[3DS] Pokémon X/Y - "FIN" by Latios212

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon X/Y
Console: Nintendo 3DS
Title: FIN
Instrumentation Solo Piano
Arranger: Latios212

[attachment deleted by admin]

[Latios212]

Original: [Youtube][/url]

Minor changes that need to be made: (I use Finale Notepad 2012, so tell me if I can do this using that version. I can't find these tools.)

- Addition of metronome marking
- Removal of "Pno." markings
- Addition of grace notes (is that the right word?) on the right hand of measures 4, 10, 12, and maybe 13

Brassman388 helped me with this a lot, so hopefully it should be good to go after a few small fixes!

[Brassman388]

This looks a bit too familiar... Haha. Glad to see that it made the submission board.

But here are my thoughts. First off, I'd like to give you this one with the revised things I completely ignored.

https://dl.dropboxusercontent.com/u/36750916/FIN-2.1.mus

But, I didn't change anything in regards to what I'm about to say.

Margins, margins, margins. Watch the dang margins. I know that seems like such a small thing, but it is what really makes a good looking piece of music.

Get rid of the 'piano' and 'pno' labels. Don't need them.

Also, one last thing. Do you know how to use the resize tool? This is important for getting rid of all the white space on the page and sort of 'filling it up' so to say. Let me know, I'll give you tips on how to do that.

I'm not going to say anything about it tonally since I've already helped you before.

[Brassman388]

Original: [Youtube][/url]
- Addition of metronome marking
- Removal of "Pno." markings
- Addition of grace notes (is that the right word?) on the right hand of measures 4, 10, 12, and maybe 13

Aw crap. You can't make any of these changes as well as the ones that I mentioned?

[Bespinben]

I gotcha covered Latios. We'll make it very aesthetically pleasing

[Latios212]

Aw crap. You can't make any of these changes as well as the ones that I mentioned?

Unfortunately, not that I know of, but thanks for noticing. 

I gotcha covered Latios. We'll make it very aesthetically pleasing

IT'S HAPPENING
MY SHEET IS GETTING THE BESPINBEN TOUCH

[braix]

tHE BESPINBEN TOUCH OMG BE HONORED LATIOS

[Bespinben]

Ding!



Here you go!

[MUS] [MIDI] [PDF]

I made a few changes more than just doing formatting and adding in some grace notes, if you don't mind. Here's a summary:
~ A guitar only has six strings, so we need to keep that in mind in our overall building of chords and arpeggios. In this song, a lot of the time the chord will strike on the beat and then immediately be followed by an arpeggio of the same notes. Because of that, it is necessary to sometimes to invert some of the arpeggio notes to avoid overlap on the piano, which you did, but at the sacrifice of some accuracy. So, I tried to restore some of that. (Notice the dashed line I use in measure 2 and indicate that the pattern continue?)
~ This is song very much typifies what could be considered "commercial music", and therefore, some of the notational practices common to that genre were implemented (ex: basic chord symbols, 2nd layer sustained bass to indicate pedal, etc.). (This is actually one of the reasons I have a hard time appreciating the music of X/Y tbh. Pokémon has never sported this sort of sound)
~ Heed this! Notice in places like measure 2 where the note gets held an eighth past the beat? In 6/8 time, this should be notated as a dotted quarter tied to an eighth, instead of a half note. This is to show the beat, because 6/8 is not 6 eighth note beats, rather, 2 beats subdivided in 3.
~ Although perfectly allowable for NSM, I feel that using a 1st & 2nd ending system just to write a single measure tonic chord "ending" is extremely tacky. In my readings, it seems more common to use a "fine" marking for such abrupt endings. I did notice that you wanted to play the bass an octave lower on the 2nd end, so I wrote in cue notes for the 2nd end bass, a practice common in hymnal writing.

Question: Is the official name for this song all capitals? or is it lowercase?

[Brassman388]

~ This is song very much typifies what could be considered "commercial music", and therefore, some of the notational practices common to that genre were implemented (ex: basic chord symbols, 2nd layer sustained bass to indicate pedal, etc.).

~ Heed this! Notice in places like measure 2 where the note gets held an eighth past the beat? In 6/8 time, this should be notated as a dotted quarter tied to an eighth, instead of a half note. This is to show the beat, because 6/8 is not 6 eighth note beats, rather, 2 beats subdivided in 3.

~ Although perfectly allowable for NSM, I feel that using a 1st & 2nd ending system just to write a single measure tonic chord "ending" is extremely tacky. In my readings, it seems more common to use a "fine" marking for such abrupt endings. I did notice that you wanted to play the bass an octave lower on the 2nd end, so I wrote in cue notes for the 2nd end bass, a practice common in hymnal writing.

*Sigh* Okay, here's the thing.

We're dealing with piano music and piano music players. The two layer thing can be done with a sustain pedal marking. I get the philosophy, but it's just not needed for piano music. Same thing with the chord symbols. Ditch em'. They're a nice touch, but not needed if since we're not gearing towards guitar players.

Don't get me wrong, though. There are plenty of places where the two layers work just fine. Like, for example, in measure 12, 15, and 16.

Good catch on the 6/8 time. Completely swung over my head.

Fine works just fine. First and second ending works fine, too. As long as it flows and fits and looks good.

Also, write those second layer parts in the treble clef in with the first layer. Looks kinda messy when written that way. Makes sure that none of those notes clash with what the bass is doing.

Last, but not least. I'm not sure what the use is on 'little' notes, but my use is sorta non-existant. It is even more so when the intervals that you're trying to get the player to play is more than an octave, as well. What I'm referring to is beat two of measure 15 and measure 16 in both bass parts. In measure 15, find a way to write the 'b' into the treble part and rewrite the bass. In measure 16, ditch the 'a' in the bass and Keep the 'f'. In the treble part in bar 16, resize the 'a' to it's full size.

In measure 12, the suspended 'e' on beat two the treble line isn't needed. I say that because it's played as a grace note later making its point.

That's all I could find for now as far as for formatting.

[The Deku Trombonist]

*Sigh* Okay, here's the thing.

We're dealing with piano music and piano music players. The two layer thing can be done with a sustain pedal marking. I get the philosophy, but it's just not needed for piano music. Same thing with the chord symbols. Ditch em'. They're a nice touch, but not needed if since we're not gearing towards guitar players.

That's all over piano music, since Debussy and Rachmaninoff and possibly earlier.

[Bespinben]

We're dealing with piano music and piano music players. The two layer thing can be done with a sustain pedal marking. I get the philosophy, but it's just not needed for piano music. Same thing with the chord symbols. Ditch em'. They're a nice touch, but not needed if since we're not gearing towards guitar players.

Also, write those second layer parts in the treble clef in with the first layer. Looks kinda messy when written that way. Makes sure that none of those notes clash with what the bass is doing.

I took this course because I thought it would help represent the source material better, since popular guitar music seems to gravitate around chord charts. And, because I got this "modern" vibe from this song, traditional pedal markings would seem stylistically out of place in my mind. Rather, I see this fitting the "PVG" model of transcription, typical of show music (which, in the link below, you can see the pedal corresponding to the chord changes as well as the sustained 2nd layer bass): http://www.musicnotes.com/sheetmusic/mtdFPE.asp?ppn=MN0104285&ref=google

And about the layering in the treble clef - that's precisely why I used a separate layer, because if you merge the notes into the first layer, you end up saying "hold this chord while the LH plays over the same notes" - an impossible task. That was also the source behind using the dashed line to connect the 2nd layer RH to arpeggios in the LH, so that even though the same notes were being played over again, it would be clear that the RH would "let off" once the LH came in.

But yeah, I hate chord charts in piano music anyway, so we can agree on that one

[Brassman388]

That's all over piano music, since Debussy and Rachmaninoff and possibly earlier.

Yeeeeeeeaaaaaah, but I mean, I think it looks better the other way?

[Brassman388]

And about the layering in the treble clef - that's precisely why I used a separate layer, because if you merge the notes into the first layer, you end up saying "hold this chord while the LH plays over the same notes" - an impossible task. That was also the source behind using the dashed line to connect the 2nd layer RH to arpeggios in the LH, so that even though the same notes were being played over again, it would be clear that the RH would "let off" once the LH came in.

Alright, I get that. Let's have them be held out a bit longer than rather than just an 8th of a beat. Kinda looses fullness when you just play them for a second. Quarter notes should do the trick. As for the second layer thing in the bass, I guess it should be fiiiiiiiiiiiiiiiiiiiiiine since my other half thinks so. *Sigh*

[Bespinben]

Hey don't sigh! I don't get to have these sort of discussions very often. I kinda get a kick out of it, especially knowing my own personal history of theory ignorance And better yet, you've been one of the very few people in my 3-month experience as an updater to EVER seriously critique submissions, other than the people that have this fancy title.

I see what you mean about the 8ths being brief, but if you're pedaling, then there should be no difference (unless maybe you listening to subpar Finale playback, in which case...[I suppose I could have written invisible pedal markings to help with that, but ain't nobody got time for that]). It we were going the path of "let's see how long I can hold these keys down", it would vary on the measure. Measure 2 requires an 8th for the 2nd layer RH, measure 3 & 5 could pass for a quarter, measure 6 --> an 8th. The disadvantage of that is that once we do that, the 2nd layer RH suddenly becomes a separate voice from the arpeggios, when really it's not, thinking back on how this would look on a guitar, hence the dashed line in m. 2 and the ensuing "simile".

[Brassman388]

Write it out with all the changes and I'll get back to it. The only way we'll know is if we 'see' it. You know what I mean?

Also, I'm not an updater.