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Messages - Libera

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Project Archive / Re: Halloween Update 2020
« on: Today at 05:32:05 PM »
Now that the Halloween update has gone live, this project is officially finished and I'll archive this thread.  Thanks to everyone involved, and I hope you enjoyed taking part in this smaller (and spookier) update!

Two things:
-I think the A# should be an An in bar 4.
-Have you considered raising the RH by an octave so that it doesn't overlap with the left hand quite so much?

-Bar 23 beat 2 the left hand sounds like an F rather than a G like it was in bar 19.
-Would recommend a double barline at the segno.
-Bars 19-27 sounds louder and fuller to me than 5-18, but your dynamics are the other way around.  I think it'd make sense to swap the mf and mp here.  The crescendo in in 25 would then also be less abrupt.  (If you change this remember to drop or swap the dim in bar 18.)
-Could we be consistent with titles for this game?  I've been going off of and your previous sheets matched this too.  As in 'A Gathering of Stars in the Night Sky'.

Nice sheet.  I've recently been trying to get back into playing more so I'll definitely have a go at this one.

Just a couple of points from me:

-I think you've muddled up the voices in the second half of bar 8.  I think the top voice is that one that has the C and E on beat 4.
-The top notes in bar 11 should be E A C G#.

It's not so much the quality, more that it randomly cuts out part way through the first loop which is a bit of pain.  Anyway...

-The run in bars 8 and 16 should be G# -> A -> B -> C ->D -> D# -> E.  You could also slur these runs if you wanted to.
-I'd recommend using slurs in the alternating staccato non-staccato bar 10.  It'd make it far clearer to read.
-The middle voice resolves to an E at the start of bar 10 if you wanted to add that.
-Did you want a courtesy Gn in bar 26 in the left hand?
-The composer and arranger info look oddly spaced out.
-The segno could be broughta bit more to the left.
-The page number and title on page 2 aren't aligned to the margin (or to each other).

I hear the C-Eb thing pretty well, especially in m5.

Still don't hear this.  If I listen for the Eb it comes in on beat 1.5.  Also I think all of the ones in 9-10 are on the beat, not just the ones in 10.  (This goes for all the other instances as well.)  I guess we should probably have someone else check this.

-Bass goes back up the a C rather than a Bb at the end of bars 36 and 40
APART from in bar 40 the second time round where it stays on a G.

^This still.  Remember that the repeats are now gone.

-For the last beat of the guitar in bar 40 I hear this:

-Bar 44 sounds nothing like what you wrote in.
-Slur on the grace in bar 47 to match the others?

I hear m41 as I now have it written. Idk what else to say except maybe another pair of ears might convince me.

Remember this is now 49+.  If you still disagree then yeah I guess we can ask someone else.

-Missing a G->An in bar 70 beat 4 (before the Bb).
-I think the guitar riff in the left hand might be different every other time.  The first third etc sound like what you wrote but the even ones I think it doesn't go up to an Eb on beat 2 and it goes to a Bb on beat 2.5 rather than beat 3.  Admittedly it's kind of hard to hear.
-Should be F# rather than G# in the chords for 65 etc.  Also I think it should be the An on top.

re: guitar at the end: Well, I would argue it's not the same because everything else is louder than the guitar solo. Still added it into the empty section anyway.

Honestly I'm not sure what to do about this final section.  At the moment it sounds very underwhelming in my opinion.  Even if you're not writing in the solo more it needs dynamics or articulations or ...something to bring it out more.

Awesome, accepted!

Great, I've put my edited file up now.  Here's what I changed.

-This should all still fit on one page easily.
-The note shouldn't be at the top.  It should probably be in between the staves in bar 4.
-The bracket and asterisk entered for the note should be expressions rather than text (so that they attach to the staves properly).  Also the asterisk doesn't need to exist.
-General margin fixing between systems and over the whole sheet per my earlier comment.
-Copyright/url is misaligned horizontally, which is a new one for me.

-All of this^.
-Changed ties on graces into slurs.
-Fixed the beaming of the RH in bar 15.
-Added bar numbers.
-Flipped the LH notes in bars 12-15.
-Aligned the title and game title.

Let me know if the file looks good and I'll accept.

It looks as if the margins and general formatting has gone perhaps even more awry now, but that's fine since I can just tidy it up afterwards.  Before I do that, a few things I should say:

Things that I can fix myself when I tidy it up:

-This should all still fit on one page easily.
-The note shouldn't be at the top.  It should probably be in between the staves in bar 4.
-The bracket and asterisk entered for the note should be expressions rather than text (so that they attach to the staves properly).  Also the asterisk doesn't need to exist.
-General margin fixing between systems and over the whole sheet per my earlier comment.
-Copyright/url is misaligned horizontally, which is a new one for me.

Things you need to respond on:

-My original thinking for including the middle voice in bars 12-15 was that it would sit under the right hand (with octaves adjusted so that it's playable).  Although it's now at pitch in the left hand, those stretches are really awkward to play which is why I think it'd be easier in the right hand.
-This is a situation where I'd recommend slurring your grace notes due to the multiple layers in bars 17 and 19 (and then it'd be better to slur the ones elsewhere for consistency).

After you've addressed those last two comments I'll fix up the rest of the comments and it should be good to go.  If you're happy with those two comments and would prefer me to make all of the edits, that's fine too.  Just let me know what you want.

What we were discussing was whether measure 34 had a chord on beat 3. I hear the chord, but Maelstrom does not. That's what the double check was for. We agree on 36.

Yes sorry I said the wrong thing.  I agreed with you about the chord in bar 34.

I took this into account, and I've switched up the chords a bit. Tell me what you think.

Since Maelstrom was the one who has actually checked this (I only looked at those two particular thing), I'll leave the approving/checking that section to them, but it certainly looks more like I was imagining now and you've addressed my issues.

All fair points. I guess it might be technically correct to keep it as is in m20, but I feel like I almost always just see beats 3-4 flipped up when I come across cases like these because it's just easier to read. m31/35 is probably more up in the air and I think either way is fine; it's just that I personally prefer how it looks to flip them up.

Another argument in favour of keeping bar 20 as it is currently is then it matches with bar 18.

The only other thing I have to say is that the dynamic in m45 is positioned a little low.

Ok.  I adjusted it very slightly.

New files up.  Thanks again.

New files up.  Thanks for having a look.

- I'm not sure I'm a huge fan of the LH in m1-16 being portato. I get that that part is like that in the original, but when not all the parts transfer over to piano, I feel like having the LH be portato just makes the sheet sound empty every time the LH releases. I would recommend removing them in m1-16 (or at the least, in m9-16). I think they're fine in m53-60 since the "feel" of that section is very different, though (that said, does it make any difference if each beat is pedaled anyway?).

I feel like we've had a similar conversation before.  When I've tried this on the piano, playing it this way feels very natural and not empty at all.  Not sure what else to say on this really.  Also, regarding the pedal markings, they're a) hidden so it doesn't matter, and b) that's the most natural pedaling I could come up with precisely for the purposes of keeping the slightly detached nature of the left hand in that section.

- Did you try fitting the bagpipe line in m9-16 in somehow, maybe in the LH? I don't know if that would work well at all; if it doesn't, then it's unfortunate that it doesn't fit... but maybe to distinguish m9-16 from m1-8 somehow, you might consider making the RH notes held longer instead of having eighth rests between chords? Again, not exactly how it is in the original, but I think that would help make it feel "fuller" there.

Yes, I tried a bunch of different things and decided they didn't work and it was better to just cut my losses and remove it entirely.  Generally speaking,  the things I tried made it much more difficult/awkward to play and it didn't sound particularly great anyway.  I'm not sure altering the articulation of the current RH really fills in for the missing part, and seems like it'd just be making it different for the purposes of making it sound different.

- I'm not sure how necessary it is to tie the RH notes in m17 and m19 over to m18 and m20. The player already has to hold the pedal down to keep the LH note sustained throughout both measures, so I feel like tying the RH notes over is just adding unnecessary clutter (that tie in m19 looks particularly awkward).

It's just there to keep the melody visually clear and distinct.  It's definitely necessary in bars 17-18 and it'd feel disingenuous to not include it in 19-20.  I don't think the tie inhibits reading that much; it's just not something you see very often so it sticks out.  It's certainly not the most colliding set of ties I've ever put in a sheet.

- In m17 and m19, maybe cross-staff the B on beat 2.5 from the LH over into the RH?


- m20 beats 3-4 should be flipped upward.

Should they?  There's still the layer one semibreve in that bar so I thought that layer should still be flipped down.

- For m21-36, is there any particular reason why the LH rhythm always has a rest on beat 3? I don't like how jarring the abrupt silence there feels; I would rather it be tied over to another sixteenth note.

I guess I can change it, but I'm not sure it matters that much either way.

- Layers 1 and 2 are misaligned on m30 and m34 RH beat 4.


- I think m31 and m35 RH Layer 2 might look better flipped upward (aside from the B on m35 beat 4).

For similar reasons to above I'm not sure they should be flipped upwards.

- Maybe a crescendo in m39-40 to lead up to the mf?

This change in dynamics feels more sudden to me.  There's no build up to it in the original so I don't really want to put one in here.

Sorry for the delay in my checking.  I've gone through it now and have my feedback.  If there are any edits that you need more / another updater to do, let me know.

-Everywhere except the opening three bars should have the left hand an octave lower.
-With the left hand figure in bars 8-11 and 16-19, the second and fourth notes should be a C and a Dn, respectively.
-The Dbs in in the RH of bars 16 and 18 should be Dns.
-The F at the start of the RH in bar 4 actually only plays the first time round, I'd suggesting bracketing it with a 'first time only' note.
-The middle voice is seemingly left out of this arrangement entirely which is a shame.  You can include it verbatim in bars 16-19 and also pretty easily (with some octave fudging) in bars 12-15.  Including it in bars 8-11 is more tricky, and whilst you could probably make some sort of hybrid left hand by combining it with the bass, it's probably quite difficult and I'm fine if you want to keep it simple there.

Other formatting comments:

-Missing opening dynamic.
-Copyright text /url should be size 10 rather than 12.
-Your top margin is really deep and I'd recommend using 0.5/0.5/0.5 for top, right hand side and bottom margins to give the sheet a more uniform look.  I'm guessing you didn't set these margins yourself and are probably just hanging over from some weird import or default setting.

Unsure if the 16th you wrote in for m18 b3.5 is a restrike or just the note from b3 still resonating. I am inclined to belive the latter. I think it's a pure restrike in m20 though.
m43 - RH b1 - I hear a G# here. There might be one in m41 but it's nearly inaudible,

Hmm yeah I see what you mean.  I kind of feel though that it might just be a mistake that the note wasn't picked up in recording or whatever since those two phrases are identical otherwise so it really feels like the note should be there.  If you're really against it I can take it out.

Going through the repeated chord section and the end and I think most of the errors I  was hearing was simply a different choice of inversion. I assume you did so because you wanted the constant string note on top. There is, however, a different chord I'm hearing. In m47 and similar, I hear an inversion of an EM chord instead of a CM chord

Actually the inversions were all chosen to keep the top vocal part on top of the chord, but yes the inversions have been messed with to achieve that.  And yes you're correct about that wrong chord and I've fixed it now.

Thanks for checking!

-m9 b4 - I hear an Ab here instead of the Cb

You're hearing the lower string part here rather than the piano I think.

-m19 - It's faint, but I hear a Cb on b4 instead of the Gb

Yeah it is quiet but I think you're right.  And it makes a nicer phrase than the repeated Gb so I'll go with that.

And that's it. Fantastic job with this. I actually want to print this out and play it but unfortunately don't own a printer yet...

Thanks!  And thanks for checking too!  That's a shame that you can't print out the sheet but hopefully you get a printer soon...

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