All Hail President Bowser!
-m11: Maybe you could move the G from the R.H. down an octave to the L.H.? This voicing is very crunchy with the minor second between the F# and the G, and makes the F# from the melody less present. You could also write the F# in a separate layer to show that this is the melody voice. The same thing happens in m63. Also, the wavy line should is currently clashing with the the flat of the Bb.Are you sure that the F-sharp belongs to the melody? I always thought, when I heard the soundtrack, the highest note of the chord does. I think the players have to decide for themselves which note should be stressed.
-m12: The natural above the mordent should be centered above the mordent.Impossible I think? It should be the best setting already.
-m20: The L.H. note should be stemmed upwards.I know but it looked better in the other way somehow.
-m61: The R.H. chord here should be rolled as well.There is an arpeggio already. Or what do you mean by "rolled"?
[...] Also, with the glissando tool, you can add a wavy line from the L.H. note to the top R.H. note. If you move the top of the glissando to the left so the line is vertical, it will look and play back like a wavy line for a rolled chord. This is so you don't need the grace note before the L.H. D.I already had this but I prefer the way with a grace note in L. H. because it looks better than a long black arpeggio.
Regarding the arranger name, the e is missing the accent in your sheet.That is alright.
Looks better. The top system of each page is still a bit too close to the text above it, however. You have enough room to move the systems a bit closer togetherOn page 2 I do, on the last one not really because every time when I put the systems a bit down (with the staff tool), the last system of the page disappears. So I moved the headline further up.
- m50 RH (lower voice): The first note here should be C (natural) instead of E.✓
- When I said both the ridardandos should be rit., didn't mean exactly that - you can keep the molto and poco. I just meant they should both be rit. (i.e. molto rit. & poco rit. instead of molto ritardando & poco rit.). I just didn't see a reason not to use the abbreviation.I will leave it that way now. Molto was exaggerated anyway.
- You had this fit rather nicely on 3 pages before, but when you adjusted the system spacing on Page 2, the last system on Page 3 got shifted down. I would adjust the spacing on Page 3 to make everything fit in 3 pages like before.Aside from the fact that I am not versed in Finale’s system spacing – 3 pages wont work out anyway when we add the guitar voice because I couldn’t use a repetition (but that was the reason why I originally added that repetition).
- Text can be moved inside the margins by using the Text Tool > right click on handle > Edit Frame Attributes > set V value to 0 (under Alignment and Positioning). For righthand text (i.e. odd page numbers), the Right Page Alignment and Positioning V value should also be set to 0.✓
- I would still strongly suggest writing those beat 1.5 dotted quarter notes as tied quarter notes, I think it's easier to read it that way since it's more consistent with standard 3/4 beat groupings. There are times where it's appropriate to interchange such divisions (like in this sheet (m66+) for example). I don't think this is one of those cases, it's just a single syncopated rhythm.✓
- For the guitar voice, even if it does play on offbeats, the LH pattern is already playing the downbeats so I still think it could work. The guitar melody also frequently plays downbeats too, like in m37-38 and m57-60see 3rd point
m35-38 RH: It's up to you, but I think trying to find a way to incorporate the guitar lick here would be cool.I didn't incorporate it, unfortunalely, beacuse the beats wouldn't be filled without the violin voice, just offbeat sounds not so good imo. You can't play the violin voice together with the guitar voice (the voices are overlapping) or rather to play them in two different octaves would be very hard.
m57-60: I'd also try to include the guitar melody here, I think it's more important than the background chords. This would also mean getting rid of the repeat, since the guitar part is different the 2nd time through.similar matter
m53 RH: Since this is in 3/4 and not 6/8, the second dotted quarter should be written as an 8th note tied to a quarter.Yes, I just thought it might be easier to read.
Copyright info, page titles, and page numbers are outside the page margins.How do I fix it?
- m17-32 has a wide variety of dynamic contrasts that I think would be helpful to notate. It's definitely
- not just mezzoforte the entire way through.
The 8th notes in m24 and 32 sound the same length as those in m21-22. I think they should be staccato.
Anyone else have thoughts here?
- URL missing a / at the endActually the URL isn't missing, or what exactly did you mean?
- You can just use a tenuto mark (horizontal line) instead of "ten." in the first systemWhat horizontal line? I wrote like this because it's also in the urtext edition.
- For the "surprise" chord in m. 16 the ff doesn't have enough room - it's colliding with the stem of the LH part. You could either widen the space between the LH/RH staves or flip the LH octave down.I flipped it down.
- Also about the chord, I would suggest adding accents and the fifth (D) to give it some more punch.Cool idea, updated.
- The left hand in m. 23-24 and 31-32 should be an octave lower.Hm, in the orignal both octaves are played, but in the lower octave it sounds better, you're right
- Extra mf mark in m. 25 is not neededdeleted
- I don't think you need the (pp) in m. 9, it's not really any different from the beginning is it?In the absolutely original it's written with a pianissimo, so I thought the player could choose if he wants to play in more quiet or not.
- I would suggest reducing the space between systems a little bit so you have room to put the footer within the page margins.I did not really unterstand the topic you've linked, so I've tried a bit in the sheet. I don't know whether that is it.
