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Messages - thatoneguy

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1
In m44 and 54, when the middle part drops an octave, I think it would sound better if you instead put it in the normal range but removed/doubled notes as necessary. It sounds kind of weird to me when the texture suddenly shifts there. Even if you think the melody would be hard to hear, keep in mind that it's still the upper voice so the ear naturally hears it more prominently. In addition, it's up to the performer to bring out the moving lines and hold back ostinatos. Just my two cents there.
I agree with you on that, especially with m54. For whatever reason, every time I clicked on the parentheses to re-adjust them they went back into place, until I did something else. That'll need to be looked at and fixed if needed. Now with m44, I did something a bit different. I got rid of the F# in the ostinato because the clash distracts from and would overpower the melody in that instance, unless the performer makes the F# like ppp for that one moment. I kept the E in the ostinato because it didn't really affect the melody too much; especially as the D is re-struck immediately after that in the ostinato anyway, which is why I didn't put any parentheses on it.

m57-onward: Since we are in 3/4 time (instead of 6/8), the 2nd dotted 8th note in a measure is more appropriately written as an 8th note tied to a quarter. This is to clearly show where beat 3 falls.
Yeah.....I'm a bit ashamed to say I didn't think about that. Fixed.

2
Okay, great. Thanks!

3
No worries! Also, should I put "con pedale" in? I realized I didn't put it in (despite the fact that I played it con pedale when attempting it myself).

4
Small update: I went back to play and make sure it was playable, and found some errors I made. So I fixed those and updated the files

5
Great. If you wouldn't mind fixing those two things for me (so it doesn't have to be re-fixed anyway from my terrible formatting attempts), that would be great. Thank you!

6
I think the D you hear is an overtone. The E-F clash kinda sounded like it made a weird, almost but not quite D overtone.

7
Makes sense. Updated that!
Thanks Latios!

It's very hard to hear in the original recording because all the notes are so close together and in such a low register, so I opened up the file in Audacity and raised it up an octave. I definitely hear a D3 in m1
Is there a way you could send me that pitched up file? For some reason I still can't hear the D3. I'm really trying to hear it, but it's not present enough to my ears to pick it out and focus on it. Is possible for it to be an overtone? I know that I hear an F4 overtone in that chord when it starts. My ear might just be constantly picking up that F4 overtone which is blocking out the D3.

As for m13-14, I still don't hear the F#3.
It happens on the recording either when the G# or A (natural) is played. It's hard to distinguish it because it's not made as present, and at normal speed the frequency blends it in with it's lower octave self.

m3-4 look good, my bad on those.
You're fine.

8
Oh! One more thing I forgot to mention. When I first created the Tales of Vesperia game section, I did a dumb and clicked it was on multiple consoles. It should technically be Xbox 360. The game's history is weird because after it was released for Xbox 360, which I believe was because Microsoft made a deal with them or something like that. But then a year or two later after it's release, they made a (at the time) Japanese exclusive PS3 version with a somewhat changed story (and a few new songs). This PS3 version years later would be rereleased as Tales of Vesperia: Definitive Edition. All this to say, I was thinking of the Definitive Edition which is multiple platforms, and it's technically different enough from the original version that this should be changed to Xbox 360 for correctness and to save NSM from any fans that would be insulted by my blasphemous mistake.

9
My comments are in rouge
  • Regarding the title, either is fine but I have a slight preference for the VGMdB listing. Cool
  • I think just a tempo indication of "freely" would work for this piece. Agreed
  • In my opinion, the arpeggio markings are appropriate for this as well. Agreed since it's in 3/4 rather than the 4/4 I was thinking it was in.
  • 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. Makes sense to me.
  • 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. I've listened to the starting chord for about an hour and restarted the video to hear that same opening more times than I care to admit. I agree that it's a diminished chord. I don't hear any D (natural) anywhere in m1. I've been listening and playing my piano to see if what's in the chord, or what most closely resembles it based on the "quality" and "timbre" of it. Long story short, I hear a low timbre clash with that E. I think it's the F2 I had in. I think there might also be an F3 in there, too. I definitely hear the B2 (and I don't know why I didn't think it was there). I don't hear a D of any octave in measure 1. Regarding m3, there's no B. It's only 3 notes rolled: D3-F3-Ab3. No B until m4. Since I mentioned m4, it's also only two notes rolled: Ab3 and B3->C4. There's no F3.
  • 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. Makes sense. My brain was in music theory mode at the time, so I think that's why I had it a Cb instead of B (natural).
  • m5-6 LH beat 1 should be one octave lower, beat 2 should be two octaves lower and only include the lowest octave. Agreed. Not sure why I didn't have it like that in the first place. A little embarrassed by that simple mistake, not gonna lie.
  • 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. Agreed.
  • m9 RH should be F instead of G. I big dumb dumb.
  • m11 RH should have a C# below the G# and A. Indeed it does.
  • m12 RH beat 1 should have C# instead of F#. Yup.
  • m13-14 LH: I only hear the lowest F#, not the one above it, or the one above that (in Layer 1). So, I went back I didn't hear it at first either. I listened again and it was faint. I slowed the video down to .25x speed and it's around the end of the roll, and very soft. I'm not sure if that's intentional or not, but it's sounding. What do you think? I think we could get rid of it, but it's possible it was a purposeful note and not a "happy little accident".
  • m13-14 RH: I'd probably put the C# in the RH just to be consistent with the chords before it. Agreed, if we decide the F#3 isn't intentional
  • 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). I concur. Funny story, the first thing I did was try to figure out what the time signature of the first 6 measures were. I thought it might have been something like a 7/4 with a tempo marking of "freely." It took me I think an hour to finally figure out it wasn't. Lol.
  • Going off of that, I hear m7-14 at around ~88bpm on average. Agreed.
Also, when I opened the mus file you edited, it there were a couple arpeggios that for some reason didn't function. Like, they were visible and existed, but didn't play nor could I even edit them. It was weird. Not super important, but just thought I should mention it anyway. The files have been updated. Thank you so much for your feedback!

10
NANI?!?! Two pieces from this guy? Yup. I was in the mood to work on another after I the other sheet I submitted.

Some things of note:
  • The "Tales of" series can't decide what to call their songs, apparently. Vgmbd (and the youtube video) say it's "An Evening Requiem"; the in-game sound test calls "Requiem of the Evening". I personally like the simplicity of the former, but the latter title isn't bad either. I'm somewhat indecisive about which I should choose.
  • Tempo/pauses/fermatas: The tempo I said is roughly the same through the whole piece. However, there are a lot of what I assume to be pauses or fermatas that are extending the piece just enough that it was bit hard for me to figure out the meter(s). So should there be fermatas, or just give a note with the tempo that says "freely" or something like that?
  • I have arpeggios written in, but I don't feel like they're real arpeggios. Would you say they're more like grace notes?
  • Formatting, as always, needs some help.
  • I couldn't find the "D.C." so I put in a repeat sign at the last measure as a temporary measure.

That's all the notes I think I need to bring up on this one. Hopefully this will be the one to start the "Tales of Vesperia" song list on the site!

11
Thank you!
Also, great filename. I approve.

12
Guess who's still needy back?
For my next arrangement, I'll need a blank Finale sheet with the following:
  • Time Signature: 4/4
  • Tempo: Quarter note = 84
  • Key Signature: Natural (C Major)
  • Starting Clefs: Bass RH, Bass LH
  • Total Measures: 14
Changes:
  • RH Change: Treble Clef @ m5
  • Time Signature Change: 3/4 starting @ m7

Thank you!

13

As per my usual, a few notes ahead of time:
  • Second system on page two needs some fixing. Don't know why it did that.
  • As I'm looking at the PDF, I didn't realize that it made page numbers. So spacing/formatting of that may be needed.
  • VGMdb says it's "Nature dungeon." I'm going by the in-game listing of "Nature's Dungeon".
  • There's quite a bit of ledger-line reading in the base. Usually it's an octave jump or a 2nd up from the prior note, so I chose not to 8vb. If you think it's necessary, I'm okay with that.
  • I chose to make this basically look like a "three hands" because the middle part is so essential to the song; it's the only part keeping the song moving.
  • 3 more things I should explain with the middle part:
  • Measure 54: I changed the middle part to go down, otherwise it's almost impossible to discern the melody in the RH
  • Measure 55: The middle line is brought back up as I don't think it hurts the melody as much as m54 would have.
  • Some notes although may seem hard, I left in as with a good balance between using RH and LH could make some of it work. I didn't put in RH or LH for performer's preference. However, I'm not sure how realistic this actually is.
  • Dynamics are the only thing I'm not sure about. I don't really hear much (if any) of a dynamic change in the piece. Only place I might say has one is RH only @ m34-40 and possibly @ m57-60 RH only.

Thank you once again!

14
Unfortunately, I think it'd be best to put this on the back-burner for a while. As much as I really want to get this submitted, time has not been on my side when I think I do have it.
I also have something else I want to arrange more right now for...reasons that shall become clearer in time  ;)
I definitely plan on getting back to this one later, though. It just won't be for quite a while.

15
Sorry for the late reply. College has been keeping more on my toes than I thought it was going to recently. I think I have time on Friday and Saturday to actually go through it, upload the edits, add my comments, etc.

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