Submission Information:
Series: Other
Game: GoldenEye 007
Console: Nintendo 64
Title: Aztec Complex
Instrumentation Solo Piano
Arranger: Kricketune54 (https://www.ninsheetmusic.org/forum/index.php?action=profile;u=6528)
Replacement Information:
Links to Existing Sheet: MUS (http://www.ninsheetmusic.org/download/mus/341) | MIDI (http://www.ninsheetmusic.org/download/mid/341) | PDF (http://www.ninsheetmusic.org/download/pdf/341)
Replacement Type: Challenge (new arranger)
[attachment deleted by admin]
[attachment deleted by admin]
Hi! Sorry about the wait on this, I've wanted to get to it for a while...
Some of these points are just 'things I would have done differently' so agree/disagree with them as you want!
- I hear the marimba figure in m1 beats 1-2 repeated consistently throughout the whole section (m1-7), maybe you could add that in and change dynamics?
- m2 and similar: There's a D at beat 4.5 that I think is worth including
- m16+ and similar: The vibraphone part doesn't sound staccato to me, and some notes sound longer than you have written even with the staccatos removed.
Also, the rests in m17 & 21 should be visible if you want to write this part with 2 layers (I would recommend using only 1) - m24+ and similar: Since the bass plays continuous 8ths here, maybe it's worth the LH playing only that instead of a mix?
It would help get across the feel also provided by the.. other 8th playing instrument, whatever it is - For m32+ and similar I would use 2 layers, and maybe there's a way to voice the harmonies in m35 without restriking them at beat 2.5
- m40-47: I think it might be better to leave out some of the lower layer LH notes to prioritise the higher one
Alternatively, I wonder if there's a way to write the upper layer in it's original octave, and then omit more of the lower layer - m50 and similar: The higher LH note at beat 4 would be better of in the upper layer
- System spacing: 4 measures per system works great, but if you do 3 in the very first system everything aligns better, with new sections starting on new systems
Quote- I hear the marimba figure in m1 beats 1-2 repeated consistently throughout the whole section (m1-7), maybe you could add that in and change dynamics?
Honestly I heard this previously, not sure why I didn't include :P. I did a lot of changes in spacing and additional dynamics for this section, hopefully not too overboard. Lmk if you think some of these dynamics should go in between staffs as opposed to under or over.
Quote- m2 and similar: There's a D at beat 4.5 that I think is worth including
that is quite faint, but I've added.
Quote- m16+ and similar: The vibraphone part doesn't sound staccato to me, and some notes sound longer than you have written even with the staccatos removed.
I've removed the staccatos on each marimba note. I think m18 and similar there's actually a restrike on beat 2.0 which might be what you're referring to.
QuoteAlso, the rests in m17 & 21 should be visible if you want to write this part with 2 layers (I would recommend using only 1)[/li][/list]
Went with 1 layer
Quote- m24+ and similar: Since the bass plays continuous 8ths here, maybe it's worth the LH playing only that instead of a mix?
It would help get across the feel also provided by the.. other 8th playing instrument, whatever it is
My initial goal here was to capture more of the percussion feel with the omissions, but I suppose it's better to have the LH bassline moving like the other guitar (?) is in the original
Quote- For m32+ and similar I would use 2 layers, and maybe there's a way to voice the harmonies in m35 without restriking them at beat 2.5
Redid with 2 layers, and did some different ties between whole notes except for m39. I also changed the slurs up.
QuoteQuote- m40-47: I think it might be better to leave out some of the lower layer LH notes to prioritise the higher one
Alternatively, I wonder if there's a way to write the upper layer in it's original octave, and then omit more of the lower layer[/li][/list]
So I was trying to make this stand out a bit more, but I honestly like it better as it was in the original octave. Made it work.
Quote- m50 and similar: The higher LH note at beat 4 would be better of in the upper layer
I think by this you mean to put it in the 3rd layer? Already two layers present
Quote- System spacing: 4 measures per system works great, but if you do 3 in the very first system everything aligns better, with new sections starting on new systems
Oh this looks so much better...
Thanks for the extensive comments! Updated files addressing above.
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMHonestly I heard this previously, not sure why I didn't include :P. I did a lot of changes in spacing and additional dynamics for this section, hopefully not too overboard. Lmk if you think some of these dynamics should go in between staffs as opposed to under or over.
I'm just wondering what the right balance is, because the low G in m1 for example is much louder than the marimba (and what the currently written dynamic implies. Maybe something like separate layers + accents on non-marimba notes might work?
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMI think m18 and similar there's actually a restrike on beat 2.0 which might be what you're referring to.
Ahh I think you're right, that explains it
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMMy initial goal here was to capture more of the percussion feel with the omissions, but I suppose it's better to have the LH bassline moving like the other guitar (?) is in the original
I don't think it's fair to call this 'better' per se, I just feel like the sheet benefits here by having a varied LH for a bit. Speaking of which, I'm once again not entirely sure what the part you wrote here no is based off of? Is it a direct transcription of the bass or a mix of bass+perc?
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMRedid with 2 layers, and did some different ties between whole notes except for m39. I also changed the slurs up.
I like this part much more now! The only thing that still could be changed is removing the lower voice D in m35, it causes weird visual overlap and might also not be entirely clear to the performer if they should restrike the note there or not.
You also have probably forgotten to copy these changes over to m56+
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMSo I was trying to make this stand out a bit more, but I honestly like it better as it was in the original octave. Made it work.
Looks great! I think it's best to move m47 up an octave though, or to work out a different solution for the percussion/bass, a major second followed by 3 times the same note isn't terrible but I think it can be improved upon
Quote from: Kricketune54 on April 10, 2023, 06:18:32 PMI think by this you mean to put it in the 3rd layer? Already two layers present
Yeah, I just meant not in the bass part. I don't hear this note as staccato though, and the F# at beat 1 would best be a dotted half (then you have the 3 layers completely filled out)
Quote from: XiaoMigros on April 16, 2023, 03:54:50 AMI'm just wondering what the right balance is, because the low G in m1 for example is much louder than the marimba (and what the currently written dynamic implies. Maybe something like separate layers + accents on non-marimba notes might work?
Hmm. I found this took a bit of time to visually make it work, but I think I found something inline with your description here. I've also made sure to update 72-78 as well
QuoteI don't think it's fair to call this 'better' per se, I just feel like the sheet benefits here by having a varied LH for a bit. Speaking of which, I'm once again not entirely sure what the part you wrote here no is based off of? Is it a direct transcription of the bass or a mix of bass+perc?
This part is bit of a mixture of bass+perc. All the notes are there in the original, but for example at m24 beats 4.0 and 4.5 are percussion whereas everything else is that bass instrument.
QuoteI like this part much more now! The only thing that still could be changed is removing the lower voice D in m35, it causes weird visual overlap and might also not be entirely clear to the performer if they should restrike the note there or not.
Good point, and considering it's a restrike anyway doesn't make sense as I had it.
QuoteYou also have probably forgotten to copy these changes over to m56+
Bleh, sorry about that you are correct. Updated
QuoteLooks great! I think it's best to move m47 up an octave though, or to work out a different solution for the percussion/bass, a major second followed by 3 times the same note isn't terrible but I think it can be improved upon
Moved up an octave
QuoteYeah, I just meant not in the bass part. I don't hear this note as staccato though, and the F# at beat 1 would best be a dotted half (then you have the 3 layers completely filled out)
Ah okay, I don't think I listened enough when making this change to realize which note I had even written in the first place lol
Thanks again! Updated
Quote from: Kricketune54 on April 18, 2023, 01:06:36 PMHmm. I found this took a bit of time to visually make it work, but I think I found something inline with your description here. I've also made sure to update 72-78 as well
This looks good, just 2 small things that caught my eye:
- Since the high G at m1 beat 4 is doubled by both instruments, it should be written in both layers. Whether you add an accent to it or not is up to you (I lean towards adding it, personally)
- In m2 and similar I would make the lower layer eighth rest visible, for legibility
Quote from: Kricketune54 on April 18, 2023, 01:06:36 PMThis part is bit of a mixture of bass+perc. All the notes are there in the original, but for example at m24 beats 4.0 and 4.5 are percussion whereas everything else is that bass instrument.
Ah, that works! Looks good
- In m47 you can write the D# as Eb if you want to, thinking of this chord as F#7 fully diminished (and also looking at the key signature, oops).
- I think in m76 the strings are missing a dynamic
Quote from: XiaoMigros on April 19, 2023, 01:46:22 AMThis looks good, just 2 small things that caught my eye:
- Since the high G at m1 beat 4 is doubled by both instruments, it should be written in both layers. Whether you add an accent to it or not is up to you (I lean towards adding it, personally)
- In m2 and similar I would make the lower layer eighth rest visible, for legibility
Added the G at m1 and m72 to both layers with an accent. Also added the 8th rests.
Quote- In m47 you can write the D# as Eb if you want to, thinking of this chord as F#7 fully diminished (and also looking at the key signature, oops).
- I think in m76 the strings are missing a dynamic
These should be fixed as well now! Chord idea makes sense.
Quote from: Kricketune54 on April 19, 2023, 12:16:19 PMAdded the G at m1 and m72 to both layers with an accent. Also added the 8th rests.
I was referring to the G half a beat prior, meaning something like this:
Spoiler
https://media.discordapp.net/attachments/844835144242298910/1098349682754859169/image.png?width=507&height=360
- I think some of the 8th rest in the first two systems on page 3 could be moved down slightly, so they are at a more similar height to the 4th rests, and dont touch the notes like in m43. The ones in m47 might actually be better of slightly higher up
- It might be worth adding an mp marking to the RH notes in m3 and m74, just to clarify they aren't affected by the decrescendos
- The mp in m72 should match the height of the decrescendo
Quote from: XiaoMigros on April 19, 2023, 01:53:50 PMI was referring to the G half a beat prior, meaning something like this:
Wow. Not sure in what universe that was "high G". Sorry about that, fixed.
Quote- I think some of the 8th rest in the first two systems on page 3 could be moved down slightly, so they are at a more similar height to the 4th rests, and dont touch the notes like in m43. The ones in m47 might actually be better of slightly higher up
played around with this some heights should be mostly consistent now except for m42 and m46.
Quote- It might be worth adding an mp marking to the RH notes in m3 and m74, just to clarify they aren't affected by the decrescendos
- The mp in m72 should match the height of the decrescendo
Added and fixed. Thanks!
All these changes look great! Time to approve :)
Thank you for your service with replacing this sheet :p
- m. 20/22 LH - beat 4 I think this sounds the same as the other measures before this with the lower Bb/A respectively
- m. 24-31/64-71 LH - not sure if this would really add much or be worth it, but you could try adding accents to the timpani parts of the LH mix. You could also try something like this instead, but if it's too much then that's okay as well!
https://cdn.discordapp.com/attachments/892557518759415858/1128192155391885342/image.png - m. 50/54 RH - I think you should put the courtesy accidental on the C of beat 2.5 instead of beat 4
Quote from: Zeila on July 10, 2023, 11:31:46 PMThank you for your service with replacing this sheet :p
We need like a digital monument once all these Goldeneye sheets are replaced
Quote- m. 20/22 LH - beat 4 I think this sounds the same as the other measures before this with the lower Bb/A respectively
Yeah definitely right!
Can you tell this is a repetitive piece that I probably just forgot to copy and paste the right part over my previous versionQuote- m. 24-31/64-71 LH - not sure if this would really add much or be worth it, but you could try adding accents to the timpani parts of the LH mix. You could also try something like this instead, but if it's too much then that's okay as well!https://cdn.discordapp.com/attachments/892557518759415858/1128192155391885342/image.png
The part in your screenshot is a little bit much to play from my testing, and I also would like to keep the current octave. I do think it's good to replicate the timpani somehow, so I added the accents.
Quote- m. 50/54 RH - I think you should put the courtesy accidental on the C of beat 2.5 instead of beat 4
Huh. Not sure what happened there because the accidental for a C# should be on beat 3 for both these measures. Playback played it correctly yet it was missing. Fixed
Made the updates, thanks for the look!
Quote from: Zeila on July 10, 2023, 11:31:46 PM- m. 24-31/64-71 LH - not sure if this would really add much or be worth it, but you could try adding accents to the timpani parts of the LH mix. You could also try something like this instead, but if it's too much then that's okay as well!
https://cdn.discordapp.com/attachments/892557518759415858/1128192155391885342/image.png
Actually, tried playing this again and it seemed to roll off way more obviously than it did when I tried practicing it a month ago. Added in, thanks!
-1-6: Every third iteration of the fade-out marimba part in the L.H. is only barely hearable in the original: do you think it's still worth including them in the sheet? They do still fill up some empty space, so that works.
-m2, 4, 6: I don't particularly like the marimba and pizzicato bass part at the same time (smaller intervals in a low register). Maybe you can have just the pizzocato bass part and override the marimba? I hear the D in the L.H. on beat 4.5 an octave lower, in that case. You could choose to override the marimba in m1 as well then.
-m18 and 42: I don't hear the melody anymore on beat 3.
-m16, 18 and 20 (and 40, 42 and 44): If you want, you can add some chord tones on beat 2 and have the player roll the chord, to keep the flamenco-like guitar part.
-m24 (and 48): Maybe you could add an Eb on beat 1 in the R.H.: the chord change is pretty noticeable in the original, but in the arrangement it only happens at beat 2.5
-m25 and 29: I think the 32nd notes at beat 4.75 may work better as grace notes.
-m27 and 31: Maybe you can change the low Eb on beat 2.5 to an F? It helps keeping the bar sound like Fm, instead of switching to another chord
-m40-47: Similarly to m1-6, I don't really like how the two voices in the L.H. interact. I'd suggest something like this:
https://cdn.discordapp.com/attachments/863709312067829811/1141345250045075506/image.png
The key here is to not have any dissonant or half-consonant (thirds/sixths) intervals in a too low range, and to try to imitate the bass rhythm rather than transcribing the exact parts.
Also, in m47, the new voice in the L.H. stays on a D instead of going Eb-D.
-m48-55: Maybe you can move the middle voice in the L.H. up an octave and put it in the R.H. instead? It empties out the L.H. a bit and makes the arrangement feel a bit lighter.
-m50-51 and 54-55: Chord time! The chords in these measures are either F# major and D# minor, or Gb major and Eb minor. The enharmonic spelling is currently changing between both though. I'll make it an enharmonic spelling exercise to have you decide on what the correct spelling should be, but feel free to ping me on discord if you're not sure ^^
-m55: There's a timpani hit on beat 4 in this bar, maybe you can add it in in some way?
-Page 4 is just repeated material of before, make sure to fix the same things here as well ^^
-m64-67: Because of the lower octave being added to the R.H., there are some places where the R.H and L.H. play the same note. Maybe you could add parentheses to the L.H. notes when this happens?
-The D.S. at the end is a bit high up
Quote from: Bloop on August 16, 2023, 05:33:03 AM-1-6: Every third iteration of the fade-out marimba part in the L.H. is only barely hearable in the original: do you think it's still worth including them in the sheet? They do still fill up some empty space, so that works.
Well it wasn't really my idea to originally include it but I'd like to given it takes space and does provide a good reference point for the decresc.
Quote-m2, 4, 6: I don't particularly like the marimba and pizzicato bass part at the same time (smaller intervals in a low register). Maybe you can have just the pizzocato bass part and override the marimba? I hear the D in the L.H. on beat 4.5 an octave lower, in that case. You could choose to override the marimba in m1 as well then.
Yeah I haven't been a fan of how to balance this from when I first started arranging this, but I suppose this is the best way for m2-4-6. I think I'll keep the m1 one though because I feel like that's too much of that marimba rhythm missing at that point.
Quote-m18 and 42: I don't hear the melody anymore on beat 3.
Still hearing it, it's kind of covered up by the guitar strums that I wrote out in m10.
Quote-m16, 18 and 20 (and 40, 42 and 44): If you want, you can add some chord tones on beat 2 and have the player roll the chord, to keep the flamenco-like guitar part.
Like this, added
Quote-m24 (and 48): Maybe you could add an Eb on beat 1 in the R.H.: the chord change is pretty noticeable in the original, but in the arrangement it only happens at beat 2.5
I think you meant 23 and 47? That's where I've added an Eb because it doesn't seem to make sense where you are talking about
Quote-m25 and 29: I think the 32nd notes at beat 4.75 may work better as grace notes.
'graced, I kept them in those measures
Quote-m27 and 31: Maybe you can change the low Eb on beat 2.5 to an F? It helps keeping the bar sound like Fm, instead of switching to another chord
Good change.
Quote-m40-47: Similarly to m1-6, I don't really like how the two voices in the L.H. interact. I'd suggest something like this:
https://cdn.discordapp.com/attachments/863709312067829811/1141345250045075506/image.png
Like this, have included
QuoteAlso, in m47, the new voice in the L.H. stays on a D instead of going Eb-D.
Didn't quite get this at first but messages over Discord led to fix.
Quote-m48-55: Maybe you can move the middle voice in the L.H. up an octave and put it in the R.H. instead? It empties out the L.H. a bit and makes the arrangement feel a bit lighter.
Yeah this section always felt quite crunchy- seems like this is the best way to lighten it
Quote-m50-51 and 54-55: Chord time! The chords in these measures are either F# major and D# minor, or Gb major and Eb minor. The enharmonic spelling is currently changing between both though. I'll make it an enharmonic spelling exercise to have you decide on what the correct spelling should be, but feel free to ping me on discord if you're not sure ^^
I think this was pretty obvious with the hints lol but fixed.
Quote-m55: There's a timpani hit on beat 4 in this bar, maybe you can add it in in some way?
Added to 2nd layer as Gb (given Eb minor ->G minor movement)
Quote-m64-67: Because of the lower octave being added to the R.H., there are some places where the R.H and L.H. play the same note. Maybe you could add parentheses to the L.H. notes when this happens?
Added parentheses in m64,66,67
Quote-The D.S. at the end is a bit high up
Lowered this a bit.
Quote-Page 4 is just repeated material of before, make sure to fix the same things here as well ^^
This should be good as well, thanks for the extensive review!
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PMStill hearing it, it's kind of covered up by the guitar strums that I wrote out in m10.
Ah yeah I do hear it still, though it may be the attack of the guitar that makes it seem like the vibraphone plays again: it could also be just a little volume swell that happens in that voice. I can go with this too though ^^
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PMLike this, added
I meant on beat 2 instead of beat 1 :p The flamenco triplet isn't before beat 1
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PMLike this, added
I think you meant 23 and 47? That's where I've added an Eb because it doesn't seem to make sense where you are talking about[/quote]
Ah yup, sorry bout that!
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PM'graced, I kept them in those measures
Grace notes that are 2 or more notes long should usually be written as 16ths instead of 8ths
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PMLike this, have included
I'd suggest moving the D's in m43 beat 3.5 and 4.5 up an octave, that's where they were before and it plays a lot easier as well.
Quote from: Kricketune54 on August 16, 2023, 07:05:37 PMDidn't quite get this at first but messages over Discord led to fix.
Did you mean to have an Eb on beat 1 in the L.H.? It's very crunchy against the low D.
In m2, 4 and 6, since the marimba voice isn't above the pizzicato bass anymore, you can put the pizzicato base in the first layer too, as well as placing and 8vb marking there (the D especially is quite low)
Quote from: Bloop on August 17, 2023, 10:57:56 AMI meant on beat 2 instead of beat 1 :p The flamenco triplet isn't before beat 1
Oh I understand now, glossed over the beat you specified and just assumed to put the chords on beat 1. Fixed
QuoteGrace notes that are 2 or more notes long should usually be written as 16ths instead of 8ths
Fixed
QuoteI'd suggest moving the D's in m43 beat 3.5 and 4.5 up an octave, that's where they were before and it plays a lot easier as well.
Moved these back (kind of forgot that...)
QuoteDid you mean to have an Eb on beat 1 in the L.H.? It's very crunchy against the low D.
Think this was a misunderstanding of our convo on Discord then. Fixed
QuoteIn m2, 4 and 6, since the marimba voice isn't above the pizzicato bass anymore, you can put the pizzicato base in the first layer too, as well as placing and 8vb marking there (the D especially is quite low)
Made this move of layers, also changed for m73, 75, and 77
Thanks!
Quote from: Kricketune54 on September 04, 2023, 02:48:41 PMMade this move of layers, also changed for m73, 75, and 77
For this I meant having the whole pizzicato bass part in beat 3.5-4.5 in the first layer, like this:
https://cdn.discordapp.com/attachments/863709312067829811/1151517405902811236/image.png
Wow... I am really not why I locked onto the part about the D being low and then put only that in the top layer. Sorry, updated all those spots along with a couple minor visual updates to cresc. and decresc. placements
Awesome, then I'll accept!
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