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Bump. A few months late but my arrangement of it is finally up on the main site here: https://www.ninsheetmusic.org/download/pdf/5280

Like this, right?


Updated the files again, so everything should be good this time.

- m. 20 last note - I'm not sure where the D# is coming from, it sounds like the lower layer should play a low B instead here?

Huh, must have misheard that for some reason. I made those other changes you pointed out as well.

I actually prefer these notes at their original pitch, matching the lower octave. Up to you though!

After listening to it a few more times, I actually do like how I originally wrote it a bit better. Sorry, Bloop :p

Tonality wise, these chords kinda seem to suggest C#m to me, even though there's no actual C#m in the song. The Amaj7-G#m is a pretty common setup for C#m, but it just always ends up on the more dorian-oriented F# major.

I wasn't 100% sure on the key but having only four sharps in the key signature makes it a bit easier to read, so I think I'll end up changing it to C#m.

-m22 and 30: You can move the notes (+ grace notes) on beat 2.5-3 up an octave, so the melody doesn't suddenly jump down an octave. You can add the octave below the non-grace notes too if you want, though it's admittedly a bit harder to play than I anticipated.

For m30, would those notes look better with an 8va marking or should I just leave them up an octave? And yeah, having an octave right after the grace notes is a bit hard for me to play, myself, so I'll leave those as is.

I'm very glad to see more OMORI sheets being worked on~ I'm  not an updater, but I'll still try to give some advice.

I appreciate it. This is probably my favorite track in the whole OMORI ost and I noticed someone made a request for it a couple years ago so I thought I'd take a crack at it.

Excluding the lower pedal notes in m17 and onwards, the bass part is almost exactly the same as in the first part of the sheet, so at that point is the change of clefs necessary/helpful? (as in, wouldn't it be better to have it all be in the bass clef?)

Yeah, you're definitely right. I thought for some reason that it looked better in the treble clef for the first half of the piece because it was higher up, but then I realized I had to change it once the lower bass notes came in. It all looks just fine with a bass clef, ultimately.

I also made all the other changes you suggested, as well as taking out a note in measures 11 and 27 that I saw overlapped with the right hand.

Alright, I've changed the angle of the beams a bit to make it look more like the first picture and I think it's much better now. And I moved up the Eb an octave so it's not that big of a jump. How's it look now?

I'm happy accepting even if you'd prefer not to add it, but I do think adding the harmony helps it stand out a little from m20-23. Your call

Oh if it was just those couple of notes then I'd be happy to add them, I think it sounds lovely and does make it stand out more.

I meant that I hear an Ab in the LH chord at beat 2, above the Eb. On closer inspection you might not want to add it in though, with the RH playing the same Ab half a beat prior.

Ah, I see now. I'll keep it as is.

Seems you removed the Eb instead, I'm still hearing this chord as Eb-G

My bad, fixed that.

I think there's an Ab being played at beat 2.25, but the rest looks great!

Yeah, I hear it too so I added it.

m32 & m40: There's a Bb at the end of the upper LH layer, at beat 4.5. Do you want to include it as well? It doesn't have to be in its original octave

I think it's fine to include the Bb in both measures, but do you think the way I moved up some of the LH notes on the staff still look okay?

I don't know, something about the angle of the beams seems a bit off to me. And yes, I know I could adjust them but I'm not sure what would make it look better. I took all your other suggestions so hope it's all good for now.

m24+: Thoughts on adding the piano harmony to the RH here? It seems a little off to only have it at the start of m24 but I understand not wanting to heavy a texture

Personally, I think that whole section sounds fine with just the left hand harmony.

m32: This time, the Ab is above the Eb

Sorry, could you clarify a bit?

m45: I'm not sure on the history of this, but I do hear the LH part as Latios does, with a C on beat 2.5 and a Db on beat 2.75. Did you simplify this for playability reasons, or was there a misunderstanding of some sort?

Nah, I probably misheard it. Listening to it again, I think Latios was right so I changed it back to how he said it was.

Thanks for all the other suggestions as well, I've made most of those edits.

Great! I made a few more spacing adjustments on the last page, and that's all I really wanted to work on for now. Again, thanks for all the help!

Edit: I just now realized that I spelled "Irreplaceable" wrong on all of the files, so I quickly fixed that.

The beam is broken in the wrong place right now

Whoops, fixed that.

Not sure if you missed it, but you can flip beat 2 down too. Regardless, make sure the lower tie leading into beat 3 bends upwards to not conflict with the G in the lower layer.

I assume you mean flip beat 3 down? The D flat that was tied to the previous D flat? I flipped that one and the following notes down (those just went automatically) and there looks to be enough space below. I flipped the ties as well.

That said, reducing it to a value like 0.1 seems to work fine across this sheet. Do note that at least in my Finale, changing the value doesn't redraw everything immediately and you'd need to trigger that (probably a better way but I just click on each measure individually with the Note Entry tool to watch it respace and make sure nothing looks off)

Weird, my Finale does that too when I changed the music spacing. It must also really hate ties that go across systems because they tend to disappear whenever I do anything in those measures lol. Anyway, thanks for all those suggestion, Latios! Hopefully everything should look okay now.

I'd suggest moving the A on beat 3.75 to the right hand as well so the left hand doesn't have as much of a jump and it's super close to where the RH already is. I'd also recommend moving the 16th rest up a couple of notches

Other than that, I think it'd be best to break the beam between beats 3-4. You may also want to make some manual horizontal adjustments so the notes in beats 4.25-4.5 aren't so close to each other. These couple of suggestions apply to m. 40 as well but it makes more sense for the LH to take the A in this case. For m. 40, you could also flip the RH beats 1-2 back downward since there's nothing below it.

I've made these changes and adjusted the note spacing a bit, though maybe not quite manually.

Looks good! I do still hear the Db on beat 2.75 though.

Turns out you were right, so I fixed it again :p

Maybe try writing in some harmony in the right hand in m. 46 beat 1?

Ah well, I tried but the notes I wanted to add overlapped too much with what the right hand was playing anyway and it didn't sound great, so I wrote the harmony in the left hand instead.

Not the best solution, but it's what I have.

If there are any other spacing/layout issues you've noticed, please let me know as my sheets can always use some help with those (I think).

- m. 4/13 beat 2 - I hear the F written in the left hand as part of the right hand melody?

I had a hard time hearing those as part of the melody and I thought it looked better in the left hand, but I'll move the Fs to the right hand just in case.

- If you like, you can cross-staff some of the 16ths in m. 32 and have the left hand play a low E on beat 4. Same with m. 40 I guess, although that'd be trickier.

Yeah, that's pretty much the only way I figured the left hand would be able to play the E in the bass, though as you said, the rhythm of the melody might make it tricky to play those sixteenth notes in the right hand. I think I'll move only the last two to show that the right hand should be able to play those. Something like this?
 

- m. 44 - It feels awkward for the higher octave of the melody to simply drop out on beat 2 here. I would suggest cutting the high octaves starting on beat 3.25 of m. 43 instead so the phrase is intact, or alternatively writing in the octaves for the rest of m. 44, moving the harmonies up on beat 2 to fit.

I agree that it feels awkward so I decided to do the former.

- The last few measures are tricky. I'm hearing something more along these lines:

Hmm, I'm hearing those first two measures as something more like this:

I wonder if there's a way to incorporate some of those high strings so you can really heard more of that resolution from the G to Ab in m. 46-47.

I did originally put an entire upper part in the right hand, but then I realized that the melody line of that section would be pretty much unplayable without a sostenuto pedal to hold down the low note. And yes it does sound very empty to me, but there wasn't much I could do without making it more complicated to play.