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oh god how did this get here I am not good with computer

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Messages - Static

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Looks good, just a few more things I have:
  • Just to be extra clear, that C-B-C mordent in m6 LH should have a natural sign under it.
  • Beat 3 should be beamed across in m12 and 16 LH.
  • m28 RH beat 1 should have that staccato flipped up.

Since I'm pretty sure you can't do some of this stuff with NotePad, here's a file for you with all the above changes, along with the following formatting adjustments:
  • Hayazaki, Hama, and Yokota changed to arrangers rather than composers.
  • Composer/arranger text changed to Times New Roman, along with the "Piano" text at the start of the first system.
  • Copyright info removed from pages 2-3.
  • Measure numbers, page numbers, and page subtitles added.
  • Page margins and system spacing adjusted slightly so there's more room for the music.

If this looks good to you, I'll approve. Let me know if you have any questions or if you disagree with anything here.

A little update, I recently found out that there was actually an official English release of this soundtrack on iTunes (here), I happened to see it on the sidebar on the VGMdB page I linked. I've changed the title accordingly to "Forest of Journeys Begun".

This is neat
  • My main point of contention with this is that the arrangement feels a bit sparse at times, but I think the simplicity works for this piece... it more clearly shows the slow buildup here. I think if it was performed live I'd probably feel a bit different about how it sounds.
  • I like the attention to detail on the articulations, but I disagree with some of them. Beat 4.5 of m14 and similar sound more legato than staccato, beat 3 of m15 and similar should be staccato, etc. I'd suggest going over the RH part once more and using some more accurate articulations.
  • I would pick some different systems to be the 2-measure ones, since there's not really a lot going on on page 4. Looks a bit too empty/stretched out compared to everything else.

That's all I really got for this one, looks pretty good.

Are you still around to work on this one? It's a bit past the 24th...

  • Regarding the title, either is fine but I have a slight preference for the VGMdB listing.
  • I think just a tempo indication of "freely" would work for this piece.
  • In my opinion, the arpeggio markings are appropriate for this as well.
  • A repeat is fine for pieces that are really short (like this one), I usually prefer a D.C. for sheets that are 3 pages or more.
  • Ok, onto the arrangement itself now... For the chord in m1 and 3, I hear B-D-F-Ab in the RH (Bdim7 chord) and just the low E in the LH.
  • For m2 and 4, I would suggest writing the Cbs as Bns, so that they stay within the established diminished chord tones, as well as more clearly show the resolution to C. This should also probably be in a separate layer.
  • m5-6 LH beat 1 should be one octave lower, beat 2 should be two octaves lower and only include the lowest octave.
  • That dotted 8th-16th rhythm I actually hear more as a double dotted 8th-32nd, but I definitely agree that it should be written out as a defined rhythm rather than a grace note.
  • m9 RH should be F instead of G.
  • m11 RH should have a C# below the G# and A.
  • m12 RH beat 1 should have C# instead of F#.
  • m13-14 LH: I only hear the lowest F#, not the one above it, or the one above that (in Layer 1).
  • m13-14 RH: I'd probably put the C# in the RH just to be consistent with the chords before it.
  • So, this is a bit more subjective, but I agree with your rhythms in m2 and 4 (the quarter note specifically). But for that to be a quarter note, the tempo in m1-6 would be ~65bpm. Because of that, I feel m1-4 in 3/4 time, and m5-6 in 4/4 time. Obviously there are fluctuations in tempo, but I feel like using a meter change rather than a fermata would better communicate the length of m5-6 (longer, but not too long).
  • Going off of that, I hear m7-14 at around ~88bpm on average.
Here's some files you can find with all the changes I mentioned. If you disagree with anything or have any questions, let me know. I know it's a lot to say for such a small piece, but I think these small touches can really make a big difference.

  • You put Toy Time in 2/2 but this in 4/4... obviously it works either way but I just thought that was kind of funny.
  • m10 RH beat 3.75: this lone 16th note should be C instead of F. I'd suggest removing the Cs from the surrounding chords to make it a bit easier to play.
  • That interval in m17 is much to wide to play with either hand, you should move it up an octave or find some other way to write out that measure.
  • Grace note in m26 should be G# (leading tone to A).
  • m27-28 RH also sound like they should have grace notes as the beginning.
  • The composer is Koji Kondo, yes, but you should also add Asuka Hayazaki, Takeshi Hama, and Mahito Yokota as arrangers.
  • There's a bunch of formatting stuff to take care of obviously, but I can help you out with that once all this stuff is dealt with.

First of all, here's a non-extended version:

  • Because the melody is usually in a pretty high register, I think you can afford to move many of those LH chords up an octave as they are in the original. The piece is at a moderate tempo, so it isn't really that demanding to play. (m27-34 can stay the same of course)
  • Most of those previously mentioned offbeat chords should have 3 notes instead of 2. Here's what I have transcribed for the first few bars to give you a head start (note some of these chords are also a bit different than the ones you have):

    If you need more help with this part, let me know
  • m3-4: I would tie the melody over at least to beat 1 of m4, since it's much more prominent/important than the background whistle part.
  • The Ens in m1, 3, 5, 27, 29, and 31 should all be Fbs (they're the b9 of Eb7b9 chords).
  • m13 LH beat 4 should also be Fb because it's a Dbm chord.
  • m18, 44 RH: you can beam across the 2nd and 3rd notes here. That descending line in these measures would be cool to add as well, if you can find a way to.
  • If you want to add those downbeat chords in m19-25, 45-51, I think they would sound better as a 2nd layer in the RH. The LH would probably be better off it just stayed with the bass-chord rhythm used in the beginning for most of this piece, since that's really the part that drives this entire piece forward, at least in my opinion.
  • Missing developer and copyright year.

  • Only Naoya Kamisaka composed this particular track, as seen here.
  • The first system looks pretty cramped, particular the first measure where the last 16th note is almost touching the barline.
  • The quarter note on beat 4 of m10 and 16 RH should be an 8th-16th-16th rhythm (F#-G-F#).
  • That rhythm in m24 RH should be a dotted 8th note rather than tied to a 16th.
  • m29 RH is missing a tie in the melody.
  • In m25 and 34, you can flip the Layer 1 notes down where the Layer 2 rests are hidden.

I really like this track, one of the best map themes in the game for sure...

  • m10 RH beat 4 should be a dotted 8th + 16th (both on D).
  • That first two 8th notes in m14 LH sounds like it should have an F# next to the G, it sounds a little more crunchy than what's on your sheet.
  • I also hear F#s in m17 LH beat 1, but they're a little more faint.
  • m21/23 RH beat 1 should be up an octave.
  • Stylistically, this would be more appropriate in 2/4 or 2/2 since it's a samba/bossa nova feel... I know it's a pain to rewrite the entire sheet like that, but consider it.

This is a really solid arrangement, nice work. I just have a few more technical things:

  • That chromatic line in m6/42 I think could be spelled in a much clearer way:

    Usually when writing chromatic lines, I think it's best to try to pick as many notes as possible that are diatonic to whatever key you're in. Spelling it this way also eliminates the use of multiple of the same letter (like En and E# in the same chord as you currently have it), it just makes things a bit less confusing.
  • Going off of what I said above, the Abs and Gbs in m7-12, 43-47 specifically would be better spelled as F#s and G#s because of how the notes resolve in the melody (Fx to G#, G# to A). Abs are fine in m13 because in this case, it's part of an Fm chord (new idea from the stuff before it).
  • m18 LH beat 4 should probably just be written as a staccato 8th note since it's on the beat, just makes things a bit easier to read.
  • You have slurs in m15-16, 19-20, but not in 33-34 or 37-38 even though it's the same part.
  • Did you mean the fff in m28 to be hidden? Just wanted to make sure.
  • Those G#s in m36 LH should be Abs
  • The bottom of page 1 seems a bit too empty, you should space out those systems a bit more. You might also want to play around with the measure distribution to make it fit evenly on 4 pages, but ultimately what you have currently is fine too.
  • And now the bane of every arranger's existence... most of your text (page numbers, copyright, etc.) is outside the page margins.

Bumping this for you... if you're still around please respond when you can

Feedback / Re: Link's Awakening Composer Crediting
« on: February 28, 2021, 10:33:30 PM »
Mr. Write's House: Kazumi Totaka & Soyo Oka
For this one specifically, it would be more accurate to say it was composed by Oka and arranged by Totaka, since it's pulled from the SimCity SNES soundtrack. Otherwise, this list looks good.

If there's a bigger accomplishment this updater team has made, I haven't seen it.

sure you have

Project Archive / Re: Nine Lives' Replacements
« on: February 27, 2021, 09:58:18 PM »
Spaceport Alpha looks good

Project Archive / Re: Maelstrom's Replacements
« on: February 27, 2021, 09:26:07 PM »
discussed over discord, but didn't change m47 b3 because that's a Bb in the chord, not a B. If it was a B, I'd agree with you.
i can't read sheet music apparently


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