madly for Brass Quintet update live brass

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This is a project that I've been working on for a long time (probably close to a year). Now that I've gotten better at orchestrating, it's finally coming to fruition.

Ladies and Gentlemen, I give you Nobuo Uematsu's masterwork Dancing Mad from Final Fantasy VI, adapted for brass quintet.

A quick note about the mp3 - the first repeat back to the top is slightly different from what happens in the mp3. Specifically, the tuba drops the octave. Pedal C's FTW. I've also considered dropping the first eight bars of the piece the second time through to keep things from getting too tedious.

Anyway, here you go:

[File Deleted]

I apologize for not having a rehearsal recording for you to listen to - this piece is hard and we haven't got all the sections ironed out yet. Most of it is sounding pretty solid, there are only a few trouble spots and that's what I'd like to direct your direction towards to see if I can get some help.

6:50 to 8:10 in the mp3 is the final portion of the Kefka boss fight, and is by far the trickiest part of the piece. Unlike other portions of the piece, it's essentially melody + bass line and has thus left me with less to work with. Here's a link to pages 10 to 13 of the score:

http://www.mediafire.com/?j3ye9kha996z5bh

The repeat from P to Q is where I'd like to have more going on or, at the very least, have some variation between the repeats to keep things interesting. Problem is, I have no idea what. Writing new material is not my strong suit - I tend to get locked into what it does sound like instead of what it could sound like.

So. Thoughts, comments, concerns?

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Latest version: 7-13-11

img.php?fid=1299

Notes: The parts are pretty much finalized. The 7/8 +4/4 section issues have been pretty much ironed out by removing the horn from the mix. While this unfortunately removes some color and variance, it is so much easier to coordinate that that's an acceptable loss. Our regular trombonist, Lee, is out of town for the month so we're using a sub for this recording. He's sightreading, so be nice. He also plays a lot less aggressively than Lee so it might be kind of hard to pick his solo out at the end.

Hopefully we'll get another crack at this with Lee, who'll be back in town for a brief period, on Monday.

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Where are the other nine pages of the score?

Are you afraid someone might steal it?

Partially. Once it's on the internet, it's there forever as they say.

My main concern is that since I'm writing this for performance, I'd prefer it if my quintet was the one that premiered it.

Secondly, if someone's going to steal my work, I'd prefer it if they stole the finished version. :mrgreen:

I'd rather finish the arrangement, make a good recording of it, and then we can see about making the full score available.

Anyway, nothing new to see, just thought I'd let everyone know that I've change the tuba part slightly at 4 before P and 2 before Q - it's now down the octave.

Any thoughts or comments about the P to Q section?

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Latest version: 7-13-11

img.php?fid=1299

Notes: The parts are pretty much finalized. The 7/8 +4/4 section issues have been pretty much ironed out by removing the horn from the mix. While this unfortunately removes some color and variance, it is so much easier to coordinate that that's an acceptable loss. Our regular trombonist, Lee, is out of town for the month so we're using a sub for this recording. He's sightreading, so be nice. He also plays a lot less aggressively than Lee so it might be kind of hard to pick his solo out at the end.

Hopefully we'll get another crack at this with Lee, who'll be back in town for a brief period, on Monday.

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Now Dancing Mad is one of my all time favourite pieces from, well, Nobuo Uematsu in general, and i've heard a lot of variations and remixes of it, and i have to say, this is so unique!

The fact that you have written your own score for a brass quintet is very impressive and dedicated lol.

With that in mind... I have mixed feelings about this. When it began i was instantly reminded of the salvation army (Not necessarily a bad thing :') .) A lot of it sounds incidental,and i do think this piece generally works better as a progressive piece, as naturally it tends to behave like one.

I did really like the little Kefka motif at 6:00, and the section that followed.

Some of it sounds a little strained, but i don't blame the players at all, i think some sections were just too intricate for brass.

I can see the absolute dedication and hard work in this though, and i can really appreciate it as a labour of love. It was very enjoyable to listen to, i just don't think brass is my cup of tea. :)

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Are there any particular sections that you would apply the 'incidental' label to? If I were to use that particular critique I'd apply it to 1:32, which I've always felt was a little lacking. Part of it is that we just need to practice that section a little more (particularly the transition into it, as it always starts way too slow). I'll try straight eights in the tuba the next time we play it, maybe that'll help add some energy and drive to that section.

Kefka section at 6:00? You mean the quartal chord?

If you're not convinced that brass (in general, or just for this piece?) is your cup of tea, that means we're not doing a good enough job selling it. The chorale at the very end with the trombone solo was MADE for brass.

Thanks for the feedback!

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You'll have to forgive me as i'm not really familiar with a lot of technical terms :tomatoface: But yeah i think by 'Kefka section' we're referring to the same bit :')

By 'incidental' i mean in a cinematic way, and to be honest it's kinda the first two minutes that sound like that to me, it's not necessarily a bad thing, it really does sound good, it's just in my personal opinion i always imagined the whole song being a lot stronger (But that's just my opinion, like i said this is sounding good). I guess i'm bound to be slightly biased because i'm not a fan of brass in general.

To be perfectly honest you seem to have a way vaster knowledge of technical expertise than me (I can't even read sheet music) I've just been a huge fan of video game music for a very long time so just ignore me :lol: haha

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Don't go selling yourself short. Your 'incidental' comment is actually quite helpful, because it tells me that:

- Sections exist as separate entities rather than a more coherent whole.

- Meaning transitions need to be less abrupt

- I need to go back and figure out how sections fit within the whole piece, rather than just how they work by themselves.

This is really useful. Not that I'm sure how or if I'll be able address all of this, but this is a good place to start. Thanks!

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