Sebastian's Arrangement Library

[mikey]

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[Jompa]

You mean measure 42?

No, measure#41.

you didn't do anything about the "missing" stuff in measure#34.
you didn't fix measure#41
you didn't fix meausre#49 properly - the bass is still wrong.
you didn't fix measure#50

[Sebastian]

No, measure#41.

you didn't do anything about the "missing" stuff in measure#34.
you didn't fix measure#41
you didn't fix meausre#49 properly - the bass is still wrong.
you didn't fix measure#50

Sorry about that.
Ill have 'em fixed
There is not a b natural in measure 41....

[Jompa]

There is not a b natural in measure 41....

In the left hand there is; there are 6 of them.
Looking at the chord progression, we see that using a B-major chord in this measure is ludicrous - it's a C-flat-major chord here - which means those B naturals should be changed to their enharmonic counterpart to match up with the chord, as well as to match up with the current underlying scale.

[Sebastian]

In the left hand there is; there are 6 of them.
Looking at the chord progression, we see that using a B-major chord in this measure is ludicrous - it's a C-flat-major chord here - which means those B naturals should be changed to their enharmonic counterpart to match up with the chord, as well as to match up with the current underlying scale.

OOOOOOOOOOhhhhhhh 
ok

[Sebastian]

One quick thing
I also claim these:
Forest Maze (Replacement) from Super Mario Rpg
Bowser Magma Mountain (Replacement) from Mario Party 1

And zoroark1264, I wont be taking Delfino Square for 2 reasons. 1. Its already on the site and 2. Its too hard for me 

[braix]

And zoroark1264, I wont be taking Delfino Square for 2 reasons. 1. Its already on the site and 2. Its too hard for me 

Haha it's fine

[Sebastian]

Ok

Paper Mario: The Thousand Year Door
Doopliss Battle NEW!!!
[ZIP]
This one was harder than I thought....lol....

[FireArrow]

Measure 7-9: Change the Ab's to G#'s (The Ab's in measure 10 are ok.)
Measure 19-27: Change the Ab's to G#'s in the left hand only.

This song has a big issue with leading tones vs. descending chromatics.

EDIT: Gb -> F# in measure 14 L.H.

[Sebastian]

Thanks

[Sebastian]

Measure 7-9: Change the Ab's to G#'s (The Ab's in measure 10 are ok.)
Measure 19-27: Change the Ab's to G#'s in the left hand only.

This song has a big issue with leading tones vs. descending chromatics.

EDIT: Gb -> F# in measure 14 L.H.

Ahhh! I can never get accidentals right.

[Jompa]

This specific kinda thing we've been trough many times before mariolegofan, so I seriously suggest you write this on a post-it and put it on your wall or something:

When you have a clear tonality that follows a specific key signature/mode/scale without too much alterations here and there (which is like 90+% of the time), you have to follow the scale in the use accidentals. And this literally ALWAYS means that you shouldn't flatten the tonic. There aren't exceptions - there is no harmony in any music that bases itself on a scale that uses a b1 (flattened first).

note that what I'm saying is aimed for this kinda piano-arranging. Some of this is sometimes different on instruments that are only able to play one note at a time, making harmony-rules less important.
So as I said, that's how it is when harmony is the important part, BUT when a phenomena known as chromatics occur, it's a different story.
Chromatics aren't based on harmony the same way (most often it's not based on harmony at all). Rule: flats when descending and sharps when ascending.
Like with the measure#23-figure. Here you go chromatically from A to G and so on, and then the concept of using flats on chromatically descending phrases has "priority" over the sharpened seventh-thing.
Note that this also is applied in key signatures already full of sharps or flats, but with the use of naturals as well.
This is more commonly used in fast phrases, as when long notes are in use they often represent their chord progression to some degree, meaning that harmony actually counts.

Dubbed "issue with leading tones vs chromatics" by FireArrow, it is something to look for when arranging/doing clean-up on an arrangement.
I don't think it's that hard to handle though, because it all bases on the principle that unnecessary accidentals are a no-no, and the way to avoid those = flats on descending and sharps on ascending, which really is a very simple to understand concept.

Just take this with you, that's the point of this text.

[Sebastian]

This specific kinda thing we've been trough many times before mariolegofan, so I seriously suggest you write this on a post-it and put it on your wall or something:

Done

Rule: flats when descending and sharps when ascending.

I thought I have been doing this...

Other than the accidentals, is it good?
Thanks again

[Jompa]

I thought I have been doing this...

I should have said - it's not supposed to be used all the time, you could say it depends on if the melody is "under control" of the harmony.
I should also have said - it wasn't really even a huge problem in this arrangement, I just spoke in general.

[Sebastian]

I should have said - it's not supposed to be used all the time, you could say it depends on if the melody is "under control" of the harmony.
I should also have said - it wasn't really even a huge problem in this arrangement, I just spoke in general.

Thanks
So what Firearrow said is pretty much everything wrong with it?