Submission Information:
Series: Pokémon
Game: Pokémon Rumble Blast
Console: Nintendo 3DS
Title: Autumnwood
Instrumentation Two Pianos
Arranger: InsigTurtle (http://forum.ninsheetmusic.org/index.php?action=profile;u=3687)
[attachment deleted by admin]
Please, I beseech you, let this be accepted in less than half a year...
This looks really nice. Just some quick comments based on the PDF - flip some notes (m. 10 and similar), combine some rests (m. 3 and similar), and the title only needs the title in it (no two pianos). Also something I like to consider, making 16th notes that fall on beat 2.5 staccato'd or accented eighths to take reading the rhythm easier, but I can't listen to the song right now so take that with a grain of salt.
Alright, I've made some of the edits (but haven't yet uploaded the new files). I'm not too sure about changing those notes to staccato eighths because they're not actually staccato in the original, they're not too sharply accented, only slightly detached.
Reason for the note flipping in m.10 is to show that the little "doot doo-doot!" is played by a different instrument, so the performer can vary their playing accordingly.
I didn't check any notes, but here are three things I noticed:
- You could put a courtesy accidental on the F sharp in the left hand of piano two (M. 8 ).
- The "Pno. I" and "Pno. II" markings can be removed.
EDIT: My bad. The formatting guidelines say have "I" and "II" for the following systems instead of leaving them blank.
- Instead of "/" marks in the copyright information I believe we've been putting commas instead. For example:
"Ambrella, The Pokémon Company, Nintendo © 2011"
Great arrangement, bro!
Thanks, but about the courtesy accidental: did you mean m.10 instead of m.8? I don't see why I'd need one on m.8, but I'd understand it if it were on m.10
Ah, yes. I meant 10. Sorry, my bad lol.
Quote from: InsigTurtle on June 22, 2017, 09:37:15 PMReason for the note flipping in m.10 is to show that the little "doot doo-doot!" is played by a different instrument, so the performer can vary their playing accordingly.
That's understandable, but I still think it looks weird having rests mid-staff, leaving gaps between the notes. Have you considered moving the lower voice to the other piano? I think that might work a little nicer.
Also, I'd suggest making the bass (Pno. 2 LH) louder for the A section.
Trying to move that little punch to the second piano gives it a 9th at m.15 which is a bit difficult for me to play at that speed, so I'm not too sure about that. I'm going to move the rests up slightly, and then see how that goes
Edited!
I will speed things along a bit to ensure that this gets accepted in less than two years. (No promises for less than half a year.)
- Is there any particular reason why the C on beat 3 of Piano I's RH is an eighth note in m10, even though it's a quarter note in m5 and m13? As far as I can tell I don't hear much of a difference between the length of the notes (although maybe there is one and I'm just not picking up on it).
- In Piano's II RH in m18, I would suggest extending the high D into the first note of the triplet with a tie, instead of just having a rest there, since it sounds like the note is held.
- Piano I in m15 threw me off a bit with the fact that you have to play notes in both staves with the left hand at the same time. I understand that it's consistent with the other times you notate that same part in the upper staff, but at the same time I wonder if it would be easier to read if you moved it down to the lower staff this time. Up to you.
- The right hand of Piano II has a... very funky rhythm going on in m22-24. This is what I'm getting instead of what you have:
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FEVLKRqI.png&hash=98eece4078579dfe9e4ac40ce6ae56ab3a2b0d99) (https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FEy4FbBi.png&hash=c2dd9af2a94a1071f784969a292602a17553da64)
Overall, though, looks like a great sheet! It sounds good and, as far as I can tell, there's not really anything else that needs changing (though I didn't specifically check the notes of the chords and bass).
m.10 was a whoopsie, probably from when I copy-pasted that part from before
For m.18, I had to listen to it at 10% or something to hear it be held, since I thought it was detached before. Nice catch :P
For m.15, it was indeed for consistency's sake, and it avoided having voices overlap in the bottom staff. But I'm happy to change it if others disagree.
And for measures 22-24, since the tempo is so fast, I thought it would be easier for a performer to read it the way I have right now. But if do the changes you've suggested, I'll also need to change the chords and bass a bit since they line up with the solo piano line most of the time. But thanks for bringing it up, since I want to hear other people's input on that!
Quote from: InsigTurtle on July 30, 2017, 06:41:00 PMAnd for measures 22-24, since the tempo is so fast, I thought it would be easier for a performer to read it the way I have right now. But if do the changes you've suggested, I'll also need to change the chords and bass a bit since they line up with the solo piano line most of the time. But thanks for bringing it up, since I want to hear other people's input on that!
I think I like it better the way it is currently (i.e. easier and on-beat).
Quote from: InsigTurtle on June 24, 2017, 11:34:11 PMTrying to move that little punch to the second piano gives it a 9th at m.15 which is a bit difficult for me to play at that speed, so I'm not too sure about that. I'm going to move the rests up slightly, and then see how that goes
Sorry I'm late, but that's fine to keep as is. I'm more worried about in measure 10 and 14, Piano 1 has to jump straight into 16th notes after the parallel fourths while Piano 2 does nothing, so it makes more sense to me to move it over in the places before m. 15.
also maybe start the 8va in measure 23 instead of mid-24?
Since you two are in agreement I'll concede if you both insist, but I feel like that rhythm there is an integral part of the original that should be carried over to the sheet. I find that complex rhythms are only hard if two or more different rhythms are being played at once; if, as you say, the chords and the bass "line up" with the solo piano line, then I don't think it should be too hard to play at all.
Most of the time is the key phrase there, the first and last notes of the measure have the chords and bass out of sync in a way by less than a 16th note. I do agree that the rhythm is important, but I think this is more of a matter of liberal interpretation than being straight and to the note
At the very least, the G octave in m22 should be played only a sixteenth rest after the D#, instead of a triplet eighth rest. (see image in previous post)
...I believe so, at least. It's so fast that it's a bit hard to tell... but I do think that a sixteenth rest makes more sense.
Oh, I agree, and I added a performance note to acknowledge your point about the offbeat
Splendid work! I think this one's done.
This submission has been accepted by Maelstrom (http://forum.ninsheetmusic.org/index.php?action=profile;u=4119).
~Zeta, your friendly NSM-Bot