[url=https://www.youtube.com/watch?v=c3ls2y_2UHM]Lol look it's a repost[/url]At what point do people usually submit sheets properly?Well, honestly, that's really up to you. It's not uncommon for someone to create an account, immediately submit an unformatted arrangement, and then never show up to respond to critiques or post anything else. In your case, since you already have the Formatting Guidelines down and are striving to make your arrangements playable, I say go ahead and submit whenever you feel ready. We're trying to get people to leave some critiques in people's Personal Arrangement Threads before submitting so that the Updaters don't have to do as much legwork, but yours already look pretty good.
-I used cross-staving if it's only for a beat since a clef change seems silly to me there. I prefer clef changes to cross-staving generally though so I've kept those in.
-Most of my slurs are actually phrase markings. I guess that's something people don't really do on here since someone has brought me up on it before.
Wow, that's a lot of feedback. Thank you for taking the time to look through my sheets.Np! And sorry about the confusion, but I meant that I think it would be better if there was a Db for the first 1 1/2 beats instead of the timpani part like so:
Safeguard
-I have no idea what you mean about m.15.
I still don't agree with the quarter not equals quarter note in m. 32.I know you disagree with the 6/8 time signature, but is there something actually incorrect about crotchet = crotchet here? I thought it was just a courtesy saying that there isn't a metric modulation but maybe I'm missing something.
If you feel the need to get offended for being accused of using midi there has to be some truth to it?I was just jokingly being over the top (I even said not really afterwards). Either way, I don't use midi.
Also get rid of the extra durations in that section, that's not how it's performed in the recording, and is the reason I had my version very detached.Good catch, I've fixed this now.
Lastly, the section at m. 46, I see why you have it as 12/16 and how it functions for the next metric modulation, but it still looks and feels off to me. There has to be another solution.I'm open to hearing any, but I don't think it looks particularly problematic.
I'm not a big fan of key changes in such quick sections like from m. 50 to m. 54.Yeah as I said I was just too tired to do this last night, I've changed it now.
In measure 55, in the bass part, you can either combine the first beat of the ostinato with the 16th creating a dotted eighth, or you can leave it out as a rest, but what you cannot do is leave it as a tied 8th to 16th. Same thing from m. 71 to 102.
Same idea from m. 113 to 136 with a half note tied to a quarter. Those should be dotted half notes.I missed these because I was doing this late last night but these were all caused by the 6/4 to 3/4 change. I've reverted them back to how they were, thanks for spotting them.
Have you ever studied counterpoint? Even if it was just a little bit? Well, what it is for those of you at home is how voices act in a horizontal fashion. Where harmony is created using 6ths and 3rds most of the time to create consonant and dissonant effects. So when you have consistent 5ths, octaves, 4ths, 9ths, 10ths, and 11ths, these tend to get a little boring, and becomes increasingly difficult for the performer.Looking through it there seems to be a large mix of intervals between the vocal part and the string part and I can't exactly change what the composer wrote. There are some octaves, some fifths, some sevenths, some sixths, some thirds etc. I'm not really sure what you're getting at here.
But I see what I did, I didn't see the octaves there. That should tell you something, like to get rid of them and write it in it's sounded register. If you choose not to do that, then fix the placement on those 8va's to make them more noticeable.I've tried to move the 8vas to make them as clear as I can. If I got rid of them there would be loads of ledger lines in the left hand and I think it would look messy.
Looking through it there seems to be a large mix of intervals between the vocal part and the string part and I can't exactly change what the composer wrote. There are some octaves, some fifths, some sevenths, some sixths, some thirds etc. I'm not really sure what you're getting at here.
- I think this song sounds a lot more unnerving than it does soothing... hahaI agree with you on this that depending on how it's performed this could be quite sinister, hence I gave the direction of 'Soothingly' to try and convince the performer to perhaps edge towards softness. :P
Expect more SoV stuff in the future!
One quick heads up, Libera: both of your .pdfs are under ".....".
But other than that, these sheets look fantastic! Keep 'em comin'!
I have got some more SoV stuff in the works that I should put out shortly.
More Drakengard woo.
(Yes I know Far Away is the penultimate chapter for Birthright but ehhh I'll get round to that at some point... maybe).I guess at some point is today...? I've also tagged on As All Stars Fall here as well because ... I had it finished so why not.
I think I'll be doing more Fates stuff next.
Every sheet needs a friend.
The first arrangement of the new year! And as promised we have a return to Fire Emblem.Sounds quite accurate! Then again, if I get into this one in depth, I'll probably compare it to the Starsoarer transcription of this piece I've previously found...
Desire Below: [Musx] (https://www.dropbox.com/s/116yuojgjzkor8p/Desire%20Below.musx?dl=1) [Pdf] (https://www.dropbox.com/s/hwqc4em7k5kvdg5/Desire%20Below.pdf?dl=1) [Midi] (https://www.dropbox.com/s/cjuwd3r48j174x8/Desire%20Below.mid?dl=1) [Mus] (https://www.dropbox.com/s/jhjk7jf2i0qobi0/Desire%20Below.mus?dl=1)
Sounds quite accurate!
Then again, if I get into this one in depth, I'll probably compare it to the Starsoarer transcription of this piece I've previously found...
Can you possibly do a piano transcription of the "Flow" version of this theme, too? I don't think anyone's published a transcription of that version before (correct me if I'm wrong).
The first arrangement of the new year! And as promised we have a return to Fire Emblem.Haha what a start off to the year, great song!
Desire Below: [Musx] (https://www.dropbox.com/s/116yuojgjzkor8p/Desire%20Below.musx?dl=1) [Pdf] (https://www.dropbox.com/s/hwqc4em7k5kvdg5/Desire%20Below.pdf?dl=1) [Midi] (https://www.dropbox.com/s/cjuwd3r48j174x8/Desire%20Below.mid?dl=1) [Mus] (https://www.dropbox.com/s/jhjk7jf2i0qobi0/Desire%20Below.mus?dl=1)
I'm honored that you would arrange sheets because of me! And these look very good. Maybe we can arrange some more together ;)
Your Bar 4 sounded off to me melody-wise; the original there sounds like it has the same melody as Bar 2 to me.
The D's in the right hand of Bars 50 and 145 should be an octave lower (at least that's the impression I get from the original).
I'm not hearing C's in the melody of Bars 56, 64, 151, and 159 in the original; I'm hearing eighth rests instead. (If the C's are in the original, they're so much quieter than the rest of the melody notes that I'd skip them.)
In Bars 85-92, I'm hearing the second highest notes of your chords, not the highest notes, as the melody notes in the original.
I think Bars 93-100 sound better with one of the hands incorporating the roughly-eighth-note drum kit beats of the original. I like that louder lower melody you have at that point, though.
The 16th-note runs in those bars sound fine for the most part, except for Bar 90, where they sound a bit off to me. With YouTube at 50% speed, I think the last 4 16th notes are actually 2 16th notes followed by a 16th-note triplet.
For some reason, the playback at Bars 91-92 (in my Finale Notepad) repeats at least one upper note instead of respecting the tie like it should.
Hey, congrats on 100 sheets in such a short amount of time; that's awesome. You've been working hard at not only helping check sheets, but producing high-quality ones along the way.
Congrats ;)
Hello Libera! Could I record my own version of some of your sheets? I will post them on my Performance Videos post or I could tell you in here if I did a piano cover from your arrangements. Let me know whenever you can. Thank you :)
Absolutely; feel free to! If you post them in your normal thread I'll definitely see them, so don't worry about me missing them.
In other news, a new FF arrangement!
New! FINAL FANTASY XIII - The Promise: [Musx] (https://www.dropbox.com/s/cmfz1uvmfd1v3x8/FINAL%20FANTASY%20XIII%20-%20The%20Promise.musx?dl=1) [Pdf] (https://www.dropbox.com/s/yevkmwm7ujdipa5/FINAL%20FANTASY%20XIII%20-%20The%20Promise.pdf?dl=1) [Midi] (https://www.dropbox.com/s/24pljp79u6oebd4/FINAL%20FANTASY%20XIII%20-%20The%20Promise.mid?dl=1) [Mus] (https://www.dropbox.com/s/85mdw5b7foc3iw1/FINAL%20FANTASY%20XIII%20-%20The%20Promise.mus?dl=1)
This has got to be a record for me in publication to arrangement time. Unfortunately that means there's no videos of this that I can find so uhh I guess if you want to listen to the original... go play the game? Also, I didn't want to title the sheet something long, clunky and descriptive so I came up with a name based on the surrounding dialogue.
Ruined Land: [Musx] (https://www.dropbox.com/s/dsp2qa848gybtyh/Ruined%20Land.musx?dl=1) [Pdf] (https://www.dropbox.com/s/zc58fyp4w1ccnlk/Ruined%20Land.pdf?dl=1) [Midi] (https://www.dropbox.com/s/9iksyrnfvqrs256/Ruined%20Land.mid?dl=1) [Mus] (https://www.dropbox.com/s/gue3cezff60rq46/Ruined%20Land.mus?dl=1)
I made a thing
Wow, I'd say that's time well spent! This is one of my favourite tracks from this series, so it was a real pleasure to hear and see your arrangement. *thumbs up*
Hey, congratulations, Libera! You've done incredible things in just one year, and I think you ought to be very proud.
Thanks for all of the great sheets and help you've brought to this site! May we have you here for many more years to come!
Battle at Journey's End:*heavy breathing*
The first arrangement of the new year! Andas promisedwe havea return toFire Emblem.
Here's something from a game I've never played, but Latios showed showed me this track a few days ago and it was just too good not to arrange.
I've got some new arrangements to post here
Man I'm so happy you did more Xenogears stuff! All of these look amazing. I really like your arrangements of Grahf's theme and The One Who is Torn Apart in particular.
you absolute madman
Happy two years, here's to more :D
that's... that's quite the sheet there, good job finally seeing it through! xD
Gratz on your two year stay and for putting out such quality sheets
I think it is more accurate to have the beginning phrases last 4 measures each instead of 3 measures. I know that it's more loosely interpreted but when using a metronome it's consistently a closer match to 4 measures as opposed to 3 (also, when I'm pointing out specific measure numbers I'm referencing what you currently have)
You should change all the quarter + eighth rests to dotted quarter rests. You could allow dotted rests in the midi/audio -> quantization settings and then retranscribe the selected region to automatically change them, but then that would also mess with formatting
m6 you're missing a short syllable at the very end of that phrase
m17/19/etc. RH it sounds more like the first beat is G nat - D (lower) - G nat instead of F# - D (higher) - G nat
m32 RH I think you should have harmonies playing on beat 3 too
m50 RH last quarter note sounds more like 2 eighth notes
m133 why not Eb minor here?
m133-136 RH the original rhythm sounds more like consistent half notes; the current rhythm is a little jarring
^ Has been changed. These are all good catches or nice suggestions. I wasn't entirely sure what you meant for 105-108 but hopefully I did what you wanted. Also for 76 I only added them on beat 4 because I thought they were more prominent there and it helped to keep the previously running melody more intact. Thanks particularly for checking some of the vocal lines pitches because it's often really hard to hear actually what pitch he's singing due to the vibrato and rich accompaniment.
- m69/70 RH I think the second chords should be accented
- m71 beat 3 RH sounds like D instead of B
- m72 RH I think it would be better to write out the trumpet part (which goes F#-E-D-C#) as that is more distinct
- m76 RH just personal preference but I think it is worth adding the eighth note run on beats 3 and 4 to lead into m77
- m97 beat 2 RH sounds like D instead of B
- m105-108 RH I think you should add the vocal harmonies
- m106 beat 2 RH should be F instead of D
- m123/124 LH bass note sounds more like C instead of G
- m140 you could also add a B natural and B# to the last two chords either in the RH or LH
- m153 RH first note in melody is actually A and should be tied to a quarter note, then it's followed by a G# quarter note (with A at the end like you already have)
- m156 RH the piano part (layer 1) sounds like the A should be a half note, and then the last quarter note octave you have sounds like an E instead of F#
- m157/158 RH the first two notes rhythm should be half note - quarter note instead of two dotted quarters
Thanks Zeila for the feedback; I've updated the files and I'll detail what I changed in here.You're welcome :>
Yeah this is a tricky one. I tried a few different barrings while preparing this before settling on three bars per phrase. Although you're right that in tempo its closer to four bars than three, he never really sings in tempo so I found that the phrasing didn't really make as much sense when I stretched it to four bars. That being said, if you've got more concrete suggestions about how to write it out then I'm happy to hear them as it's not a straightforward place to write down at all.That's pretty fair as the way you wrote it makes it easy to understand. Maybe something like this could work:
This one's is quite tricky for me to tell, but I think it's clearer that it starts on an F# if you listen to it at the end of the loop. Admittedly though it is still pretty unclear in the recording so I'm not 100% confident but I've left it as it was for now.I admit that the first note is harder to tell, but the following D sounds like it should be lowered an octave because it sounds lower than the G natural. It even sounds lower in the Thunder version (https://www.youtube.com/watch?v=3typ4AdKjFA) if that means anything (although in that one there seems to be an eighth rest at the beginning). Unless you intentionally raised it an octave to make it easier to play, which I'm assuming was the case for the ostinato at m125 since you wrote it correctly at m149
Yep, the rhythm is really jarring haha. But I think you'll have to blame the composer because I'm pretty confident that this is what's going on here. I tried counting along with it again slowed down and it really doesn't seem to match up with 4+4+4. The rhythm sounds jarring in the original to me so I don't think it's a bad thing anyway.Maybe it is just the slightest bit off/late, but I think the way you currently have it is too much. I guess someone else can vouch for it either way. Also, when I tried using a metronome, dotted quarter = 166 seemed more accurate than 167. It's a small difference but 167 goes off beat after a while
I wasn't entirely sure what you meant for 105-108 but hopefully I did what you wanted.The ones you put are good enough, but I was referring to the actual vocal harmony that starts at m101. At m105-107 it sounds like thirds all the way through, then at m108 it sounds like A on beat 1, and there's a horn part that plays E which you could add to the quarter notes
Thanks particularly for checking some of the vocal lines pitches because it's often really hard to hear actually what pitch he's singing due to the vibrato and rich accompaniment.Np! It's definitely understandable if you make a few mistakes with this behemoth of a song lol. Everything else you commented about was fine, and I also have a few more tiny things:
Thanks again for giving it a look; it's greatly appreciated!