Messages

[accepted]

Looks great to me!

Thank you so much for all of your help and feedback!

You're very welcome! Let's get this accepted hope to see more awesome sheets from you in the future~

[Different Arrangement Types]

Ever wondered how to create a fanfare collection or notate structure for tracks with things like weird loops, jumps, or alternate sections? This guide will help you set up those visual pieces in Finale to achieve an end result that looks something like one of these sheets. (Note that this doesn't talk about engraving best practices; please refer to the Formatting Guidelines under Different Arrangement Types > Collections of two or more tracks for what your sheet should look like.)

You cannot view this attachment.

First, start by writing out the parts you want on staves normally:

Spoiler

You cannot view this attachment.

[close]

For any places where you want to insert a break in the system, highlight the measures in the latter part of the system and choose Plug-ins > Measures > Create Coda System... From here, leave the default spacing (you can adjust this later) but don't create any symbols.

Spoiler

You cannot view this attachment.
You cannot view this attachment.

[close]

Now you have the system break you need:

Spoiler

You cannot view this attachment.

[close]

From here, edit the measure attributes of the last measure of each fanfare to prevent any courtesy key/time signatures from appearing, and use a solid barline:

Spoiler

You cannot view this attachment.

[close]

For the first measure of each fanfare, ensure the time and key signatures do show:

Spoiler

You cannot view this attachment.

[close]

Make sure measure numbers reset (and do not show) at the beginning of each fanfare by creating different measure number regions for each:

Spoiler

You cannot view this attachment.

[close]

That should be about it! This is a fanfare collection used as an example but you can do similar things for tracks with alternate intros, odd jumps between sections, and such. If there are any further questions, feel free to ask

Submitting some fixes for a very beloved sheet, World 3 from SMG2:

-Composer should be Mahito Yokota
-Tempo should be 110
-m8 RH beat 2: F# should be an Fn
-m8 RH beat 4: missing an A
-m10 RH beat 4: missing an E
-m10 RH beat 4.5: C# should be a Cn
-m11 RH beat 4: missing an E
-m12 RH beat 1: missing a C#
-m13 RH beat 4: I don't think the C# is restruck here
-m16 LH beat 1: missing a Gn, and I don't hear the E. I also think the top three notes would make more sense as a rolled chord in the RH.
-m17 could use a ritardando

The song doesn't actually repeat back to m4, it should repeat back to m5 and there should be an extra measure at the end that looks something like this:

Thanks! I agree with all the above and have made the corresponding changes. I adjusted a few more things that needed some polish as well, including adjusting the positioning of some dynamics, spacing in the last system, hiding a couple of unneeded rests in m. 10, and adding the "s" in "https" in the URL.

(Other things above we will take a look at sometime too, sorry for the wait!)

The changes look good, thank you for your attention to detail! No complaints about the restruck Eb's near the end since it sounds better like this anyway.

I think I just have one last suggestion to make about measure 2. It may be accurate, but there's a lot of awkward overlap between the two hands and it's not super clear to the performer what to do - you could omit the parenthesized notes but the overlapping G and Ab notes on beat 2.5-2.75 are really awkward.

Would you consider cutting some notes to prioritize one voice that makes sense to you? Listening to the original at full speed, this is what sticks out to me and seems most pianistic to write, although you may feel differently.

It is a stylistic thing to play some chords with a veeeeery slight delay between notes, but that isn't really similar to a roll like the other rolls in this section. It's more a way to distribute the weight between the fingers, rather than actively rolling a chord.

Alrighty, unrolled!

Two more quick things:
- The last four notes in the last measure are G-G#-A-B instead of G-A-A#-B
- The footer text is below the bottom margin (see this topic if you're not sure how to set it properly)You cannot view this attachment.

This sounds like an abrupt loop but it's like that in the game too.

Doesn't surprise me for a 2001 PC game lol

- This piece is in A mixolydian, so it should be written in A major (three sharps) with G naturals in the melody.
- For the left hand patterns in the even-numbered measures, I think it sounds a bit more chromatic - that is to say G#/D# instead of G/D - but I'm not too sure. What do you think?

-m5: I don't hear the chord on beat 2 rolled

Hm, I still feel like it is, perhaps quite quickly? Stylistically I think it also makes sense to reduce the crunchiness of the D-Eb minor second and highlight the melody G a bit better. Let me know if you still disagree though.

-m14 and 17: The dots on the R.H. F on beat 2 should be above the staff line

aaaaaaa so what I did earlier did have an unintended side effect. I assume you mean 17 and 20? There's probably a better way, but I poked them manually for now

-The fretless bass solo later on is a bit finnicky to play, especially if you wanna hold notes over into the next bar, but I don't think there's an easier way to write it out atm. However, you could tie over the F in m14 beat 4.5, like you did with most tied notes, as it still rings on there.

Yup yup, agreed. Sounds good!

Files updated except for the first point, thanks for checking!

I considered writing in the chords into the sheet (like as notes) but haven't made up my mind yet. Left them out for now, but feedback welcome!

Definitely, definitely support writing in harmonies tastefully. This piece is fast but not so fast that the right hand is incapable of playing more than one note at a time. It's easy to play chords in places where the melody doesn't move very much (like in the intro) and it would definitely help to fill in the rhythm where it is lacking (like m. 7-8).

Also this isn't something we've discussed a whole lot yet - I would say that chord symbols are fine if you want to include them, but for the purpose of NinSheetMusic they should not replace explicitly voicing the chords.

You're right. Great catches! I reviewed it again and caught a few more errors.

Thanks for making fixes! Was there anything else other than things I mentioned? Just to confirm that any additional changes made were correct.

A couple of last things before we wrap up this one:

for m. 12-24 you have pedal notated but I think it'd make sense to fill in all the rests

Make sure beats 3.75-4 are tied too

I'm thinking the last three notes of measures 15-16 and 23-24 are Ab-Bb-Db rather than Ab-Cb-Db, but it's hard for me to tell. Could you double-check that?

I am quite sure that these are Cb, yep. It matches the pattern for the rest of the section. I'd also suggest using AudioStretch to be sure yourself if you haven't used something like that yet!

- I hear the bass in m. 25-27 as this instead:

I'm pretty sure the bass Eb is not restruck at the beginning of m. 25 and 26 either.

Welcome to NinSheetMusic! Awesome first submission you have here, things look great

Some feedback before we wrap up this one:
- For the left hand 16th note groups in m. 3-10, the fourth note in each is too high. That's to say it should be F-G-Ab-Bb and Eb-F-G-Ab in the respective measures.
- On beat 4 of m. 10, the left hand descends G-F-Eb (matching the rhythm of the right hand) instead of repeating the Eb as in previous measures
- The Bb notes in the left hand of m. 15-16 should be Cb instead
- The tied Bb-Db dyad in m. 17 could be written more simply as a quarter note
- I'm hearing the first three 16th notes of m. 18 as Ab-C-F instead of C-Eb-F
- I hear the bass in m. 25-27 as this instead:
You cannot view this attachment.

Also, one thing that doesn't really affect how this is read/played but I think it might be a bit nicer - for m. 12-24 you have pedal notated but I think it'd make sense to fill in all the rests (i.e. with longer/tied notes) since the rests visually imply a kind of detached sound.

[approve]

Whoops sorry, forgot to approve earlier. Here you go

I do think the ends of the slurs in the first measure look abnormally close to the notes on the end though, that might need adjusting (or just re-creating)

Do I understand correctly that the 'fixed' version cannot be heard in-game? If so, I'm not sure how I feel about it being submitted. Regardless, I don't think first and second endings is the correct way to notate this, I would use bold text instead, above the start of each track, stating what it is. A double barline at the end of the intro would be helpful as well. For m7, the note should be above the staff to avoid the diagonal line intersecting the music.

If I understand the performer's note correctly, the in game version exists due to a programming error, and that the "fixed" version is actually the intended version of the music right? If this is the case, I have no problem with this. Real quick, how do we know what is "intended"? Is it the resemblance to the piece that this is based off of?

Agree with Xiao above on notating the form though. Additionally, I would suggest considering moving the performer's note to somewhere on the first page so they have a chance to read it and understand the form before starting to play through it as written.

Yesss more Origami King

[sweeet]

sweeet