Submission Information:
Series: Mega Man
Game: Mega Man 7
Console: Super Nintendo Entertainment System
Title: Shade Man Stage
Instrumentation Solo Piano
Arranger: WaluigiTime64 (https://www.ninsheetmusic.org/forum/index.php?action=profile;u=4771)
Replacement Information:
Links to Existing Sheet: MUS (http://www.ninsheetmusic.org/download/mus/934) | MIDI (http://www.ninsheetmusic.org/download/mid/934) | PDF (http://www.ninsheetmusic.org/download/pdf/934)
Replacement Type: Challenge (new arranger)
[attachment deleted by admin]
Actual name should probably be "Shade Man Stage".
It's about time this got replaced; looks good so far! So that's why you asked about masking...
The only thing I'd think about is extending the lower two notes in the chords from m. 9 forwards across two measures, like in the original. The upper notes can usually be played more than feasibly while sustaining the rest of the chord, but I understand restriking the notes since it's a fairly long duration and the volume might have some falloff as a result.
And yes, the title of the piece should be "Shade Man Stage". [Sauce] (https://vgmdb.net/album/70187)
fixzed
Quote from: Dudeman on September 28, 2018, 06:47:39 PM[Sauce] (https://vgmdb.net/album/70187)
"Theme of Blues"
Ah, the Japanese albums.
Quote from: Dudeman on September 28, 2018, 06:47:39 PMIt's about time this got replaced; looks good so far! So that's why you asked about masking...
Haha, yeah. Thanks!
Quote from: Dudeman on September 28, 2018, 06:47:39 PMThe only thing I'd think about is extending the lower two notes in the chords from m. 9 forwards across two measures, like in the original. The upper notes can usually be played more than feasibly while sustaining the rest of the chord, but I understand restriking the notes since it's a fairly long duration and the volume might have some falloff as a result.
I was debating this quite a bit myself actually. I know it could be done with the chords held, but given the LH part I was inclined to use a more energetic integration of the chords. Also 5 flats is quite mean lol, and you yourself make a good point about the volume falloff. For now I'll leave it as is, but thanks for checking it out!
In the back of my mind when I was making the sheet I had this feeling that some Updaters might not like how it is lol, so we'll see. Quote from: Maelstrom on September 28, 2018, 08:42:26 PMfixzed
thanx
Quote from: LeviR.star on September 28, 2018, 09:14:34 PM"Theme of Blues"
Ah, the Japanese albums.
Lol.
Really good sheet—looks and sounds great! Somes notes I have:
- Not really feeling the staccatos in m2 and m6. They seem held out to me.
- Rather than just the second half of m8, the bassline changes completely throughout all of m7-8 in the second pass. I would use a repeat system with two endings here but of course that would make it go over two pages...
- I think notes could be held out as long as possible to cover all the rests, considering the original doesn't really have any rests in the RH.
Quote from: mastersuperfan on September 29, 2018, 06:32:24 PMReally good sheet—looks and sounds great!
Thanks!
Quote from: mastersuperfan on September 29, 2018, 06:32:24 PMNot really feeling the staccatos in m2 and m6. They seem held out to me.
That's because they are. Originally I thought "I just really want to hear a staccato sound here", but it's probably best if I notated it without, because performers can choose to do that themselves. Edited.
Quote from: mastersuperfan on September 29, 2018, 06:32:24 PMRather than just the second half of m8, the bassline changes completely throughout all of m7-8 in the second pass. I would use a repeat system with two endings here but of course that would make it go over two pages...
Yeah... I was considering this but the current formatting lent itself to what I wrote. Personally I find that changing both M.7 and M.8 doesn't have as much of a desired transition effect as what I'd like.
Quote from: mastersuperfan on September 29, 2018, 06:32:24 PMI think notes could be held out as long as possible to cover all the rests, considering the original doesn't really have any rests in the RH.
I went ahead and did this for M.9-24. I felt the last bit was better with the rests.
The files should be correct now.
This looks pretty good and you've already had lots of good feedback so there's not a whole lot for me to do. Regardless:
-Regarding the first section with the two right hand staffs, what exactly is the intended way for this to be played? Is the idea to try your best to hold down that chord while also playing the bottom staff? Or do you want to strike the chord and then sustain it with pedal? If it's the second, writing it explicitly out like that would be better than using two staffs in my opinion.
-For the bass run in bar 16 and later bar 24 I'm hearing a Gn instead of a Gb. It's like a melodic minor run or w/e.
-I'm not hearing bar 23-24 the same as 15-16 as you have written it. I'm hearing (for the melody line) An Gn An Cn (all minims).
-I would make the same comment about rests in bars 25 onwards but you've already had that pointed out to you.
-Similarly about the bass line bars 7-8 second time. If you feel it's better to keep that simple then I'm ok with that.
Nice work! It's always good to have replacements.
Quote from: Libera on September 30, 2018, 07:18:08 AMThis looks pretty good and you've already had lots of good feedback so there's not a whole lot for me to do.
Thanks!
Quote from: Libera on September 30, 2018, 07:18:08 AM-Regarding the first section with the two right hand staffs, what exactly is the intended way for this to be played? Is the idea to try your best to hold down that chord while also playing the bottom staff? Or do you want to strike the chord and then sustain it with pedal? If it's the second, writing it explicitly out like that would be better than using two staffs in my opinion.
This is a good point. I left the staves how they were, but I added in "con pedale" to that section.
Quote from: Libera on September 30, 2018, 07:18:08 AM-For the bass run in bar 16 and later bar 24 I'm hearing a Gn instead of a Gb. It's like a melodic minor run or w/e.
I was unsure of this myself. Fixed.
Quote from: Libera on September 30, 2018, 07:18:08 AM-I'm not hearing bar 23-24 the same as 15-16 as you have written it. I'm hearing (for the melody line) An Gn An Cn (all minims).
Actually what's going on is that there are two different lines being played: the lead and the backing synth. The lead has the movement I've written in, while the synth has a Fn-Gn-An-Cn movement, which is where the confusion comes in. For consistency, I'm keeping to writing the lead on the top.
Quote from: Libera on September 30, 2018, 07:18:08 AM-I would make the same comment about rests in bars 25 onwards but you've already had that pointed out to you.
Yeah.
Quote from: Libera on September 30, 2018, 07:18:08 AM-Similarly about the bass line bars 7-8 second time. If you feel it's better to keep that simple then I'm ok with that.
It's mainly the formatting, but yeah I kinda prefer it like this now.
Quote from: Libera on September 30, 2018, 07:18:08 AMIt's always good to have replacements.
I agree! The Mega Man section in particular is mostly atrocious, which is why I decided to do this.
Thanks for giving it a check! The files should be updated now.
Quote from: WaluigiTime64 on September 30, 2018, 04:31:35 PMActually what's going on is that there are two different lines being played: the lead and the backing synth. The lead has the movement I've written in, while the synth has a Fn-Gn-An-Cn movement, which is where the confusion comes in. For consistency, I'm keeping to writing the lead on the top.
Could you add the Gn in the second chord? It sounds odd without it.
Quote from: Libera on September 30, 2018, 04:40:04 PMCould you add the Gn in the second chord? It sounds odd without it.
I was hesitant at first but it doesn't actually sound bad at all so I added it in. (it's just an Fadd9 chord lol what was I thinking)
Files updated.
Sounds good to me!
Two, maybe three minor things that you could change that would def get the green from me.
The first 8 bars don't look bad as far as implementation, but the RH could possibly moved back behind the repeat. I'm not sure what the parenthesis note on the & of 3 is for; maybe as an optional note to hit those bass octave B's??? I would just leave it out if that was the case. A lot of stuff going on there so if you feel like dropping a note or two for the performer's sake, I wouldn't hound you for it. Now that I think of it, whenever you have a middle staff like you do, it's usually up to the performer to see how they could handle that section. Just some food for though.
In bar 10, you have this syncopation going on from the & of 1 to the downbeat of 2. Those eighths probs be disconnected. Finale likes to connect them because of the 44 meter, but since you're doing some intricate stuff, it would be easier, in my mind, if you kept them apart. Same goes for the & of 4 in the same measure, and continuing rhythms like it.
Half notes are pretty long themselves already so I think tenuto marks are redundant.
That's all I got for now, let me know if I can help you with anything I suggested.
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMThe first 8 bars don't look bad as far as implementation, but the RH could possibly moved back behind the repeat. I'm not sure what the parenthesis note on the & of 3 is for; maybe as an optional note to hit those bass octave B's??? I would just leave it out if that was the case. A lot of stuff going on there so if you feel like dropping a note or two for the performer's sake, I wouldn't hound you for it. Now that I think of it, whenever you have a middle staff like you do, it's usually up to the performer to see how they could handle that section. Just some food for though.
Hmm...
First off, a long time ago I asked about three-stave piano parts and was recommended to use masking instead of having it behind the repeat bar. That's why I have it like that (plus it makes it look fancier than it actually is, hehe).
The parentheses are intended as optional notes, but it's only because I find it would be easier to give the chords a greater strength if there was a gap for the pianist to get into position to strike them. However, it is still possible to hit the chords well without it, so the parentheses are more of a simplification indication. I'm not 100% on how to display this, though.
I'll think about this stuff more when it arises (I've only ever made 3 arrangements with a 3-stave part).
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMIn bar 10, you have this syncopation going on from the & of 1 to the downbeat of 2. Those eighths probs be disconnected. Finale likes to connect them because of the 44 meter, but since you're doing some intricate stuff, it would be easier, in my mind, if you kept them apart. Same goes for the & of 4 in the same measure, and continuing rhythms like it.
This sounds good to me. Fixed.
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMHalf notes are pretty long themselves already so I think tenuto marks are redundant.
Tenutos aren't just durational articulations; they imply an extra bit of stress on the notes, hence why I put them there.
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMThat's all I got for now, let me know if I can help you with anything I suggested.
Thanks for taking a look! Files should be updated now.
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMSame goes for the & of 4 in the same measure, and continuing rhythms like it.
You forgot this part.
If the top brass was giving you muck for the same thing then we'll leave it as is.
I hate articulations for piano. They make absolutely no sense ever.
Quote from: Brassman388 on October 01, 2018, 10:42:22 PMYou forgot this part.
https://cdn.discordapp.com/attachments/496189069873774593/496568129208582155/beam_over_rest.png
Personally I find that beaming over the 8ths gives a better sense that the last note is on an offbeat (because in 4/4 the stems typically go over 4 eighths, and here you can easily see the first and last of that group of 4, with a rest where the third one should be, blah blah blah). It makes just a bit more sense to me. It's also a different scenario to the first half of that measure, because the rests are over the first and fourth half-beats, so it's harder to see that group of 4, etc.
Quote from: Brassman388 on October 01, 2018, 10:42:22 PMIf the top brass was giving you muck for the same thing then we'll leave it as is.
Not sure what you mean by this but I like the idea of not doing anything.
Quote from: Brassman388 on October 01, 2018, 10:42:22 PMI hate articulations for piano. They make absolutely no sense ever.
This such a mood for me performing anytime, ever.
I personally don't like the beaming because it's essentially not working together, I hear. It's just a rhythmic pulse deal.
I dunno, it's a like, a consistency thing for me as well. Like, if you have cells of two notes doing the same thing over and over again, and have the first beamed a certain way and another beamed another way, it creates a consistent way it looks. It may look a little janky at first but once the beaming reflects that it starts to make sense.
Then again, I'm talking from a writer's perspective, and both could technically work either way.
Anyone, any additional opinions??
I'm also of the opinion that it's acceptable either way (though my personal opinion is that it's situational whether to beam or not).
Let's get this replacement in!
This submission has been accepted by Latios212 (https://www.ninsheetmusic.org/forum/index.php?action=profile;u=4344).
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