[PC] Minecraft - "Creator" by Wuuthrad

[Zeta]

Submission Information:
Series: Other
Game: Minecraft
Console: PC
Title: Creator
Instrumentation Solo Piano
Arranger: Wuuthrad

[Wuuthrad]

One of the new tracks I really like! Kept the left hand fairly simple due to how I heard it but would be very open to expanding if I can figure out how to balance it with good playability.

[goldenscruff]

I'm not seeing any measure numbers in the pdf of .mus, please add these. Another updater would be more knowledgeable at fixing this than me.

I can sometimes hear what you have notated for the LH. I think notating the LH as a waltz baseline where appropriate, would be better at capturing the feel of the song. The tempo is slow enough that 8-10th jumps are well within the realm of playability.
I would be prioritising the Bass note (where playable), then everything playing on b2 and b3.
I personally find the guitar more prominent than the pizz strings for the LH. Where it is less busy (eg m13-36) you can notate both as thirds where they are different.

There are also quite a few notes that could do with staccatos. eg RH m21 b2 & b3

m4 LH I hear Gn En Cn

m5 It would be nice to have a rit.

m12 RH I hear |C  A  F#ED# |

m13-20 in the RH I hear as a verbatim repeat of m9-12, I would also be including the semiquavers in these bars as well.

m22 b2 RH I'm hearing the Bn as a triplet quaver, as well as in m26,30,34

m48-50 the RH is notated a tone too high

m61-62 the RH is notated a third too high

m64-66 again the RH is notated a tone too high

m70,74,78 triplet in RH again

m82 b3 I'm not hearing the Cn until b3.67

m92 RH I'm hearing the quavers slightly swung at the end of the bar, up to you/other updaters on including this.

m101-132 Instead of octaves, I think it would be good to include as much of both of the melodic lines as possible.

m129-130 I'm not sure what the RH is supposed to be. It seems you've switch which melody line you are notating (which I would advise against) and its notated a third too low?

m133-139 I think the RH should be up an octave, but I'm ignoring the timbre shift going into m132, which depends on what you do with the above comment.

m137 RH I'm hearing a Cn b3.

m140 RH b2 I'm hearing Bb

m141 the last chord is a Bbminor add9. I suggest writing it as LH: Bb Fn; RH: Cn Dd Bb

There are a couple other things I noticed, but this is enough for now.

[Kricketune54]

Hi Wuuthrad, could you make the same visual updates to this sheet that you did for Ancient History as well?

[Wuuthrad]

Sorry about the delay, just reupdated!

- I think I've got the formatting fixed. The clef changes for 9 and 141 are a measure early because it causes problems with importing from Musescore to Finale Notepad otherwise, so someone else would need to fix that for the final version.

I can sometimes hear what you have notated for the LH. I think notating the LH as a waltz baseline where appropriate, would be better at capturing the feel of the song. The tempo is slow enough that 8-10th jumps are well within the realm of playability.
I would be prioritising the Bass note (where playable), then everything playing on b2 and b3.
I personally find the guitar more prominent than the pizz strings for the LH. Where it is less busy (eg m13-36) you can notate both as thirds where they are different.

Updated the left hand mainly for measures 21-36 and 69-84 since those felt the most waltzlike. I don't have the waltz line in 85-100 for variation, but if it should be there for better accuracy I'd be happy to fix it. Otherwise, made some other small adjustments throughout for better accuracy.

There are also quite a few notes that could do with staccatos. eg RH m21 b2 & b3

Added in various scattered staccato notes for the right and for the waltz parts in the left.

m101-132 Instead of octaves, I think it would be good to include as much of both of the melodic lines as possible.

Made measures 101-116 into chords that combine both melodic lines. Not fully sure on whether the notes for 113-116 and 129-132 are right, I have a hard time hearing them. For measures 117-132, I tried to write the melodic lines separately, but I'm not sure about the playability so would appreciate any ways to do it differently.

m133-139 I think the RH should be up an octave, but I'm ignoring the timbre shift going into m132, which depends on what you do with the above comment.

I like having the octave as is for variation, but if it really should be higher I can change it.

I think I got through all the other note and rhythm fixes mentioned and added rits at the beginning and end.

[goldenscruff]

It's looking alot better already.

- I think I've got the formatting fixed. The clef changes for 9 and 141 are a measure early because it causes problems with importing from Musescore to Finale Notepad otherwise, so someone else would need to fix that for the final version.

I believe you can fix in musescore, but you have to manually add clefs I think.


m45-46 I'm hearing the guitar copy m37-38, and the pipe organ is playing a third above. ie: I would bring the bottom line of RH up a sixth.

Made measures 101-116 into chords that combine both melodic lines. Not fully sure on whether the notes for 113-116 and 129-132 are right, I have a hard time hearing them. For measures 117-132, I tried to write the melodic lines separately, but I'm not sure about the playability so would appreciate any ways to do it differently.

You've done a really good job here.
m101,105,109,117,125 I hear as the top line RH as F Bb not F Db.

m117,119,125 The bottom line needs a crochet rest. In general we add rests so that each voice line in the bar has beats for the full bar (or rarely a half bar in 4/4).

m118 RH Cn seems to have lost its tie.

m120 b3 I hear as an Eb in the top layer, and b2 looks messy. Other than replacing the Fn in the top layer with a rest, I suggest this to clean it up, but am open to other suggestions/solutions that properly import.


m121 What you've notated here is good.

m124 I hear the top line stepping down |Dn Cn Bb| with an optional turn on the Cn.

[Wuuthrad]

m45-46 I'm hearing the guitar copy m37-38, and the pipe organ is playing a third above. ie: I would bring the bottom line of RH up a sixth.

Fixed, not sure if the octaves on 47-48 should stay as is, be removed, or be extended to measure 52.

m101,105,109,117,125 I hear as the top line RH as F Bb not F Db.

m118 RH Cn seems to have lost its tie.

m124 I hear the top line stepping down |Dn Cn Bb| with an optional turn on the Cn.

Fixed these

m117,119,125 The bottom line needs a crochet rest. In general we add rests so that each voice line in the bar has beats for the full bar (or rarely a half bar in 4/4).

Added in

m120 b3 I hear as an Eb in the top layer, and b2 looks messy. Other than replacing the Fn in the top layer with a rest, I suggest this to clean it up, but am open to other suggestions/solutions that properly import.

Put the Bb on b1 as a half note, though I think it makes the Db Eb on 3 sound a bit sudden/off. Let me know what you think.

Thanks for all the notes!

[goldenscruff]

Fixed, not sure if the octaves on 47-48 should stay as is, be removed, or be extended to measure 52.

I'm leaning towards removing the octaves. It also frees up room for the LH that I talk about at the bottom of this reply.

Put the Bb on b1 as a half note, though I think it makes the Db Eb on 3 sound a bit sudden/off. Let me know what you think.

I don't think its too off, but it's not an ideal set of voices lines to play on the same hand.
m43 I'm hearing pipe organ as |E F#G#B E F#|G#   F#   E   |
m44 I can hear the guitar go up at the end of the bar G#AB

m48 RH Grace notes I'm hearing AnBnAn
m51 RH b1 I'm hearing F#GF# grace notes

m64 I'm not hearing the RH grace note

m96,128,136 I'm hearing LH as Ab maj not Fn Maj

m99, 131 RH b1 is probably more accurate as a grace into Db Cn quavers

m108 I hear the grace note as going up to the note (Db, not Fn, unless it was meant for the bottom line). You could have both Db and Fn as a grace note here.

m133-138 The LH could use some Diads (Add a third underneath in b2 and b3).

m136 Could use a rit.

I can hear the bass E. guitar you are transcribing m85-132, but I think it would be better to transcribe the horns b2 and b3. Having the broken triads doesn't give a S w w pulse of the waltz feel of the piece. That might make m117-132 a carbon copy of m101-116, but you could definitely arrange the chords to be bigger.

m37-68 also has a similar problem. Here's what I'm hearing/how I would arrange the LH here. Even separating b1 from b2-3 an by octave sufficiently delineates strong and weak pulses.

Spoiler

(I'm not certain on the small notes in my 'transcription')

[close]

[Wuuthrad]

I'm leaning towards removing the octaves. It also frees up room for the LH that I talk about at the bottom of this reply.

m43 I'm hearing pipe organ as |E F#G#B E F#|G#  F#  E  |
m44 I can hear the guitar go up at the end of the bar G#AB

m48 RH Grace notes I'm hearing AnBnAn
m51 RH b1 I'm hearing F#GF# grace notes

m64 I'm not hearing the RH grace note

m96,128,136 I'm hearing LH as Ab maj not Fn Maj

m99, 131 RH b1 is probably more accurate as a grace into Db Cn quavers

m108 I hear the grace note as going up to the note (Db, not Fn, unless it was meant for the bottom line). You could have both Db and Fn as a grace note here.

m133-138 The LH could use some Diads (Add a third underneath in b2 and b3).

m136 Could use a rit.

Edited these

I can hear the bass E. guitar you are transcribing m85-132, but I think it would be better to transcribe the horns b2 and b3. Having the broken triads doesn't give a S w w pulse of the waltz feel of the piece. That might make m117-132 a carbon copy of m101-116, but you could definitely arrange the chords to be bigger.

m37-68 also has a similar problem. Here's what I'm hearing/how I would arrange the LH here. Even separating b1 from b2-3 an by octave sufficiently delineates strong and weak pulses.

For 37-68, switched between single note lines and diads between phrases as sort of build ups. Left some measures like 40, 43-44, 46, and 50 closer to what I had before since I wanted to try to retain some of the movement direction in the original piece.

Mainly did triads as a waltz bass line for 85-116. For 117-132, I wanted to try to keep some of the electric guitar motion since I was spreading out the chords, though I can switch it to have the same notes on b2 and b3 if that's better.

[goldenscruff]

Firstly I should appologise for not understanding your relactance to remove the step motion in the LH. I've put on headphones, which has changed the audio mix so the pizz strings are more prominent.
If you want to add the style of m117-132 LH, to m21-37 I'd be happy with that.
Keeping in mind I still think 75-100% of the LH should be punching out S w w pulses.

m9 I've counted it as 162 bpm.

m13,15,17. I hear the LH as GnBn b2.0 En b2.5 Gn b3.0
m14,m18 I hear D#F# and F#A diads in the LH. I would probably add a third above what you have notated in m16 and copy that to m20.
m19 I hear thirds underneath b2-3. (I also hear a Bn b2.0 but keeping as diad as fine)
m16 I think the A G F# line is in here (with Gn F# crunch). I don't think you should notate the Gn. I'm thinking An  F#An  BnD#F#

m16,20,24,28,35 b1-2 An b3 Bn in bass
m27 Cn in Bass
m20,28 I can hear a LH line go |A    G G F#  | (m20 doesn't need the quaver Gn)
m32 F#1 in bass
m33,34,36 b1 I hear the bass down an octave
m35 can give top of LH to RH. LH just plays An b1-2 Bn b3
m36 b2-3 I hear as low En.

[Wuuthrad]

If you want to add the style of m117-132 LH, to m21-37 I'd be happy with that.

I think I'm gonna keep the original LH for 21-37 since the accordion line(not great at identifying instruments so sorry if that's not what it is) feels the most prominent with the root b1 and same diads b2-3 pattern

m13,15,17. I hear the LH as GnBn b2.0 En b2.5 Gn b3.0

I think I hear b3 as gn + bn, other than that changed them.

m9 I've counted it as 162 bpm.
m14,m18 I hear D#F# and F#A diads in the LH. I would probably add a third above what you have notated in m16 and copy that to m20.
m19 I hear thirds underneath b2-3. (I also hear a Bn b2.0 but keeping as diad as fine)
m16 I think the A G F# line is in here (with Gn F# crunch). I don't think you should notate the Gn. I'm thinking An  F#An  BnD#F#
m27 Cn in Bass
m32 F#1 in bass
m33,34,36 b1 I hear the bass down an octave
m35 can give top of LH to RH. LH just plays An b1-2 Bn b3
m36 b2-3 I hear as low En.

Fixed these

m16,20,24,28,35 b1-2 An b3 Bn in bass

m20,28 I can hear a LH line go |A    G G F#  | (m20 doesn't need the quaver Gn)

Was a bit confused on what you meant for these two, sorry. m19-20 felt like the LH had very prominent plucked strings, so I wanted to keep the downwards step motion on m20 in particular. For m28 wasn't sure which of the two comments you wanted to implement, went with the quaver comment for now.