[MUL] Shovel Knight - "The Schemer (Tinker Knight Battle)" by Dekkadeci

[Maelstrom]

The shortcut to swap between layers is Alt+Shift+[layer number (1-4)]

[Dekkadeci]

From all your replies, I believe "layering" means the use of what Musescore calls "voices"--correct me if I'm wrong. Thus, layering can help me display notes with stems in both directions in one staff.

Assuming my guessed definition of "layering" is correct...

Arranging:
- First measure: Lower the accompaniment Cs to below their respective dyads. This gives a "fuller" texture otherwise not capable from one instrument, and also solves part of your clashing problem. In addition, let the bottom voices hold out with the use of a second layer.

If enough people agree, I could use a second layer to put quarter notes on the lowest C, Bb, Ab, and G in Bars 1-2--this is a direction I'm not completely for or against, and I'd let a live pianist get away with that.

- Measures 13 through 15: Like with the introduction, let the bottom voices hold out by use of layering. This is reflected in the original, as well.

I am more reluctant to implement this use of layering because this is what I hear in the Youtube and .nsf versions:

EDIT: On several other listens, I see your point, WaluigiTime64--where the heck are the solid enough B flat below Middle C (in Bar 13) and the A flat below Middle C (in Bar 14) (approx. 0:08-0:09 in the topmost video) coming from when I listen to the soundtrack? The closest I see in the .nsf are the 16th notes in the accompaniment.

As those bars already repeat their B flat and A flat below Middle C several times in my transcription, I don't think a pianist could play the layered version (where the B flat and A flat would also be held).

[Dekkadeci]

Wondering if I should implement any of the suggestions in my last post (or on Page 1).

[Dekkadeci]

Ugh, can't believe the (now second) most recent version of the .mus had no measure numbers. Put them back in the .mus, but I can't seem to upload .pdf's right now.

EDIT: I can't upload .pdf's on my normal computer right now, but I used another computer at home to upload the fixed PDF.

[Maelstrom]

Collisions, my friend.

This is still a problem. I can give you specifics if you want, but it's pretty clear where it's happening.

[Dekkadeci]

This is still a problem. I can give you specifics if you want, but it's pretty clear where it's happening.

I'm afraid I will need the specifics.

[Maelstrom]

Let's start with the first system. There are 4 collisions:

Spoiler

The initial tempo marking, the crescendo with the initial dynamic, the crescendo with the notes, and the Fp with the barline.

[close]

m28 has the 8va colliding with the notes
the last 2 systems have the accidentals colliding with the notes in the other staff.
The trill in m8 is colliding with the staff

[Tobbeh99]

Nice arrangement!

Formatting:

-Make all the systems first page contain 4 measures. So 4 measures per system. This makes more sense with the phasing of the song. (You could also do this for the second page but it isn't necessary and you'd have to adjust the margins in order to make it look nice, and not look to cramped together.)
-Optionally you could add a couple of rehearsal marks, and A and a B section. 

Dynamics:
You could make the dynamics more detailed. So that you have F in the RH and mf/mp in the LH at the first section, and in the later part change it to have mf/f in the LH and mp or something in the RH. I personally find the LH more important dynamically in the second part.

Playabilty/notation:
Some parts just seems to hard and like you have "taken in too many voices". To get to the point: playing double-notes at this speed is just tough, and if you want your sheet to be accessible and enjoyed by more people you should try to avoid it.

I've edited your sheet a bit where there were double-notes which I though was just redundant, mostly in the LH. I made a couple of images blow where I show some examples of how it could be changed to make it more accessible and easier to play but still preserving the music well.


*you could write everything in one layer if you want to.


*in m.23 the LH can help play the little double-note run so it becomes playable.

[Dekkadeci]

Got around to implementing Maelstrom and one of Tobbeh99's suggestions. Don't have enough time today to change the number of bars in each system.

Let's start with the first system. There are 4 collisions:

Spoiler

The initial tempo marking, the crescendo with the initial dynamic, the crescendo with the notes, and the Fp with the barline.

[close]

m28 has the 8va colliding with the notes
the last 2 systems have the accidentals colliding with the notes in the other staff.
The trill in m8 is colliding with the staff

I managed to remove all the collisions except "the last 2 systems have the accidentals colliding with the notes in the other staff". I had extreme trouble changing the height between staves when trying to transfer my arrangement contest entry into Finale Notepad, so I don't believe I'm capable of fixing the accidental collisions even with directly editing the MusicXML file.

In Bars 16-17, I've removed the last 16th note in the lowest LH layer but not the first. The entire piece is looking rather inaccessible anyway, and I don't find my current LH to be that hard to play (although Tobbeh99's is a bit easier).

I agree with the Bar 24 marking--I'd originally notated it with some notes in the LH staff (although those original notes interlock with the ones in the RH staff pretty hard). I'm not even sure how to pull off Tobbeh99's picture with Musescore, though, let alone Finale Notepad.

[Maelstrom]

You don't need to change the space in between the staves. If you really want, you can just flip the stems.

[Maelstrom]

Boomp

[Dekkadeci]

Finally got around to straightening this sheet music out. Figured out ways to flip stems and draw up Tobbeh99's Bar 23 in Finale Notepad, and re-exporting to MusicXML, making line break changes there for the first page, and re-importing from MusicXML was surprisingly painless!

[Maelstrom]

Alright, you got the Meal edit. I went through and reworked just about everything, and I mean everything.
If you are good with it, I'll accept it. Don't expect this to happen in the future, but this arrangement needed much, much more work to make it even remotely playable. Even as it is in my reworked form, it would still be considered difficult. I'd discourage using any sort of midi rip or .nsf file as your source material. Instead, arrange it, and use that to check your notes when you finish.
File:
https://www.dropbox.com/s/qjfm1gym4n4x9ox/The%20Schemer.mus?dl=1

[Dekkadeci]

Alright, you got the Meal edit. I went through and reworked just about everything, and I mean everything.
If you are good with it, I'll accept it. Don't expect this to happen in the future, but this arrangement needed much, much more work to make it even remotely playable. Even as it is in my reworked form, it would still be considered difficult. I'd discourage using any sort of midi rip or .nsf file as your source material. Instead, arrange it, and use that to check your notes when you finish.
File:
https://www.dropbox.com/s/qjfm1gym4n4x9ox/The%20Schemer.mus?dl=1

Sorry for not being on Ninsheetmusic lately--I've had to deal with a lot of work-related matters recently.

Since the song is so difficult, I decided to leave your score almost intact, but I made a couple of edits and resubmitted your file set with these minor adjustments:

• Changed the arrangement authorship to Dekkadeci and Maelstrom, since you made several arrangement decisions I would not have made
• Changed the LH accompaniment of Bars 13-15 to quarter notes instead of half notes--the half notes sounded really off to me, and the quarter notes sound acceptable

I hope these small changes are alright.

[Maelstrom]

• Changed the arrangement authorship to Dekkadeci and Maelstrom, since you made several arrangement decisions I would not have made

This sounds like a passive-aggressive way of saying you don't agree with my choices. You're the arranger, and you get to decide. However, as updaters, we get to make the final call on things like playability, which is the main reason I made those changes. In addition, I don't really think I did anywhere near enough work to be considered a collaborator. You arranged the song. I just edited what you had a little.