Submission Information:
Series: Pokémon
Game: Pokémon Channel
Console: Nintendo GameCube
Title: Poképad (Pause Menu)
Instrumentation Solo Piano
Arranger: Korados (http://forum.ninsheetmusic.org/index.php?action=profile;u=44)
Replacement Information:
Links to Existing Sheet: MUS (http://www.ninsheetmusic.org/download/mus/1233) | MIDI (http://www.ninsheetmusic.org/download/mid/1233) | PDF (http://www.ninsheetmusic.org/download/pdf/1233)
Replacement Type: Edit (existing arranger remains)
[attachment deleted by admin]
Hi
Only the track title should be in quotations (not game title, composer, arranger). This sheet would also look nicer with two four-measure systems as opposed to 5-3.
The note-beaming is wrong. If you want to write it in 6/8 you have to beam the 8ths in groups of 3. The way you've beamed it now is how you'd beam if the song was in 3/4.
Edit: Listening to the song, I think it works best in 3/4. So just change the time signature.
also, post youtube links in a comment when you submit an arrangement. It helps comparing the arrangement to the song.
https://www.youtube.com/watch?v=mV2SSFP3pCg
Korados?!
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fg.jef.fm%2Flongtime.jpg&hash=7108ed02f169f514a557b28b392f1c693fa91ea5)
Hey Korados. Wow, long time, no see!
In addition to what the others said, I noticed one visual/playback issue: You forgot a dynamic. :P
I'll see about checking the notes later.
[MUS] (https://www.dropbox.com/s/xdxrrqahhe3sig4/Pok%C3%A9pad.mus?dl=1)
Went ahead and checked everything real quick! Just some pretty minor things you missed aside from the abovementioned text formatting, measure distribution, time signature, and dynamic:
- The song starts out with an E in the LH. The C you may hear at the beginning is likely a remnant of the C played in the final measure (which was missing before).
- F's in 7 are F#'s.
- Composer was incorrect (Check this video (https://www.youtube.com/watch?v=u5VtKG0X_2o) starting at around 9:06; Jun Umebori is credited for "Music" while if you continue watching Hirokazu Tanaka is credited for a couple of specific songs).
- Copyright info tweaked.
Nice arrangement ^.^
Sorry, I can't reply right away. Funny that some people still remember me. Unfortunately, I haven't that much time to contribute here,
although I'd like to.
Thank you Latios for the corrections. Is it good now?
[MID] (https://dl.dropboxusercontent.com/u/35209091/Pokepad%20final.mid) [MUS] (https://dl.dropboxusercontent.com/u/35209091/Pokepad%20final.mus) [PDF] (https://dl.dropboxusercontent.com/u/35209091/Pokepad%20final.pdf) [MUSX] (https://dl.dropboxusercontent.com/u/35209091/Pokepad%20final.musx)
Final version, product of Latios, Maelstrom, and myself:
*The song is 6/8, despite previous comments. Two things point towards this: (1) the ii > V > I cadence in m. 8, the chord changes of which take place exactly three 8th beats away from each other, strongly suggesting a compound meter, and; (2) the contours of the left hand arpeggios, whose lowest and highest points are always exactly three 8th beats away from each other, again suggesting a compound meter.
*The previous version of the arrangement was written an entire 8th beat off-tempo. The song intentionally starts with a 5/8 anacrusis to off-set the perception of meter. The way to tell where the beat falls is to look where the chord changes take place. Since there is an audible emphasis on the lowest note of each arpeggio, we can conclude that these should be written on beat 1, not on the last 8th beat of the previous measure.
*The indication to pedal can be more concisely notated using the romantic-era notational practice (still in use today in many commercial PVG transcriptions of pop music) of using a sustained 2nd layer bass note to indicate the length of depression. Of course, you are free to use the method previously employed
(manually writing a pedal marking and indicating its end with an asterisk), but in this case, it is a necessity, which I will explain in the following point.
*How do we notate a song that starts on the off-beat of its first measure, but who loops back to the beginning proper? Well, this is how:
Spoiler
(https://dl.dropboxusercontent.com/u/35209091/workaround.PNG)
As you can see, the only way to preserve the voice leading in both the anacrusis and the loop proper is to dedicate a layer/voice to the lowest note of the arpeggio.
Woah, that was some lecture in music, and I think I didn't understand everything. What is an anacrusis?
Now that you almost completely changed it, is it still my arrangement?
As long as you accurately represent the music (the subject of my first two bullet points), you are free to notate it in whatever fashion you desire. For example, one could use a first/second ending repeat scheme to create the different loops, or perhaps use a Da Capo or Dal Segno repeat system. It's highly personal matter that you have a lot of leeway with. Or another example, you could use the more modern pedal notation using a horizontal line with peaks at the points of release (looks somewhat like: |____^____|), instead of using the older style (looks like: Leo_ _ _ *). Writing sheet music is part music, but also part graphic design. How you go about the latter is part of what makes the sheet uniquely yours.
I apologize for manhandling your sheet, but I do this in hopes for the future. Study what's been said and done for this sheet, so that way, nobody can lay a finger on your next one.
Quote from: Bespinben on August 24, 2016, 04:56:23 PMStudy what's been said and done for this sheet, so that way, nobody can lay a finger on your next one.
And the next one!
And the next one!And the next one!And the next one!And the next one!And the next one!And the next one!And the next one!And the next one!And the next one!
This submission has been accepted by Bespinben (http://forum.ninsheetmusic.org/index.php?action=profile;u=2510).
~Zeta, your friendly NSM-Bot