Submission Information:
Series: Ace Attorney
Game: Phoenix Wright: Ace Attorney
Console: Nintendo DS
Title: Marvin Grossberg ~ Old Age, Regret, Retribution
Instrumentation Solo Piano
Arranger: Onionleaf (http://forum.ninsheetmusic.org/index.php?action=profile;u=3620)
I may have missed some nuances in the harmonies, but other than that it's hopefully not an awfully difficult sheet to check.
The final chord of measure 1 and its repetitions is an A7sus4 chord. The D in the left hand should be an A (first space) and the E in the right hand should be a G (second line).
From measure 9 onward, the progression is Emin7-Bmin7-C7. The original upper voicing for the Bmin7 chord is A-D-F# starting on the fourth line and going up, but sometimes this isn't possible because of the melody's range, so I suggest moving the F# down an octave when they would overlap. The E in the C7 chord upper voicing is an octave higher.
In measure 12, the C's in the right hand should be Bb's and the D should be a C (it's the same as measure 16, but with a C7 to D7 progression rather than Cmaj7 to D7). Since these two measure are so similar, I suggest having the same split between first and second layers in both of them, or merging the layers outright.
Also, considering the style of the piece, it should most likely be written in 4/4 time with swing eighths.
Cool, thank you for the corrections, I should have realised to include a lot more dominant 7th chords. Hopefully I've understood all of your points correctly (forgive my sleepy brain if I missed anything).
I see what you mean about changing to 4/4 swing, but I felt that because there are so many triplet quavers *ack* 8th notes, it seems easier to read the music in 12/8.
Hmm... I would have to agree that the song is more suggestive of swing than 12/8, particularly the percussion line.
Also - change the key signature to that of E minor (one sharp).
I'm not having a good run with my time signatures, am I? :P
All fixed!
I suggest you change the "two eighths tied to an eighth and a quarter in a triplet" rhythm in measures 4, 8 and 14 into quarter note triplets for legibility. Grace notes leading up to a note need a slur connecting them, even if the entire phrase is slurred, and single note acciaccaturas are always written as a slashed eighth note, not a slashed sixteenth.
Now, you don't need to change this if you actually have a reason for doing it, but I'm curious as to why you chose to add an E to the Em7 chord upper voicings, as opposed to keeping them consistent with the three-note Bm7 and C7 ones. Similarly, why did you change some grace notes into mordants? If it's just because the Finale playback was a bit off, I recommend reverting that.
Also, I'm pretty sure those Fb's are F naturals.
Bump for arranger!
I'm not a fan of the current notation in m.12 and m.16 – as is, it looks like the whole thing is the melody, when it's just the top note of the first and last chords
This is... really hard for me to read in 4/4 Swing.
Quote from: mastersuperfan on March 31, 2018, 11:06:57 AMThis is... really hard for me to read in 4/4 Swing.
I guess habit's a part of it, but writing quarter note triplets as "two eighths tied to an eighth and a quarter in a triplet" doesn't help.
Quote from: InsigTurtle on March 29, 2018, 08:53:00 PMBump for arranger!
I'm not a fan of the current notation in m.12 and m.16 – as is, it looks like the whole thing is the melody, when it's just the top note of the first and last chords
Archived for inactivityPlease feel to resubmit at your convenience!