EarthBound
Because I Love You (https://www.youtube.com/watch?v=ZIZVQxcFW7A)
Final Fantasy IV
Theme of Love (https://www.youtube.com/watch?v=GffeBZOqZGU)
Kirby Super Star
Taking Over the Halberd (https://www.youtube.com/watch?v=Wj300sIS_1s&list=PLF3A344B92BCC9F54&index=44&t=0s)
Mario Kart: Super Circuit
Sky Garden (https://www.youtube.com/watch?v=BSPLUEn9j7Q) (with Static)
Pokémon Black Version & Pokémon White Version
Battle! (Team Plasma) (https://www.youtube.com/watch?v=D3Biw2hvjas)
Pokémon Diamond Version & Pokémon Pearl Version
Mystery Gift (https://www.youtube.com/watch?v=T8m2v9-oF3Y)
Pokémon HeartGold Version & Pokémon SoulSilver Version
New Bark Town (https://www.youtube.com/watch?v=iney2we6iTs&list=PL7907A37E9C7E4F7D&index=4)
Pokémon Ruby Version & Pokémon Sapphire Version
Oldale Town (https://www.youtube.com/watch?v=3M3jyhNvbh0)
Radical Dreamers
The Girl Who Stole the Stars (https://www.youtube.com/watch?v=MSvO4SzQNuQ) (pitch shifted version (https://www.dropbox.com/s/grddy1vztqln17k/The_GIrl_Who_Stole_The_Stars_pitch_adjusted.mp3?dl=0))
Super Mario Galaxy
Overture (https://www.youtube.com/watch?v=Z0MFN_gTFM8&list=PL7CFEF478E3980B62&index=2)
File Select (https://www.youtube.com/watch?v=HwWWW_kAeAc&list=PL7CFEF478E3980B62&index=3) (edit)
Super Mario Land 2: 6 Golden Coins
Map (https://www.youtube.com/watch?v=yIWRa39K1gs&list=PL5079610CCEBF8A17)
Overworld (https://www.youtube.com/watch?v=E4d36nr1H2k&list=PL5079610CCEBF8A17&index=5)
Super Mario RPG: Legend of the Seven Stars
Let's Try (https://www.youtube.com/watch?v=xcv2Mcoyqyw&list=PL2F3BF604BA5BE5CB&index=2)
The Legend of Zelda: Link's Awakening
Mabe Village (https://www.youtube.com/watch?v=wh6Rm5Jp02U&list=PLDF2556A8C45BF850&index=8)
The Legend of Zelda: The Minish Cap
Picori Festival (https://www.youtube.com/watch?v=6T49b5IpOv4)
The Legend of Zelda: Twilight Princess
Postman's Theme (https://www.youtube.com/watch?v=ZNw_fplOPPg)
Sanctuary (https://www.youtube.com/watch?v=kzJHKxUzCZ0&list=PLF6FC95426946F1A5&index=71)
Added "Theme of Love" from FFIV
and "Postman's Theme" and "Sanctuary" from Twilight Princess
Added "Because I Love You" from EarthBound
6/2/20
and "Taking Over the Halberd" from Kirby Super Star
and "Mystery Gift" from Pokémon Diamond Version & Pokémon Pearl Version
and "Sky Garden" (collab with Static) from Mario Kart: Super Circuit
and "Overture" and "File Select" (edit) from Super Mario Galaxy
Added "The Girl who Stole the Stars" from Radical Dreamers
Added "Picori Festival" from The Legend of Zelda: The Minish Cap
Dunno whether this applies to your .MUSX, but your .MUS file for "Taking Over the Halberd" as I can read it on Finale Notepad has strangely duplicated flat and double flat signs in the very starts of the right hands of Bars 24 and 26, unlike your PDF in your regular arrangements thread. This makes Bar 24 look like it has a wrong double flat sign.
Also, do we have a source for whether any of the Kirby Super Star songs were composed exclusively by Jun Ishikawa (including "Taking over the Halberd")? This is a common assumption I've read but am unable to find conclusive evidence for.
Yeah, that's just an export issue. The PDF in my thread shows it as intended as it shows up in my .musx file. (The layer work there is the result of trying to get the accidentals to space properly on beat 3).
Not really sure about an official Kirby Super Star source, but this page (https://nintendo.fandom.com/wiki/Jun_Ishikawa) lists the ones credited to him in later games. The Halberd themes are among that list
Added "Oldale Town" from Pokémon Ruby/Sapphire.
Also adding "Battle! (Team Plasma)" from Pokémon Black/White. Making a couple of finishing edits to it
Sky Garden
First of all, I want to say that the key changes in this song are amazing from a compositional standpoint, especially reusing the opening measure.
Honestly, I can't find anything wrong with this. It's a great arrangement that actually ends up sounding more full and impressive than the original. Fantastic work. approving
edit:
Also checked Taking over the halberd. That as going to be a different post, but it's so good I'm just approving it here
Quote from: Maelstrom on June 19, 2020, 07:33:50 AMSky Garden
First of all, I want to say that the key changes in this song are amazing from a compositional standpoint, especially reusing the opening measure.
Honestly, I can't find anything wrong with this. It's a great arrangement that actually ends up sounding more full and impressive than the original. Fantastic work. approving
Thanks! Honestly it was Static who really spiced up the arrangement - he's the best with Mario Kart stuff :P And yeah, the song slides between Db and E super effortlessly, and using the repeat on the pickup is pretty unusual.
Sky Garden - Mario Kart: Super Circuit
- BPM is 149 instead of 150.
- m5 RH has staccatos on the tied eighth notes.
- The unbeaming of the RH Layer 2 eighth notes in m3/5/7 looks confusing to me because it's not clearly evident that the accented chords are following the rhythm of Layer 2 (especially in m3/7, where it might look like the RH has 4.5 beats without the LH part). I would personally prefer to see them beamed, at least in m3/7.
- The layering in m10 looks weird because the Layer 2 rests aren't shown, so it's not super clear that the notes belong to two different layers. At first glance, it looks like a single melodic line starting on Bn with a random quarter rest on top. IMO the measure would look better as a single layer without the rest, even if the Bn doesn't belong to the main melody.
- Would the m9/11/17 RH staccatos look better above the noteheads, and/or would the m14-15 RH staccatos look better below the noteheads?
- I would prefer to write the staccato'd quarter note in m16 as an eighth note and an eighth rest instead.
- Some measures require the use of pedal to be played as written (m11, m14, maybe m13 to an extent), but there are also staccatos everywhere. I'm not really sure how I would reconcile this if I were playing the sheet. Is there a way to edit these parts so that they don't require pedaling over several beats?
Battle! (Team Plasma) - Pokémon Black & White - I really like the lull you added in the sheet in m35-38! On another note, the melody in m51-54 is really reminding me of something else from Pokémon, but I can't remember exactly what...
- Very minor nitpick, but I think the dynamic in m11 could be moved down a little.
- IMO m11-26 should still be forte since I think a ff-mf drop is too big and sudden, although dynamics are subjective anyway. You also do have a nice dynamic contour on page 3, and it makes sense for m11 and m39 to have the same dynamic, so I don't really mind the mezzo forte in the end.
- In m13/14/17, the natural on the Bn in the LH at the end of the measure is really close to the previous stem (directly touching it, in the case of m17). The natural sign could be moved a bit more to the right, maybe along with the note itself if you added a little bit of extra space to the end of the measure.
- I think the sixteenth notes in m23-30 would look much cleaner as staccato'd eighth notes, especially since you have everything beamed in 6/8 already.
- In m59-62, I'm hearing the last note of the arpeggio going back up instead of continuing downward—so the last note in59-61 should be Ab instead of Db, and the last note in m62 should be F instead of Bb. (It also works nicely that the Ab at the end of the arpeggio ties immediately over to the first beat of the next measure—maybe it would be nice to write that tie out directly, instead of only tying dotted half notes in Layer 2?)
- I would suggest transposing m68-71 RH up an octave to preserve the upward contour of the line.
- There are some background notes you could include in the RH in m71-72.
Mystery Gift - Pokémon Diamond & Pearl
- Beat 2.5 of m1 RH sounds like it should be tied over to beat 3.
- On beat 1.5 of m4 RH, I hear the Layer 2 note as a G instead of an E.
- On beat 3 of m7 RH, I hear the Layer 2 note as a D instead of an E.
New Bark Town - Pokémon HeartGold & SoulSilver - There is a lot more going on this track than I realized, especially between the left and right ears...
- "Laid-back" should be hyphenated.
- I'm not sure I hear the additional C# on beat 3 of m4 RH. However, I do hear a G below the E on beat 3 (which would probably be easier to play with the LH instead of the RH).
- The lower notes in m9 RH sound like they play in quarter notes: D-B-A-G. I think omitting the B is fine so as not to repeat the B in the melody, but I would include the G on beat 4.
- I'm getting something different for the bassline in m9-10:
(https://i.imgur.com/AfJ9ntN.png)
- I don't hear any of the lower RH notes in m10 in any of the voices. Are they improvised notes?
- In m11 RH, the strings (starting on beat 2) go G(quarter)-B(dotted quarter)-D(eighth), instead of G(quarter)-B(quarter)-A(quarter), or is the A at the end also improvised? I would still use the dotted quarter-eighth rhythm in Layer 2 because nearly every voice in the original does that as well.
- LH beat 1 of m12 sounds like a low E instead of an A.
- I also hear an E on RH beat 3 of m13.
- In m17 RH Layer 2, you might consider transposing beats 2 and 3 up an octave to preserve the downward F#-D-C# pattern from the original.
- I'm assuming you transposed the bassline up one octave in m18-20 so that the LH could also play the chords, but I would suggest at least transposing the E on beat 1 of m18 back down an octave to preserve the downward motion of the D#-B-E pattern that starts at the end of m17.
- The chord at the beginning of m20 also has a G in it. The RH chord on beat 3 also has a G right below the high A, but I can understand leaving that one out since the dissonance on the piano is harsher there.
- You could also add grace notes leading to beat 3 of m20 RH (grace notes D-E-G).
- In m25, I hear a B in the chord, but no C, so I think it would be better to make the first Layer 2 note a B instead.
- It took me some time to figure out which line you were transcribing in m28. I think it would be better to transcribe this more prominent line into the LH instead (see below). The piano line you have right now could also be written into the RH (in its original octave), but I'm not sure if the two lines together would sound good on piano.
(https://i.imgur.com/XCbNWj8.png)
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PMSky Garden - Mario Kart: Super Circuit
- BPM is 149 instead of 150.
- m5 RH has staccatos on the tied eighth notes.
- The unbeaming of the RH Layer 2 eighth notes in m3/5/7 looks confusing to me because it's not clearly evident that the accented chords are following the rhythm of Layer 2 (especially in m3/7, where it might look like the RH has 4.5 beats without the LH part). I would personally prefer to see them beamed, at least in m3/7.
- The layering in m10 looks weird because the Layer 2 rests aren't shown, so it's not super clear that the notes belong to two different layers. At first glance, it looks like a single melodic line starting on Bn with a random quarter rest on top. IMO the measure would look better as a single layer without the rest, even if the Bn doesn't belong to the main melody.
- Would the m9/11/17 RH staccatos look better above the noteheads, and/or would the m14-15 RH staccatos look better below the noteheads?
- I would prefer to write the staccato'd quarter note in m16 as an eighth note and an eighth rest instead.
- Some measures require the use of pedal to be played as written (m11, m14, maybe m13 to an extent), but there are also staccatos everywhere. I'm not really sure how I would reconcile this if I were playing the sheet. Is there a way to edit these parts so that they don't require pedaling over several beats?
Good suggestions, implemented them all with the following caveats:
- Don't want to move the staccatos in m. 9/14/15 because there's stuff happening in the other layer. m. 17 I like above though, so I moved those.
- m. 11 is now one layer so no pedal needed. For 13-14 the performer can just lift the note a bit early.
Also, we duplicated the intro measure at the end since it's a pickup to m. 2 and structurally makes a bit more sense than a DC. The last system on page 1 is comparatively empty and eats up the extra measure pretty gracefully.
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PMMystery Gift - Pokémon Diamond & Pearl
- Beat 2.5 of m1 RH sounds like it should be tied over to beat 3.
- On beat 1.5 of m4 RH, I hear the Layer 2 note as a G instead of an E.
- On beat 3 of m7 RH, I hear the Layer 2 note as a D instead of an E.
Yep, you're right (assuming you mean beat 2 instead of 1.5 for the second comment). Fixed, thanks!
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PMBattle! (Team Plasma) - Pokémon Black & White - I really like the lull you added in the sheet in m35-38! On another note, the melody in m51-54 is really reminding me of something else from Pokémon, but I can't remember exactly what...
lol I honestly just didn't know what to put there, I'm glad you think it works xD I've heard this song too much for it to remind me of something else, but I will keep that part in mind...
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PM- Very minor nitpick, but I think the dynamic in m11 could be moved down a little.
- In m13/14/17, the natural on the Bn in the LH at the end of the measure is really close to the previous stem (directly touching it, in the case of m17). The natural sign could be moved a bit more to the right, maybe along with the note itself if you added a little bit of extra space to the end of the measure.
- I would suggest transposing m68-71 RH up an octave to preserve the upward contour of the line.
Got these things
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PM- IMO m11-26 should still be forte since I think a ff-mf drop is too big and sudden, although dynamics are subjective anyway. You also do have a nice dynamic contour on page 3, and it makes sense for m11 and m39 to have the same dynamic, so I don't really mind the mezzo forte in the end.
This whole song is just one big wall of noise so the dynamics are pretty subject and this is my interpretation of what I imagine the ebb and flow to be when played on piano... that said, it makes sense that it's a big drop when the loop begins. I'll make the intro forte instead - that way I still have the same dynamic relationship with the rest of the piece. I feel like if I changed that to f too then it would feel like almost the whole piece is f.
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PM- I think the sixteenth notes in m23-30 would look much cleaner as staccato'd eighth notes, especially since you have everything beamed in 6/8 already.
Yeah, originally I wanted to at least imply that the 12/16 percussion rhythm is still there but in hindsight that didn't make a whole lot of sense to write on the sheet. I rebeamed the syncopated parts to 6/8, leaving the first half of m. 23/25/27/29 as is. Hopefully that makes some sense. I would also be open to rewriting 47-50 in 6/8 if you think that would be good
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PM- In m59-62, I'm hearing the last note of the arpeggio going back up instead of continuing downward—so the last note in59-61 should be Ab instead of Db, and the last note in m62 should be F instead of Bb. (It also works nicely that the Ab at the end of the arpeggio ties immediately over to the first beat of the next measure—maybe it would be nice to write that tie out directly, instead of only tying dotted half notes in Layer 2?)
Hey nice that removes the overlap with the ties! :D I would like to leave layer 2 as is though, as I intend that as basically a direction to sustain it if you don't want to play the 16th line.
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PM- There are some background notes you could include in the RH in m71-72.
Wow... I've never noticed those. I guess it wouldn't hurt to put them in.
All edited, thanks! I'll get to New Bark Town at a later time.
Sky Garden
v26 doesn't import articulations correctly so I can't check their positioning without the PDF (I used the file from your PA thread originally), but I'm assuming that it all looks good. If you could provide an updated PDF too, though, that'd be great.
The only other thing I have to say about this sheet is that the notation in m13 RH is incredibly confusing (at least to me). I'm not exactly sure what the best way to write it would be, but I think a large part of the confusion comes from Layers 2 and 3 being beamed in the same direction, which looks weird with the two quarter notes on beats 2.5-3. Maybe something like this instead?
(https://i.imgur.com/6SpfgVD.png)
Mystery Gift
Looking good! One last comment I have is that the high notes on beat 1 of some measures seem pretty tricky to play (leaping up there and back down at a fast tempo) for not adding all that much to the arrangement, IMO. If anything, I think they sound a bit out of place. I would consider removing them altogether or at least parenthesizing them and saying they're optional.
Battle! (Team Plasma)
Also looking good! Just some other small things:
- Perhaps beam m47-50 in 6/8 like m23-30?
- I would consider using staccato'd eighths instead of sixteenths in m23/25/27/29 because you use staccato'd eighths on downbeats in other places (m7-9, m63, m71), so it would keep consistent throughout the whole sheet.
Oldale Town
Nice and simple, not much to say here.
- Wow those strings in m4 are really faint. Honestly, if I were arranging this I'm not sure I would've included them at all. You might consider tranposing m4 RH an octave down to separate it from the main melody in m5, but that would also create a fairly big leap between m4 and m5.
- The second half of m11 sounds out of place with the LH playing the dyad on beat 3.5 instead of beat 4. Is there a way to rewrite it so it plays the dyad at its peak on beat 4 like all the other instances?
- In m12 LH, there's a C above the A's and a D above the C. Were they omitted intentionally?
- In m13-14 LH, the arpeggios go back down for a few notes after reaching the peak. You might consider writing those in as well.
Quote from: mastersuperfan on June 23, 2020, 07:36:00 PMSky Garden
v26 doesn't import articulations correctly so I can't check their positioning without the PDF (I used the file from your PA thread originally), but I'm assuming that it all looks good. If you could provide an updated PDF too, though, that'd be great.
The only other thing I have to say about this sheet is that the notation in m13 RH is incredibly confusing (at least to me). I'm not exactly sure what the best way to write it would be, but I think a large part of the confusion comes from Layers 2 and 3 being beamed in the same direction, which looks weird with the two quarter notes on beats 2.5-3. Maybe something like this instead?Spoiler
(https://i.imgur.com/6SpfgVD.png)
Yeah sounds good I like that! Updated and also provided a PDF
edit... realized we had a typo in here and had to rework it a little bit... how's this
Quote from: mastersuperfan on June 23, 2020, 07:36:00 PMMystery Gift
Looking good! One last comment I have is that the high notes on beat 1 of some measures seem pretty tricky to play (leaping up there and back down at a fast tempo) for not adding all that much to the arrangement, IMO. If anything, I think they sound a bit out of place. I would consider removing them altogether or at least parenthesizing them and saying they're optional.
Maybe it's just me, but even though it's a separate voice I've always felt those notes are important when listening because of the way they mesh with the melody :) I would want the performer to prioritize those few notes even if that means missing some layer 2 notes, so I'd like to keep it as is!
Quote from: mastersuperfan on June 23, 2020, 07:36:00 PMBattle! (Team Plasma)
Also looking good! Just some other small things:
- Perhaps beam m47-50 in 6/8 like m23-30?
- I would consider using staccato'd eighths instead of sixteenths in m23/25/27/29 because you use staccato'd eighths on downbeats in other places (m7-9, m63, m71), so it would keep consistent throughout the whole sheet.
Yup sounds good, updated!
Sky Garden - Looks amazing! I'm ready to accept this now but I wanted to ask one other thing that just came to mind: Do you want to keep m24 RH as two layers? I'm not sure I see the point of using two layers and think condensing it into one would be neater.
Team Plasma Battle - Did you want to change the sixteenth notes in m23/25 LH to staccato'd eighth notes as well? Ready to approve once you let me know.
Mystery Gift - Nice. Approved
Quote from: mastersuperfan on June 25, 2020, 09:31:05 PMSky Garden - Looks amazing! I'm ready to accept this now but I wanted to ask one other thing that just came to mind: Do you want to keep m24 RH as two layers? I'm not sure I see the point of using two layers and think condensing it into one would be neater.
Yep, I think that makes sense to keep as is since it separates the melody and makes it clear that the last chord in particular is part of a different voice.
Quote from: mastersuperfan on June 25, 2020, 09:31:05 PMTeam Plasma Battle - Did you want to change the sixteenth notes in m23/25 LH to staccato'd eighth notes as well? Ready to approve once you let me know.
Oops! Yeah, got it!
Nice.
Sky Garden - accepted
Battle! (Team Plasma) - approved
Taking Over the Halberd
Spot on! I just have one personal suggestion for you to consider: I think the 16th-note bassline from m1-12 would best be simplified as 8th-16th-16th rhythms (i.e. omit the second 16th note in each group of four). As is, I think the bassline sounds a bit too rapid and frantic, especially from m5 onward, and this change also would make it simpler to play on piano without making it sound any less like the original. (It also makes the LH switch after m12 feel less drastic/abrupt.) Just my two cents.
chiming in to say that I think the abrupt change gives the song a lot of character, and is not an issue from my perspective. However, playability still may be a reason to change it.
Quote from: mastersuperfan on July 06, 2020, 10:38:25 PMTaking Over the Halberd
Spot on! I just have one personal suggestion for you to consider: I think the 16th-note bassline from m1-12 would best be simplified as 8th-16th-16th rhythms (i.e. omit the second 16th note in each group of four). As is, I think the bassline sounds a bit too rapid and frantic, especially from m5 onward, and this change also would make it simpler to play on piano without making it sound any less like the original. (It also makes the LH switch after m12 feel less drastic/abrupt.) Just my two cents.
Quote from: Maelstrom on July 07, 2020, 05:07:44 AMchiming in to say that I think the abrupt change gives the song a lot of character, and is not an issue from my perspective. However, playability still may be a reason to change it.
Thanks! Yeah... I'll honestly say that I wasn't a fan of the sudden change in m. 12-13. Omitting the second beats makes sense - I've done so now.
About to accept, but one other thing I missed first time around: perhaps a courtesy natural on the G on RH m2 beat 1? Courtesy naturals could also go on the E in m9 RH and the D in m27 RH but those are also fine without them.
Eh, I'd prefer to leave it as is. The phrases in the intro are disjoint enough to be taken independently, and especially with a blank key signature it's easy to do a mental reset across each barline.
Taking Over the Halberd
Nice. Accepted
Overture
2 things. First, the last measure has a 3rd harmony for all of the final measure.
The second is the powerful chords in m7 and m11. They didn't sit well with me tonally at all. I couldn't hear the 5th, but just the octave wasn't enough. After fiddling, I reached this conclusion:
(https://i.fiery.me/4YkyW.jpg)
Or, what it would look like in the final sheet:
(https://i.fiery.me/qNIRW.jpg)
It's certainly not the simplest way to do it, but it's easy enough to play and sounds fantastic on a piano. I highly recommend changing it.
File Select
Unfortunately, that's not a pure repeat. 2nd time through, unadjusted, it looks like this:
(https://i.fiery.me/FGc1G.jpg)
Maybe include ped for the final measure? It'd be hard to replicate the echo heard in the original without it.
Thanks for checking!
Overture
Yes, that sounds great. I implemented both, and agree it sounds better like this.
File Select
Hmm. You're right, but I think I'll choose to omit the E since that will be immediately overlapped by the right hand on beat 1.5. Added a performance indication that the upper note will only take place on repeats, let me know if that looks alright. (Added pedal in the past measure too.)
Both are approved
Let's Try
- Watch the note lengths on this one; not all of those LH quarter notes are staccato, and some of the RH notes (like beat 4 of m1 and 5) should be staccato.
- m7 RH beat 4: The E should be a D.
- m16 RH beat 1 technically shouldn't have an E but I think it's fine to leave it in.
- Any particular reason you wrote m9/13/15 with ties instead of just a quarter note? It's fine as it is but I think a quarter note just looks cleaner.
- Yoko Shimomura should be listed as an arranger, not composer.
Mabe Village
- It's a bit hard to hear in the original due to the limited number of voices, but beats 3-4 of m3 sounds like an implied Cm chord to me, so the D#s should be Ebs.
- m4 beat 3 isn't part of the melody; that might be more clear to the reader if you put that F# in the LH instead.
Mystery Gift
- This might look less cluttered if you made all on-beat 8th notes staccato quarter notes instead. Other than that, looks good.
Quote from: Static on August 20, 2020, 10:53:29 AMLet's Try
- Watch the note lengths on this one; not all of those LH quarter notes are staccato, and some of the RH notes (like beat 4 of m1 and 5) should be staccato.
- m7 RH beat 4: The E should be a D.
- Yoko Shimomura should be listed as an arranger, not composer.
Got those!
Quote from: Static on August 20, 2020, 10:53:29 AMLet's Try
- m16 RH beat 1 technically shouldn't have an E but I think it's fine to leave it in.
- Any particular reason you wrote m9/13/15 with ties instead of just a quarter note? It's fine as it is but I think a quarter note just looks cleaner.
- I wanted to be consistent with triads in the melody.
- Sometimes I prefer showing the downbeat like that with swing pieces because I think it's a little easier to read.
Also, looking at this again, I added slurs to the pairs of dyads that aren't part of the main melody.
Quote from: Static on August 20, 2020, 10:53:29 AMMabe Village
- It's a bit hard to hear in the original due to the limited number of voices, but beats 3-4 of m3 sounds like an implied Cm chord to me, so the D#s should be Ebs.
- m4 beat 3 isn't part of the melody; that might be more clear to the reader if you put that F# in the LH instead.
- Yep, that makes sense to me. Added a courtesy natural on the following E in m. 4 accordingly.
- That's how I would play it, but I get how it looks confusing on paper. Moved it to the LH.
Quote from: Static on August 20, 2020, 10:53:29 AMMystery Gift
- This might look less cluttered if you made all on-beat 8th notes staccato quarter notes instead. Other than that, looks good.
I kinda wanted to just have everything be eighth notes, but looking again it makes sense to do what you suggested. Updated that.
Thanks for looking, files all updated!
File Select - Super Mario Galaxy
Looks good, just one small suggestion: There's a Db whole note you could add to the last measure (one octave below the Db in the RH chords).
Overture - Super Mario Galaxy
- In m3 RH, the G sounds to me like it should be lowered an octave (I hear a low G but not a high G).
- I feel like m7 beat 3 would be better written as an F# half note in the LH and a rolled B-C# dyad in the RH. I hear it more as a rolled B-C# than a rolled F#-C#, and this way also avoids overlap between the hands. Same for m9/11/13.
Quote from: mastersuperfan on August 21, 2020, 05:03:19 PMFile Select - Super Mario Galaxy
Looks good, just one small suggestion: There's a Db whole note you could add to the last measure (one octave below the Db in the RH chords).
Oh yes nice catch! Added.
Quote from: mastersuperfan on August 21, 2020, 05:03:19 PMOverture - Super Mario Galaxy
- In m3 RH, the G sounds to me like it should be lowered an octave (I hear a low G but not a high G).
- I feel like m7 beat 3 would be better written as an F# half note in the LH and a rolled B-C# dyad in the RH. I hear it more as a rolled B-C# than a rolled F#-C#, and this way also avoids overlap between the hands. Same for m9/11/13.
- Gotcha, sounds good
- Nope, I definitely want to keep it the way I have written in order to outline the main melody (the game's main motif from m. 1). The hand overlap isn't bad since the music is slow and it allows the RH to play louder to emphasize the melody note. Writing it like you suggested would obscure the melody.
Files updated, thank you for checking!
Nice, accepting File Select and Overture
Quote from: Latios212 on August 21, 2020, 04:45:19 PM- Sometimes I prefer showing the downbeat like that with swing pieces because I think it's a little easier to read.
Also, looking at this again, I added slurs to the pairs of dyads that aren't part of the main melody.
Sounds good,
approved.
Quote from: Latios212 on August 21, 2020, 04:45:19 PM- Yep, that makes sense to me. Added a courtesy natural on the following E in m. 4 accordingly.
- That's how I would play it, but I get how it looks confusing on paper. Moved it to the LH.
Also
approved.
Quote from: Latios212 on August 21, 2020, 04:45:19 PMI kinda wanted to just have everything be eighth notes, but looking again it makes sense to do what you suggested. Updated that.
Accepted.
Mabe Village
I really feel strong disconnect between the set of 3 quarters in m1 and m5. Maybe make them dotted tenutos?
Picori Festival
approved
edit:
Let's Try
Notes look fine, but can we not have EngraverFont? It looks bloated and unprofessional.
defaults bad
bottom text
Quote from: Maelstrom on August 22, 2020, 05:22:56 PMMabe Village
I really feel strong disconnect between the set of 3 quarters in m1 and m5. Maybe make them dotted tenutos?
Sure, that sounds good
Quote from: Maelstrom on August 22, 2020, 05:22:56 PMLet's Try
Notes look fine, but can we not have EngraverFont? It looks bloated and unprofessional.
Yeah, this is a rather old sheet of mine. I pasted it into my recent template.
Files updated, thanks for checking! :)
Quote from: Maelstrom on August 22, 2020, 05:22:56 PMNotes look fine, but can we not have EngraverFont? It looks bloated and unprofessional.
I don't use it a lot anymore for more rhythmically complex sheets, but I think sometimes it can look better than Maestro. Everything in Maestro is just really small to me. For this particular sheet I don't think it's a big deal either way.
For me it's partly the size, and partly that defaults honestly tend to look a bit lazy and unprofessional, especially old defaults. Whether lat changes it or not is up to him, but I personally greatly prefer alternatives to engraverfont.
Also the fact that it was because it was an older sheet and not a conscious choice that I brought it up.
Both Mabe Village and Let's Try are accepted
Picori Festival
- You might want to include those grace notes in the melody in m1-3.
- The accompaniment part in the original has this kind of airy, old fashioned dance feel to it because it's mostly just open 5ths; in contrast the accompaniment you have gives the song more of a "piano étude feel" (idk how else to really describe it) with the 3rds included. I think it sounds too heavy. You don't need to get rid of all the harmony, but removing the 3rds in the LH whenever there are triads sounds closer to the original to my ears. The RH usually has the 3rd anyway, and when it doesn't the 3rd is easily implied due to the relatively simple chord progressions.
Other than that, looks really nice
Thanks!
- I'd rather not include the grace notes in the sheet, I find them not too noticeable in the original and I feel they'd be too intrusive in a piano arrangement.
- Yeah, that sounds good - I did think it did sound rather heavy in some places. Removed some notes where there were triads.
Looks good to me
Theme of Love
- m18 and 21 are missing some ties in the RH.
The Girl Who Stole the Stars
- Any reason you didn't include the flute countermelody in m11-19? You have the room (and the free fingers needed) to write it out there. You might want to experiment with the octave placement and such, but I think it would work nicely.
- m22 LH should have an Ab above the Gn.
- m24 RH should have a C on beat 4.5.
Quote from: Static on September 06, 2020, 12:12:30 PMTheme of Love
- m18 and 21 are missing some ties in the RH.
Oops! Got it
Quote from: Static on September 06, 2020, 12:12:30 PMThe Girl Who Stole the Stars
- Any reason you didn't include the flute countermelody in m11-19? You have the room (and the free fingers needed) to write it out there. You might want to experiment with the octave placement and such, but I think it would work nicely.
In m. 13-15 I don't think it adds much. Pitch shifted down the flute in the second half of m. 13 would just repeat what the melody already does on beats 1-3, m. 14 just overlaps the Eb on beat 3, and m. 15's F would obscure the Db in the melody on beat 1. I did already write in the flute part in m. 15-16 and 19 where it fills in space nicely, but otherwise I think it's a bit too distracting without being able to differentiate it as a distinct countermelody when played.
Quote from: Static on September 06, 2020, 12:12:30 PM- m22 LH should have an Ab above the Gn.
- m24 RH should have a C on beat 4.5.
Updated!
Quote from: Latios212 on September 10, 2020, 05:00:09 PMIn m. 13-15 I don't think it adds much. Pitch shifted down the flute in the second half of m. 13 would just repeat what the melody already does on beats 1-3, m. 14 just overlaps the Eb on beat 3, and m. 15's F would obscure the Db in the melody on beat 1. I did already write in the flute part in m. 15-16 and 19 where it fills in space nicely, but otherwise I think it's a bit too distracting without being able to differentiate it as a distinct countermelody when played.
Alright, that makes sense. Sounds good then. Both sheets have been approved
The Girl Who Stole the Stars
Very nice.
- There should only be three grace notes before m1 RH beat 3: there is no F, just Db-Eb-Ab.
- I hear an Ab above the Bb in the LH on beat 1 of m5 and m9.
- How do you feel about flipping beat 4 of m15 RH down? It's true that Layer 2 is still present there, but IMO it just looks really weird to see beat 4 flipped up and then beat 1 of m16 flipped down immediately following.
Because I love you
-LH m2 b4 - I hear the D as a restrike, not a tie
Otherwise, it's fantastic.
Theme of Love
Accepted
Postman's Theme
I suggest this for the first 2 measures because I think there's too many notes in the first measure's chords and I hear the 16th swing in m2.
(https://i.fiery.me/zhkct.jpg)
Sanctuary
Approved
Thanks for checking!
Quote from: Maelstrom on November 29, 2020, 12:13:42 PMBecause I love you
-LH m2 b4 - I hear the D as a restrike, not a tie
Otherwise, it's fantastic.
Ah, yep. Fixed that.
Quote from: Maelstrom on November 29, 2020, 12:13:42 PMPostman's Theme
I suggest this for the first 2 measures because I think there's too many notes in the first measure's chords and I hear the 16th swing in m2.
For the chords, they sound a bit fuller/more dissonant to me than just open tritones. Took out the G but I'd like to leave the Dn if that sounds alright. Also wasn't too sure about the swing in m. 2 but it makes sense; added.
Oops, forgot to reply to this as well...
Quote from: mastersuperfan on November 27, 2020, 05:00:37 PMThe Girl Who Stole the Stars
Very nice.
- There should only be three grace notes before m1 RH beat 3: there is no F, just Db-Eb-Ab.
- I hear an Ab above the Bb in the LH on beat 1 of m5 and m9.
- How do you feel about flipping beat 4 of m15 RH down? It's true that Layer 2 is still present there, but IMO it just looks really weird to see beat 4 flipped up and then beat 1 of m16 flipped down immediately following.
Yep, agree with all three points. File updated~
Quote from: Latios212 on December 02, 2020, 04:30:03 PMThanks for checking!
No problem. Both
Postman's Theme and
Because I Love You are approved
Super Mario Land 2 - Map- I don't think you necessarily need to include the key change, but it's fine with or without. I approve.
Super Mario Land 2 - Overworld- Out of curiousity, where did you get this title from? I most commonly see "Treetop" as the title for this track.
- Everything else looks good
The Girl who Stole the Stars
m1 b1 LH - I hear an A above the Bb, like m5.
That's all, nice work.
Overworld map
Nothing to say here except that there is nothing to say here.
Accepted
New Bark Town
-m12 b4 - Isn't this a C# here?
-m18 RH 2nd layer - B1 is a G#, b2 is a D, b3 is an octave higher but i understand playability.
-What voice is the LH following in m6? I can't seem to hear those notes anywhere....
-m9 LH is equally confusing. It has beat 3 from the middle voice, but not the F# from b2. It has the motion from the bass in 3.5-end, but I can't tell where the notes are coming from because there's some unplayable microtone stuff happening with the bass guitar here.
more LH:
-m10 - b3 is a B, b4 is the A#
-m21 - Should the G be an octave higher?
-m28 - b2/2.5 is a d->d#. This measure is weird because it's pulling from voices I don't feel are as prominent. I guess this one could go either way but it sounds weird without both of the voices here.
Oldale Town
m9 RH:
(https://i.fiery.me/q4QtR.jpg)
There's pedal so it wouldn't be hard to rolle the first one at least.
m10 RH - b3-4 2nd layer has a Bb->Bn thing going on here above the f->d
Not sure how I feel about the bassline in m10-11. It just doesn't feel like the original's chord progressions are replicated, but this song makes it hard to follow voices sometimes. Maybe add in a 5th harmony to b3-4 of m10 for the horns? I'm not totally sure I understand what you're doing in m11. After the 3rd you have on b3.5 doesn't play there. Instead it's on beat 3 and the C is a Bn. I hear the final beat of m11 as a G lower than the F# that's there now.
Quote from: Maelstrom on December 15, 2020, 12:44:12 PMThe Girl who Stole the Stars
m1 b1 LH - I hear an A above the Bb, like m5.
That's all, nice work.
Ah yep, you're right. Thanks, got it
Quote from: Static on December 15, 2020, 12:17:46 PMSuper Mario Land 2 - Overworld
- Out of curiousity, where did you get this title from? I most commonly see "Treetop" as the title for this track.
- Everything else looks good
I don't remember lol, maybe the current sheet on site. Both the GilvaSunner playlist (https://www.youtube.com/playlist?list=PL5079610CCEBF8A17) and this source (https://downloads.khinsider.com/game-soundtracks/album/super-mario-land-2-six-golden-coins) say Treetop, which I agree with. Updated.
Quote from: Static on December 15, 2020, 12:17:46 PMSuper Mario Land 2 - Map
- I don't think you necessarily need to include the key change, but it's fine with or without. I approve.
Quote from: Maelstrom on December 15, 2020, 01:47:50 PMOverworld map
Nothing to say here except that there is nothing to say here.
Accepted
Thanks guys (yes I'd like to keep the key change to make it more easily apparent that it's an exact transposition). I also updated the title to "Overworld Map" in accordance with the SML2 soundtrack listings provided above.
I'll get the the Pokémon ones soon. Apologies for not getting to MSF's original feedback yet either ><
The Girl who Stole the Stars
accepted
Both of the TP sheets look really clean. I've got just a couple of small things to say.
Sanctuary
-I feel like the Cn in bar 4 should be a B# like in bar 2. It's got the same sort of implied harmony (viewing the A as like an appogiatura or w/e).
-The G# on beat 1 of bar 6 sounds like it should be tied to the previous G#, like you did in bars 7-8.
Postman's Theme
The only comment I have is one the wacky chords in bar 1. It's kind of hard for me to tell whether the En is an En or an Eb (its quite quiet and maybe a little out of tune), but I definitely can't hear a Dn. I can however hear an An below the top Bb.
Thanks for looking!
Quote from: Libera on December 15, 2020, 04:04:06 PMSanctuary
-I feel like the Cn in bar 4 should be a B# like in bar 2. It's got the same sort of implied harmony (viewing the A as like an appogiatura or w/e).
-The G# on beat 1 of bar 6 sounds like it should be tied to the previous G#, like you did in bars 7-8.
- Hmm, I actually looked at that a few days ago and thought it made more sense as a C# because of:
- making a major sixth with the A in the right hand instead of a diminished seventh
- descending chromatically C# > Cn > B.
That said, I'm using the key of C#m so B# does make more sense, and I could see the implied harmony utilizing a diminished chord here. I've changed it to B#.
- Yep, I thought it made more sense consistent with the rest of the (not last) measures but there isn't a pause there like the others so I've added the tie.
Quote from: Libera on December 15, 2020, 04:04:06 PMPostman's Theme
The only comment I have is one the wacky chords in bar 1. It's kind of hard for me to tell whether the En is an En or an Eb (its quite quiet and maybe a little out of tune), but I definitely can't hear a Dn. I can however hear an An below the top Bb.
Hmm, I feel like I hear the D although the tone hovers a bit hear Eb - but the major second between the D and E feels appropriate, testing on the piano. I can kinda hear the upper An there but I think that's a bit too dissonant, distracting from the Bb and pulling the sound towards that of a major seventh between the bottom Bb and upper An.
Anyway this is one of those cases where I think it's best to approximate the feel of the original chord, given a first pass at what the tones are. I feel what I wrote is the right level of dissonant and a good representation of the original's quirky sound that isn't too jarring, but let me know if you disagree.
SanctuaryQuote from: Latios212 on December 15, 2020, 04:36:45 PM- making a major sixth with the A in the right hand instead of a diminished seventh
Just to be clear my reasoning is that this way you get the A resolving down to give the implied dominant harmony (mirroring bar 2). With the Cn the bar ends with Cn G# which makes less sense to me in the context of the rest of the piece (whereas with the equally confusing B# A you can view that as resolving down to B# G#.) At any rate, it looks good and I'll accept!
Postman's ThemeQuote from: Latios212 on December 15, 2020, 04:36:45 PMAnyway this is one of those cases where I think it's best to approximate the feel of the original chord, given a first pass at what the tones are. I feel what I wrote is the right level of dissonant and a good representation of the original's quirky sound that isn't too jarring, but let me know if you disagree.
I think when listening to the arrangement the chord immediately stood out to me as off in some way and I think it's because its missing that really distinctive minor 2nd at the top. I agree that it's probably not super important to have all of the details 100% correct (and then perhaps extremely awkward), but the chord currently doesn't feel right to me. Those are my feelings on it anyway.
Treetop
- Looks great, I'll be approving this one
Quote from: Libera on December 15, 2020, 04:58:06 PMPostman's Theme
I think when listening to the arrangement the chord immediately stood out to me as off in some way and I think it's because its missing that really distinctive minor 2nd at the top. I agree that it's probably not super important to have all of the details 100% correct (and then perhaps extremely awkward), but the chord currently doesn't feel right to me. Those are my feelings on it anyway.
Sure thing, I'll change it in that case :P I've replaced the Dn with An.
Quote from: mastersuperfan on June 23, 2020, 07:36:00 PMOldale Town
Nice and simple, not much to say here.
- Wow those strings in m4 are really faint. Honestly, if I were arranging this I'm not sure I would've included them at all. You might consider tranposing m4 RH an octave down to separate it from the main melody in m5, but that would also create a fairly big leap between m4 and m5.
- The second half of m11 sounds out of place with the LH playing the dyad on beat 3.5 instead of beat 4. Is there a way to rewrite it so it plays the dyad at its peak on beat 4 like all the other instances?
- In m12 LH, there's a C above the A's and a D above the C. Were they omitted intentionally?
- In m13-14 LH, the arpeggios go back down for a few notes after reaching the peak. You might consider writing those in as well.
Sorry again for neglecting this post for so long...
- Honestly that's where my ear always goes when listening to the original, so definitely wanted to write it in :P I don't mind lowering it.
- I'll rewrite m. 11 beats 3-4 to be more idiomatic of the rest of the piece and outline an Eb major chord.
- I hear C's above the A's but beat 2.5 sounds to me now like Bb-C...
- If I'm listening for the right thing, they're so faint I can barely make them out... mind if I leave that part as is?
Quote from: Maelstrom on December 15, 2020, 01:47:50 PMOldale Town
m9 RH:
(https://i.fiery.me/q4QtR.jpg)
There's pedal so it wouldn't be hard to rolle the first one at least.
m10 RH - b3-4 2nd layer has a Bb->Bn thing going on here above the f->d
Not sure how I feel about the bassline in m10-11. It just doesn't feel like the original's chord progressions are replicated, but this song makes it hard to follow voices sometimes. Maybe add in a 5th harmony to b3-4 of m10 for the horns? I'm not totally sure I understand what you're doing in m11. After the 3rd you have on b3.5 doesn't play there. Instead it's on beat 3 and the C is a Bn. I hear the final beat of m11 as a G lower than the F# that's there now.
- I would prefer to keep the melody as single notes there - the very high voice stands out quite a bit (and I don't really have consecutive harmony notes under the melody anywhere else)
- I'll add a fifth to m. 10 beat 3, but not beat 4 - otherwise the bassiness would contrast a bit too much with the start of m. 11.
- For m. 11 I wrote beats 3-4 to outline an Eb chord (also according to MSF's comments). Changed beat 4.5 to a G.
Sorry those few measures were kinda rough, I wasn't initially sure what to do with them. I've updated the file - hopefully it looks better but feel free to suggest further adjustments. Thanks!
New Bark Town will take me a little longer, I'll get to that in hopefully another couple days (edit: probably later next week...)
Treetop
Accepted
Oldale Town
Approved by me. I can't think of a better way to write m9-11 without making it unplayable (like dropping b2.5 of m9 an octave). I think it sufficiently captures the feel of the original.
Quote from: Latios212 on December 16, 2020, 07:18:13 PMSure thing, I'll change it in that case :P I've replaced the Dn with An.
Awesome, sounds much better now! Accepted!
Battle (Team Plasma)
accepted
Oldale Town - Pokémon RSE- RH and LH stems are too close together in m3. Move the staves farther apart?
- Second half of m8 LH is a bit of an abrupt halt in momentum. If not an eighth note rhythm, then maybe at least a quarter note on beat 4?
- This is what I'm now hearing for m12 (if you do this, you would also need to space out the staves a bit more):
(https://i.imgur.com/i01OEZo.png)
- m13-14 RH beat 4.5 don't sound staccato. (Do the staccatos make a difference with pedal anyway?)
- 8va's kind of close to the notes in the last system.
Quote from: Latios212 on December 16, 2020, 07:18:13 PM- If I'm listening for the right thing, they're so faint I can barely make them out... mind if I leave that part as is?
They stick out pretty prominently to me, but if you want to leave them out then that's also fine.
Quote from: mastersuperfan on December 20, 2020, 11:33:23 PM- RH and LH stems are too close together in m3. Move the staves farther apart?
I flipped the LH part down instead
Quote from: mastersuperfan on December 20, 2020, 11:33:23 PM- m13-14 RH beat 4.5 don't sound staccato. (Do the staccatos make a difference with pedal anyway?)
Ah you're right, I slurred them instead. With pedal, maybe not too noticeably but the intent is there that those notes are meant to be lighter. The performer can also choose to lift the pedal there
Quote from: mastersuperfan on December 20, 2020, 11:33:23 PMThey stick out pretty prominently to me, but if you want to leave them out then that's also fine.
Yeah, I'll leave them out :)
Got the rest, thanks!
Oldale Town accepted
New Bark TownSorry about having this one sit for so long, it needed a bit of TLC. I've updated a bunch of things based on Maelstrom's (https://www.ninsheetmusic.org/forum/index.php?topic=11268.msg421742#msg421742) and MSF's (https://www.ninsheetmusic.org/forum/index.php?topic=11268.msg418831#msg418831) posts. Responses in blue here:
Quote from: Maelstrom on December 15, 2020, 01:47:50 PMNew Bark Town
-m12 b4 - Isn't this a C# here? Yes, oops
-m18 RH 2nd layer - B1 is a G#, b2 is a D, b3 is an octave higher but i understand playability. Not sure I follow this one
-What voice is the LH following in m6? I can't seem to hear those notes anywhere.... Everything after beat 1 is taken verbatim from a line that exists there (except b 1.5 is lowered for better continuity)
-m9 LH is equally confusing. It has beat 3 from the middle voice, but not the F# from b2. It has the motion from the bass in 3.5-end, but I can't tell where the notes are coming from because there's some unplayable microtone stuff happening with the bass guitar here. Adjusted this also based on MSF's comments
more LH:
-m10 - b3 is a B, b4 is the A# Think you mean G# for b4, but yep
-m21 - Should the G be an octave higher? Don't think so...
-m28 - b2/2.5 is a d->d#. This measure is weird because it's pulling from voices I don't feel are as prominent. I guess this one could go either way but it sounds weird without both of the voices here. Adjusted this line also based on MSF's comments
Quote from: mastersuperfan on June 21, 2020, 05:02:15 PMNew Bark Town - Pokémon HeartGold & SoulSilver - There is a lot more going on this track than I realized, especially between the left and right ears... Yeahhh
- "Laid-back" should be hyphenated. I honestly had no idea lol
- I'm not sure I hear the additional C# on beat 3 of m4 RH. However, I do hear a G below the E on beat 3 (which would probably be easier to play with the LH instead of the RH). Sounds good
- The lower notes in m9 RH sound like they play in quarter notes: D-B-A-G. I think omitting the B is fine so as not to repeat the B in the melody, but I would include the G on beat 4. Included beat 4, yep
- I'm getting something different for the bassline in m9-10:
(https://i.imgur.com/AfJ9ntN.png) Yep
- I don't hear any of the lower RH notes in m10 in any of the voices. Are they improvised notes? They were but I reverted them to what's' in the original
- In m11 RH, the strings (starting on beat 2) go G(quarter)-B(dotted quarter)-D(eighth), instead of G(quarter)-B(quarter)-A(quarter), or is the A at the end also improvised? I would still use the dotted quarter-eighth rhythm in Layer 2 because nearly every voice in the original does that as well. Updated
- LH beat 1 of m12 sounds like a low E instead of an A. Got that
- I also hear an E on RH beat 3 of m13. Not sure about that, or if it is there I don't hear it as prominently as the D>C# movement
- In m17 RH Layer 2, you might consider transposing beats 2 and 3 up an octave to preserve the downward F#-D-C# pattern from the original. I think you meant m. 18, and yes
- I'm assuming you transposed the bassline up one octave in m18-20 so that the LH could also play the chords, but I would suggest at least transposing the E on beat 1 of m18 back down an octave to preserve the downward motion of the D#-B-E pattern that starts at the end of m17. Sounds good
- The chord at the beginning of m20 also has a G in it. The RH chord on beat 3 also has a G right below the high A, but I can understand leaving that one out since the dissonance on the piano is harsher there. Added for the LH
- You could also add grace notes leading to beat 3 of m20 RH (grace notes D-E-G). Added
- In m25, I hear a B in the chord, but no C, so I think it would be better to make the first Layer 2 note a B instead. If you meant m. 26, then yes
- It took me some time to figure out which line you were transcribing in m28. I think it would be better to transcribe this more prominent line into the LH instead (see below). The piano line you have right now could also be written into the RH (in its original octave), but I'm not sure if the two lines together would sound good on piano.
(https://i.imgur.com/XCbNWj8.png) Haha it took me a bit to re-find this voice. I don't think either one is super prominent so I was struggling to write this part in my original attempt. What you suggest sounds good, except I'd like to change beat 1.5 to a G (like the other layer) so the LH doesn't sound so empty playing A-A and outlines the A7 chord instead.
Quote from: Latios212 on February 10, 2021, 05:57:15 PMNew Bark Town
Sorry about having this one sit for so long, it needed a bit of TLC. I've updated a bunch of things based on Maelstrom's (https://www.ninsheetmusic.org/forum/index.php?topic=11268.msg421742#msg421742) and MSF's (https://www.ninsheetmusic.org/forum/index.php?topic=11268.msg418831#msg418831) posts. Responses in blue here:
- You may or may not consider adding some courtesy accidentals (Gn's in m3/m11, Dn in m18).
- Beat 1 of m15 doesn't sound rolled to me.
- Maybe add something more in the second half of m20? That chord on beat 3 feels a little too open/empty to me, even with beat 1 sustained. Maybe add a G at the bottom of the RH on beat 3, or an E in the middle of the RH on beat 3, or some other note.
- Layer 2 rest on beat 4 of m26 is pretty close to Layer 1; I'd move it down one notch.
Quote from: mastersuperfan on February 13, 2021, 12:15:12 PM- You may or may not consider adding some courtesy accidentals (Gn's in m3/m11, Dn in m18).
Eh, I think I'd rather not. Measure 3 already implies Gn by the Bb above it, and for the other couple measures there's enough space in between the notes that I think it won't be misread.
Quote from: mastersuperfan on February 13, 2021, 12:15:12 PM- Maybe add something more in the second half of m20? That chord on beat 3 feels a little too open/empty to me, even with beat 1 sustained. Maybe add a G at the bottom of the RH on beat 3, or an E in the middle of the RH on beat 3, or some other note.
I'd prefer to keep it like this as a way of more gradually thinning out the texture going into m. 21.
Quote from: mastersuperfan on February 13, 2021, 12:15:12 PM- Beat 1 of m15 doesn't sound rolled to me.
- Layer 2 rest on beat 4 of m26 is pretty close to Layer 1; I'd move it down one notch.
Got these things!
Quote from: Latios212 on February 13, 2021, 02:27:29 PMEh, I think I'd rather not. Measure 3 already implies Gn by the Bb above it, and for the other couple measures there's enough space in between the notes that I think it won't be misread.
I'd prefer to keep it like this as a way of more gradually thinning out the texture going into m. 21.
Got these things!
Okay, looks
great!Although, uh, now that I see it, you might also consider moving the m3 Layer 2 beat 1 rest up one more notch too...?
Eh I think that one's okay as is... since the following note is lower and across the staff.
Thanks for checking! :D
New Bark Town
accepted
Because I Love You- m3-4, 19-20 LH beats 3.5 and 4.5 should be D
- You can flip the first 3 notes in m27 Layer 2 if you want, since the rest is hidden.
Got those bass notes (I think I might have altered them to fit the chord, but I didn't do that anywhere else so I agree I'll just stick to the bassline here).
For m. 27, I'd prefer to just show the rests instead.
Thanks for checking! Made those changes.
Quote from: Latios212 on February 24, 2021, 04:36:05 PMGot those bass notes (I think I might have altered them to fit the chord, but I didn't do that anywhere else so I agree I'll just stick to the bassline here).
For m. 27, I'd prefer to just show the rests instead.
Thanks for checking! Made those changes.
Looks
goodwill be archiving this thread now