NinSheetMusic Forums

Please login or register.

Login with username, password and session length
Advanced search  


Download Finale Notepad 2012 free here!

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - Latios212

Pages: [1] 2 3 ... 345
Not bad, but I think it could reflect the thicker sound of the original via more than just single notes.

Nice. My thorough check coming in now!

- Slash at the end of the URL
- Definitely an improvement over before but some notes still demand some articulation. For example, the F#-G in beats 1-2 of m. 2/6/10/14 should probably be staccato. Same with the last two melody notes in m. 7/11/15. And some bass notes like beat 3 of m. 18 and following.
- In measure 3 I'm hearing the melody figure on beat 3.5 as E-Eb-D instead of the grace notes leading to the A.
- In m. 5, sec. RH, I'm hearing a voice play a couple of C# 16th notes, then B C# E instead of what you have written. Unless that's a different voice present?
- Melody in m. 10 is missing a Bb grace note before the A
- m. 11, the grace note should be Eb above, not C# below the D
- There's a voice that goes missing in sec., m. 14-16, RH.
- I think the melody voices should be tied between measures 18-19 and 22-23
- Bass dips down to C# instead of repeating D in m. 3 beat 3.5
- I'm hearing E-C# as the last two bass notes in m. 9
- m. 11, A on beat 3 is missing G# before it
- Bass E in m. 14 should be D
- Last A in the bass of m. 24 should be sharp
- Pri's left hand is inaccurate in m. 4-5.
- Cn in m. 9 should be a B
- F# at the end of m. 17 should be E
- Measure 25 seems a bit awkward to play for Pri. Anything we can do about that?

Good stuff, the above comments are all pretty minor. Very clean sheet.

* Seeing a submission for one of the most powerful songs from the game fills you with determination.

Sweet. Approved!

...also, name change to "Battle Theme 1" pls
did that

-I said this on your last sheet where I admit it was kind of debatable whether articulations were necessary but here I think it's really vital that they be here.  The composer has put a lot of effort into getting different kinds of sounds out all over the place and the best way to get that across on the sheet is by articulations.  Slurring your grace notes would be a good place to start, but there are loads of others.  I get that you're seemingly not particularly fond of articulations, but I think it would be a really good idea to have a go at it here.  There's so much that could be done to bring this sheet to life.  If you need suggestions I can go more into detail, but I would recommend having a go yourself at seeing what you can come up with.
Agreed here. With the Tetris B theme there was a pretty uniform sound between notes but things seem considerably more decorated here.

Finally adding some more to the Octopath pile again. It's been a while.

Octopath Traveler track counter
Arranged by me: 20/85
Arranged by Maelstrom/Static/Th3Gavst3r: 16/85
Not arranged: 49/85
On site: 31/85

Octopath Traveler
NEW!   Determination[MUS] [MIDI] [PDF] [Original] 

Quick new one for today! (Warming up those arranging gears again after a few weeks off...)

Octopath Traveler
NEW!   Requiem for the Fallen[MUS] [MIDI] [PDF] [Original] 

Octopath Traveler track counter
Arranged by me: 19/85
Arranged by Maelstrom/Static/Th3Gavst3r: 16/85
Not arranged: 50/85
On site: 31/85

- Add more space between the staves in the last system and adjust the dynamics accordingly.
This still needs more space. The dynamics are closer to the notes here than they are anywhere else, and the f in m. 31 isn't horizontally aligned.

The files have been updated. However, I don't agree that this is the best way to do those measures. It's not really necessary and I think would not only detract from the sound, but also not be accurate to the original bassline.
It's a suggestion, but one I still strongly recommend for a couple of reasons:
- The bass doesn't actually strike on beat 1.5 that I can tell, so I'm not sure how this is accurate to the original bassline
- Outlining the percussion rhythm is crucial for these Rhythm Heaven songs because that's where they derive most of their drive. Similar thing to how you're gleaning the accented beats 2/4 in places.

Also move the f away from the staccato'd note in the first measure, and flip the tie between m. 11-12.

I'd rather keep the measure/system distribution as it is right now. I like having the tempo change at m. 3 on a new system, and don't like how squished the measures look when the entire intro is on one line. I hope you'll be alright with that?
Ah this looks better now that m. 3-4 is more packed with stuff. That's fine.

But for future reference, I think an important thing to consider when dealing with measure distribution is the temporal density of each system in addition to the spatial density. Yes, it's very important to try and make sure the musical symbols are adequately spaced and that important section changes happen over system breaks when convenient. But it's also worth thinking about here how the music goes from 8 beats in a system to 14 beats in the next system, which can be a bit jarring to someone trying to read the music at a certain pace. Just something to think about.

Feedback / Re: New Submission Feature(s) Request
« on: July 16, 2019, 01:57:51 AM »
Hey Levi! Let's see...

YouTube links - totally agree, this has been suggested a number of times in the past. It's just a matter of getting around to it, I think.

Crediting - not really sure what value this brings if submitted through the panel (as I take it you're suggesting). It's not going to change the fact that we have to manually check everything. (Re: standardizing a format for copyright info and stuff would be fine in another topic unrelated to site features.)

Email notifications - I suppose we could look into a few options here. Although the personalized messages could work, I'm not sure they're necessary. The simplest option would likely be auto-subscribing users to email notifications for their submission topics. Keep in mind we already have a page for submission info for people to read when they submit something for the first time (you can find it under NSM Panel > Submissions > Submission Info).

I'll check with our Code Monkeys to see what we can consider getting done when as we've all been kinda busy lately it seems...

Super neat! 7/4 :D

I'm still debating whether or not I want to use any pedal or percussion. If you guys are interested, we can experiment, but for now, my only concern is for some of the LH chords.
I think some low D hits in m. 3-4 mirroring the percussion would work really well. Also, I think it'd be a better layout if you put the entire intro on just one system, and put 4 systems on page 1 and 5 on page 2.

Great arrangement, I really like how the left hand of the A section turned out.

Double barline at m. 4 perhaps?

One suggestion I have is to keep the left hand notes above the bass in m. 29-36 (the fifth/sixth above it) in order to keep the same little "punch" from the previous section without demanding the large intervals. It's a bit bare with only the single notes.

I'd also recommend giving the top layer chords in m. 37-end another look, as I don't think the dyads best convey the thicker textures present in the original.

Awesome work again!

Ayy good to see you expanding your arrangement horizon once again with these... weird synth-y sounds.

Just a few things I'd like to address here, because I failed to get anyone's help on this before I submitted it:

- the first measure was improvised with a two-hand rolled chord. Is the stem supposed to be connected like I have it for this type of rolled chord?
     - also on the first bar, I tried my best to pick out the pitches I heard. This rolled chord is the best idea I had for replicating what was in the original, but I'm all ears if someone else has any ideas to share
- is the caesura positioned correctly in the last bar? I had to make a manual adjustment based off of pictures I could find of its use
- am I crazy, or is the chord in m. 2, 4, 6, and 8 the only one to have a note an octave below the fifth? Are not all of the chords triads?
- I assume either simile or ped. simile will work for m. 4?
- the key signature is complete guesswork. I felt I had not much to base it on, other than the shere number of accidentals in the song
For the intro - it's fine to connect the stem like that if you like for a large rolled chord. But I don't think that's the best way to notate what's going on here. I'd suggest trying something like this since it doesn't all happen in quick succession like your sheet now implies (just a sketch, feel free to interpret it differently)

I think the caesura should be moved more to the right.

The chords you mentioned in m. 2/4/6/8 - I do hear the low Ab in the right hand in those if that's what you mean. I feel like I'm hearing E flats in those chords as well but I may be imagining that.

Yeah, the pedal markings you have are fine. I'd suggest sticking one in the first measure too, though.

Not too sure about the key signature. But it looks reasonable to me.

Also, when rolling a chord at the beginning of a piece it's probably easier to make an invisible pickup measure to make the playback work than adding another hidden staff. (I've seen or done this before several times)

A general comment for just about the entire piece from measure 5 onwards, could you include the harp/horn parts at all? This piece just seems to be begging for that kind of texture, and the piano does that kind of thing phenomenally well. It looks like a great chance to play on the instrument's natural strengths (a nice change; so often we're fighting the piano's limitations). It's true that in measure 11 and so you may have to try moving octaves around a bit or creating a bit of opportunity, but I would encourage you try it- this is a piano arrangement and I feel like this piece would work so incredibly well on the piano if the arranger isn't afraid to apply a bit of creative freedom to pull the right effect out of the instrument. Others may disagree with me on this but one of my big points is trying to preserve texture as much as realistically possible. There are things in this piece that the piano cannot do, thereby actually forcing your hand to using such "creative freedom" as to successfully adapt it to the piano in the first place:
I very much agree here. I don't have much to add to the above post at least after a quick glance but personally I'd really love to hear the harp part in the middle section give the arrangement a bit more motion.

If you want suggestions for specific parts, feel free to ask away!

Pages: [1] 2 3 ... 345

Page created in 0.209 seconds with 21 queries.