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Messages - Maelstrom

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1
Alright, accepted

2
I've looked over it multiple times and I literally have nothing to say. Great job, absolutely love how m21-m28 sounds.

accepted

3
In the interest of getting this sheet in the update, I will be making the changes listed:
-m27 RH b1 - D is an octave too high
-You didn't make all the changes you said you made...
-Removed all L.H. marks. Not only did they add clutter, but they're not really necessary to play the piece at all
-added the double barline
-made the straight 8ths play back properly in m19
-Made m32 LH 1st layer a dotted half note
-Made m28 LH 1st layer a half note
-Rearranged notes in m31 to properly show note length and avoid overlaps
I didn't include them since it is difficult to play these intervals simultaneously, and arpeggiate them does
Added both of these in. I moved m25 up an octave to make it more easily playable, and the 9th is actually really easy, since it's an octave+minor 2nd. Basically only a half step larger than an octave.

Saved and put in the dropbox folder. Tell me what you think about my changes.

4
Mother 3
Bon Voyage, Amigo
[midi] [.mus] [.musx] [PDF] [Original]

A really fun tune from a very great game. Indirectly chosen by Atcero.

5
- You use an 8va over m. 52-55, 63-66, and 97-100 but not 83-86. Probably best to keep it consistent?
The reason 83-86 is written like it is is because it isn't flanked by 8va 16th segments. It would feel weird going from the chord in m82 to suddenly 8va for one note higher. I think it's much easier to mentally transition in m87, after the half rest.

Also is it just me or is the RH part from m. 33 not really there in m. 40?
I hear it, albeit quietly.

As for dynamics, I think it's fine as it is. The song never really changes volumes and the "louder" sections are going to be naturally louder when someone performs due to there just being more notes. I think that's enough to compensate for any changes.

I did do the rest thing and that was more annoying than I expected

6
Yeah I don't hear that Dn at all. I just hear the strings going down to the F and that's it. Also added a note to b2 of the RH there.

The rest has been updated

7
alright, looks great

accepted

8
I strongly believe that 8ths shouldn't be beamed in groups of 3s because they can be easily mistaken for triplets at a glance. The first half of the measure was fine, but the 2nd half had beats 3.5 and 4 beamed together and 4.5 by itself, which was the real problem I was talking about.

edit: and yes that was m40 my bad

9
One last thing: the F on b4 of m30 is an octave lower than it should be, and I don't think it's staccato, since it's b1-2, but the 2nd 2 notes are reversed.
 Also, I think the beaming there is a bit off, might want to fix that

10
Off-Topic / Re: The Post Your Thoughts of the Moment Thread 2
« on: October 26, 2020, 05:14:39 PM »
Great, glad to have you back!

11
With that said, if you really think that having this piece in A# minor makes the musical ideas in this piece more clear for the reader, then you can leave it, and I'll approve.
As far as I can tell, this sounds like a somewhat conditional approval. We tend to do these on projects where our goal is to move faster, with the intention that another updater can come in while the arranger responds to this, and maybe weigh in as well. That said, I don't belive you satisfied the first part of this conditional. By your own admission,
... it’s just that I’m just always going to advocate for everyone who plays the piano to challenge themselves outside of their comfort zones occasionally.
This is certainly an argument for your case, but one antithetical to static's approval condition. Again, I fully believe there is a time and place for A#m, but every single accidental in this pieces screams that this is not the time and makes the musical ideas more obscured to the performer, rather than clearer.

12
Lots of stuff in the banjo section RH
m24 b4.5 - A (above the next note), not a d.
m25 b2.75 - F, not Db
m27 b3 - F, not a rest.
m29 b1 - I hear a D here instead of the F#, b3 is a D#
m30 b1 - I hear a C# here instead of the F#, same with b3
m31 - b1.23, 2.25 - Bn, not a Gn.
m32 b1 - E, not A. b3-3.25 are E->C#, not A->E. Beat 4 is supposed to be an octave higher.

LH stuff:
m9 - Chord on both hits here is a Bb Minor - should be Db-F-Bb or an inversion of that. Also, the 4th beat bass hit is an A.
m11 - same chord thing, but the 4th beat bass note is a C#
m11 b3 - G, not an F.
m12 - 4th beat bass note is a C
m25 2nd layer b4 - Should be an A, not a sustained note (forms a 10th)
m27 2nd layer b4 - Should be a C#, not a sustained note (forms 9th)
m27 1st layer b3.25 - F, not an E
m29 b3 - The bass goes up to a F# here
m32 - Why does the 2nd layer switch octaves? the bass plays in single steps down here.

For the whole m9-16 section, there's a whole different rhythm going on here with swing 8ths on beat 3. I really think it should be included.
Why only the grace note in m32? The harmonica makes a similar shape elsewhere through this section.
Double barline at the end of m24 to indicate the section change?

13
Also changed the C in m29b1 to a Bb because I now hear the transition of the Ab from the previous measure to that,

I hear the F for m32 b3, are you sure that's the right measure?

Killed the Bb in m33

Changed m34. I still hear an 8th on b2.5, but i moved it to the F which is where I now hear it. Also added an F on top of the Eb on b1.

Made all the other changes and updated the files.

14
Yep, you're right. I hear it now.

Accepted

15
Off-Topic / Re: The Post Your Thoughts of the Moment Thread 2
« on: October 25, 2020, 04:26:06 PM »
my thoughts are wow I actually had a productive weekend for the first time ever and got lots of sheet stuff done

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