Halloween 2k19 Update

[Static]

I'm with latios on this one.

Ah, yeah I was mishearing this part. I think there's some kind of echo that threw me off. It makes more sense to have it this way anyway, both musically and physically (this is easier to play on piano and typical guitar stuff). I've made the changes.

[Maelstrom]

Cool

Accepted

[Yug_Guy]

Real quick thing I need to update: I didn't realize that the A section repeated a second time after the loop, so I've gone ahead and changed it in my files. The formatting had to be adjusted to fit the extra measures (and accommodate a third page as a result).

Super Castlevania IV [SNES]

"Simon Belmont's Theme"

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Original

[Static]

Real quick thing I need to update: I didn't realize that the A section repeated a second time after the loop, so I've gone ahead and changed it in my files. The formatting had to be adjusted to fit the extra measures (and accommodate a third page as a result).

If you want, you could also just add a repeat to the first A section and put a note above it that says "Repeat on D.C. only" or something similar. This is fine too though.

[Latios212]

Levi - Dragonlord
What a strange piece... but sheet looks good!

Levi - Catching Ghosts 3
- Last bass note of m. 4 should be Ab

Levi - Ghost Approaching
- nice

Levi - King Dedede
- Wow this is a cool piece, not what I expected at all with that title. Tritones, chromatic lines, whole tone scales...
- m. 10's D#s should be written as Eb's to match the bass. The diminished third between Eb and C# is a necessary evil if you want to parallel m. 8 (I think that's the most straightforward way to write these measures anyway).

[Latios212]

Code_Name_Geek - Spirit's Eve Festival
- Wow, this is a really weird pulse...

- This looks great! The harmonies are all correct; this piece only uses 2 chords (A minor and E major).

- Aha but the second chord in m. 7 is an E7; it should have D instead of E in the right hand.
- Switch layers in m. 30/34 so that the tie correctly cancels out the G# accidental.
- I think the last chord should be inverted down once.

Static- Scorching Back
- Looks good, approved

[Libera]

Maelstrom - Running Hell

I am aware. This was actually done intentionally. The real way it should be written is

In this, the top note is lowered, making the chord sound more compressed than before. If you simply invert it, and write it in the same way, the top note stays the same and the bottom note lowers, which makes a larger chord and changes the texture of the progression. I thought long and hard about this. First, I decided against writing it verbatim because that's not not feasible to play. It was hard to decide, but I went with what I wrote because it more accurately captures the original texture even if the notes aren't exact. It's a fudge that I think emulates the original better than writing a pure inversion would.

It's probably not what I would have done, but at least I understand there's some rationale behind it.

The other things look good to me, I'm happy to sign off on this now.

Zeila - Id (Dilemma)

-Might I suggest a different distribution?  At the moment the whole sheet is on default bars per system and default staff size, which has the effect of making everything look a bit clumsy.  I mocked up something like this with 0.65cm staff size (the best ;) ) and I tried to spread things out across the two pages a little more consistently (4-5).

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-Perhaps some sort of articulation like 'freely' above the bits with the really crazy rhythms (bar 25 onwards, really), just to let the performer know not to get too bogged down in the precise rhythms etc.  Your call though, as I think the rhythms are pretty accurate at the moment.
-I actually disagree with Static about your accidentals in the beginning section.  All of those chords look like F#7 in third inversion to me (or just F# on it's own) so I think that A# and C# are the correct ways to spell these chords.  You even have the perfectly analogous Dm followed by E7/D in bars 13-14 which is just exactly the same thing but in Dm rather than Em (and the spellings there are as I am suggesting already!).  In that case, I might be inclined to put a courtesy natural on the An in bar 6, but it's not really necessary since the key signature is literally right next to it.
-Another thing about accidentals: the final chord of the piece is an Ebm chord, but it doesn't look that way because of how it's spelt.  I'd suggest changing the F#s to Gbs and the Gns to Abbs, or alternatively changing to sharps in bar 37 (essentially modulating early) and then writing the Ebs and Bbs as D#s and A#s and then you'll end on a D#m chord.  I think the second option is probably the more preferable, but see what you think anyway.

Weird piece, but nice job!

[Libera]

The other echo notes in this piece are clearly softer than the initial strike, but the repeated Bb here sounds just as loud as the Bb before it. I think it's an actual note and just just an effect. Also, it sounds like a G (2nd line) plays on the 2nd 8th note of m30 and 32 (so 8th note Bn, quarter note G, dotted quarter tied to dotted half G).

Hmm, ok I can add in those Bbs.  About the second thing though, if you listen you can hear more of those sorts of notes in other places (not just the two you mentioned) and I didn't (and still don't) think that any of them are worth including really.  They're very much in the background, and they're playing harmony that we already have from other parts so I think it's better to keep the lines intact.  I've put up a new file.

Static - The Park

-I'm not sure I hear the An on beat 2 in bars 5 and 9 and even if it is there, then I don't think it should be above the melody F note.  Other than that, it looks great (although potentially you could bring things down a bit more to use up some of white space at the bottom, but it's not a big deal really.)

[Latios212]

Zeila - Battle (Team Skull)
- Wow, this works a lot better for piano than I thought it would
- I'm hearing m. 39 and 47 beat 4 as a chromatic approach to the next measure - G#-D# for m. 39 and En-Bn for 47.
- Not really sure I follow the melody in m. 52-55? I'm hearing something like parallel fifths below what you have written

Yug Guy - Intermission from DOOM [E2M3]
- Can we emulate some of those percussive rhythms in the interlude in m. 27+ and 68+? Even if it's just varying up the rhythm of the low E's. The entire vibe of the section is lost currently.
- Other than that, everything looks well in order.

Trasdegi - Portentousness
- I don't think rolled chords are the best way to write the first half. Besides not meshing with the other layer well, it leaves the execution unclear as the chord is far too big for the right hand to roll naturally. Each of the ascending notes is distinctly marked so this would be better written as an ascending run of distinct notes.

Static - Murasaki Forest
- Is this not in 16th swing? I'm not that great at telling...
- Some of these chords sound to me like they maybe should be inverted up, but I'm not 100% sure. If you wouldn't mind double checking what you have for m. 7-8, 11-12, 16, 18, 20. Conversely, 30 sounds like it could be inverted down.
- Would suggest moving the rests up in m. 17.

[Static]

- Aha but the second chord in m. 7 is an E7; it should have D instead of E in the right hand.

My ears have failed me... But yes.

Static - The Park

-I'm not sure I hear the An on beat 2 in bars 5 and 9 and even if it is there, then I don't think it should be above the melody F note.  Other than that, it looks great (although potentially you could bring things down a bit more to use up some of white space at the bottom, but it's not a big deal really.)

It's played in the flute an octave above where I have it currently. But like you said, the F is the melody here, so I moved the A down even more. I spaced everything out more too.

Static - Murasaki Forest
- Is this not in 16th swing? I'm not that great at telling...
- Some of these chords sound to me like they maybe should be inverted up, but I'm not 100% sure. If you wouldn't mind double checking what you have for m. 7-8, 11-12, 16, 18, 20. Conversely, 30 sounds like it could be inverted down.
- Would suggest moving the rests up in m. 17.

- I thought they were swing at first too, but I don't think that's actually the case. Or if it is, it's only the drums. I tried using both normal swing playback and a lesser value and neither sounded right to me.
- I hear the chords exactly as I have it. If there is an F# above, it's a lot less prominent than the lower one.
- Done (and for m3 and 13 too bc otherwise it'll drive me insane).

[LeviR.star]

Levi - Dragonlord
What a strange piece... but sheet looks good!

Yea, it's pretty weird, but I'm glad to have it on its way to the site. That means the original Dragon Quest OST will be (almost) covered entirely!

Levi - Catching Ghosts 3
- Last bass note of m. 4 should be Ab

Good catch, fixed.

Levi - Ghost Approaching
- nice

>:]

Levi - King Dedede
- Wow this is a cool piece, not what I expected at all with that title. Tritones, chromatic lines, whole tone scales...
- m. 10's D#s should be written as Eb's to match the bass. The diminished third between Eb and C# is a necessary evil if you want to parallel m. 8 (I think that's the most straightforward way to write these measures anyway).

- I know, right? If this was a normal Dedede rendition, I wouldn't have submitted it for this update, but this one is so foreboding and sinister. It would have been a mistake to not submit it!
- Makes sense to me, I'll fix that right away.

"Catching Ghosts 3" and "King Dedede" are updated!

[Latios212]

Levi - Catching Ghosts 3
Levi - King Dedede
Accepted!

Static - Murasaki Forest
Approved!

[Trasdegi]

Trasdegi - Portentousness
- I don't think rolled chords are the best way to write the first half. Besides not meshing with the other layer well, it leaves the execution unclear as the chord is far too big for the right hand to roll naturally. Each of the ascending notes is distinctly marked so this would be better written as an ascending run of distinct notes.

Thanks for the feedback! Files updated with some tuplets and cross-staff notation. I hope I did this right...

[Latios212]

Maelstrom - Dracula's Castle
- Looks pretty good. I'd suggest flipping the ties in the first chord down to match the rest of the section.
- Some dynamic changes (i.e. cresc.) in the last system maybe?

Yug_Guy - Super Castlevania IV - Simon Belmont's Theme

- I would try to avoid having that large 16th note jump in m13 RH. The ones in m17-25 LH work well because the intervals are only 5ths, but this one is a 7th. I'd just remove the lower note.

- Does it not just ascend A-Bb-C in octaves?
- m. 17+: Definitely not all these notes are staccato. I'd suggest removing staccatos on your eighth notes in the RH of this part

[Yug_Guy]

- Can we emulate some of those percussive rhythms in the interlude in m. 27+ and 68+? Even if it's just varying up the rhythm of the low E's. The entire vibe of the section is lost currently.

I added some percussion cues to measure 27+. Not sure what I could do for 68+ since it's mainly a hi-hat driving the rhythm there.

- Does it not just ascend A-Bb-C in octaves?

Yes and no. There are two organ parts that play the melody for this section an octave apart. In m.13 one of the Bb in that section drops an octave while the other stays. If you listen to the original again you'll probably hear it.

- m. 17+: Definitely not all these notes are staccato. I'd suggest removing staccatos on your eighth notes in the RH of this part

Fixed.

Doom [PC]

"Intermission from DOOM [E2M3]"

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Original

Super Castlevania IV [SNES]

"Simon Belmont's Theme"

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MUSX

MIDI

PDF

Original