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Messages - Khunjund

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- On beat 2.5 of m3, the A goes up to and back down from a C quickly, just like at the beginning of m1, if you want to include that. You may or may not also consider including a grace note on the second note of m4.

Added both.

- This is what I hear for the last beat of m28 RH:

- I hear something similar for the last beat of m29 RH, although I can't tell if it's the same notes or not (maybe an octave higher?) since it's hard to hear. However, I definitely hear two eighth notes there instead of a quarter note.

Good catch. Those measures are kind of a problem because of overlapping lines, but I tried something nonetheless.

- In m43 LH Layer 1, was the Bn on the last beat removed for playability? I feel like it might still be doable if you included it.

It’s playable , but I feel it makes the low D lose impact, so I cut it out to focus solely on lowest part.

- Something to consider: Without the percussion, I feel like the LH rhythms in m11-19 make the sheet sound like it's in 12/8 instead of 6/4 until you hit m20+. I'm not sure if it sounds different on piano when someone's playing it live, or if there's a good way to adjust the LH rhythms and/or add notes to put more emphasis on the quarter-note beats. What do you think?

My primary reason for writing this piece in 6/4 is the melody, but the right hand in general usually emphasizes quarter notes.

Thanks for going over it.

Hello, welcome to NSM.

When submitting a sheet, please link a YouTube video or other primary source to the music like so:

This allows updaters and other users to easily compare your arrangement to the original and avoids confusion if there exist multiple versions of the piece, etc.

Feedback / Re: First Submission Problems
« on: December 31, 2020, 08:08:45 AM »
You need to:
  • Go to the NSM Panel.
  • Hover “submissions” → click “submit new sheet”.
  • Fill in the form and upload the appropriate files. The MUS, MIDI, and PDF files are mandatory; the MUSX is optional.
  • Click “submit sheet”.
If you do all of that, there should be a new topic made by Zeta in the Submissions board.

All done. Thanks for revising it.

Request / Re: [SNES] Final Fantasy VI - "Celes' Theme"
« on: December 24, 2020, 08:35:42 PM »
I tried submitting it already, and unfortunately they won’t allow it because it doesn’t follow the original closely enough.

Maybe you can try downloading it to get both pages (either with the download button or by changing the 0 in the “?dl=0” part of the URL to 1).

Submission Archive / Re: [MUL] Celeste - "Little Goth" by AcceptedSugar
« on: December 01, 2020, 01:25:56 AM »
(To link a YouTube video, you can use the appropriate tags like so:
Code: [Select]
[youtube][/youtube]which can be done by either typing them manually; or copy-pasting the URL, then highlighting it within your message and clicking on the icon with YouTube on it (while the message is still highlighted), which is located just above the space for writing the body of your message.)


I submitted the piano version last time; now, it’s time for the full orchestral one (which is half as long for some reason).


“Rule number one: my way, or he’s a dead mother!@#$ way. Take your pick.

There ain’t no more rules.”

Submission Archive / Re: [SNES] Mega Man X3 - "Opening Stage" by Jake_Luigi
« on: November 26, 2020, 01:09:13 AM »
Welcome, and nice work for a first submission. As YoshiGuy said above, when submitting, please link a YouTube video, or whatever primary source you used to make the arrangement. This makes it so people can more easily compare your arrangement to the original, and ensures that there is no confusion as to what variant of the piece was used (when applicable).

You don’t have to write a character indication, but I just wanted to point out that it’s an option to include one.

I assume this is because you use MuseScore or something, but the .mus is kind of messed up. For instance, all the second layer rests are in their default position, which means they often clip with other layers, etc.

A lot of your ties are the wrong direction (right hand opening measures, left hand measure 21, etc.), though this is fixed in the .mus because of Finale’s automatic correction. Barring any layer shenanigans, ties for notes on the third line and above should arc upwards; those below the third line should arc downards.

Generally we avoid using harmonic intervals greater than the octave. While I can comfortably play the opening Gmin(add9) chord, I know there are people who would struggle with it, and the following F and Eb chords are simply impossible for anyone who doesn’t have Rachmaninoff’s hands. You can keep the Gmin(add9) as is if you want, but I would recommend raising the bottom note of the other chords by an octave so all of the notes fit within one octave.

The final Gb in the bass should be written F#. (Notice how it resolves up to G natural when it loops?)

It should be fairly simple to make this fit on two pages. Instead of resizing the entire sheet, try changing the staff height to 7 mm or 6.5 mm and tinkering with the distance between systems.

Submission Archive / Re: [ARCADE] Ikaruga - "Ideal" by Renaud Bergeron
« on: November 23, 2020, 02:48:06 AM »

Submission Archive / Re: [ARCADE] Ikaruga - "Ideal" by Renaud Bergeron
« on: November 22, 2020, 02:20:54 AM »
What's the intention around the crescendo in m. 73? The previous section is already f starting in m. 36 and the following section in m. 74 is also f, so that seems potentially confusing.

The initial attack on measure 74 is supposed to be about ff (the culmination of the crescendo), but the rest of the measure is just f. Maybe I should add accents the E, G#, and A in the right hand to clarify further. If it had been a ff attack which dropped to p or something, I would have written both dynamics one after the other, but it doesn’t seem super clear to have ff f right next to each other.

Trying to remember if I have a sheet with a similar situtation for comparison.

A character indication is a word or short phrase placed before the metronome marking (and elsewhere) which gives a brief description of how to interpret the piece’s rhythm and mood. This can either be one of the “generic” indications (andante, moderato, allegro, presto, etc.), or a more personalized description (e.g. “Very lively and with great vigour”, at the start of Chabrier’s Bourrée Fantasque). It doesn’t have to be in Italian, but in my opinion, there are two important things to keep in mind:

First, the indication should apply to the entire section of music it encompasses. That is to say, if you have a piece which starts out fast, but has a slower choral-style section later on, you shouldn’t simply write “Lively” at the beginning and leave it at that; it would be better to a) give a second character indication at the start of the second section, or b) come up with a broader indication of character that applies to both sections. (This shouldn’t be necessary here, but I thought I should mention it anyway.)

Second, the indication should be clear even for someone who knows nothing about the piece (or even the game the piece comes from). I’ll bring up an example from this site: someone submitted a sheet with the character indication “Breathe”. This was because the main character from the game suffered from asthma attacks, and by the time this piece plays (it was the ending theme), they have subsided. In essence, what the submitter wanted to say was that the piece should be played calmly and freely, but at first I thought it meant to use a lot of rubato (e.g. take “breaths” between phrases), since I didn’t have the context. After learning his intentions, I suggested that he write instead “Calmly and freely”, or something else to that effect, which is descriptive even if you don’t know anything about the game.

For reference, the Piano Collections: Final Fantasy IX version of “Roses of May” has andantino.

Submission Archive / Re: [ARCADE] Ikaruga - "Ideal" by Renaud Bergeron
« on: November 20, 2020, 12:54:54 AM »
Made very slight tweaks to margins.

Hello! Seems like a pretty accurate arrangement to me. Just a few things:
  • I’ve always seen the title in the plural as “Roses of May”. While the Soundtrack CD seems to have it in the singular, the wiki seems to consider plural to be the default as well, but I’m not too sure anymore.
  • You don’t need to have a character indication, but it would always be a nice addition. (Just don’t take inspiration from Libera :P)
  • I think the A in the anacrusis you assigned to the left hand would be better off in the right, either as an eighth played with the D, or as a separate layer; it’s the voice which goes down to E in the first measure, and keeping one voice in the same hand (or at least on the same staff) just makes things clearer. Moreover, the same movement is repeated between measures 4 and 5, where it’s much more convenient to play with the right hand, so keeping the notation the same between the two identical measures would be a good thing.
  • In measures 1 and 5, the uppermost voice goes up to G, and I think it would be important to keep this, because it’s a fragmented version of the full melody which comes later. If you don’t want to have a tenth between this G and the lower E, I think raising the latter by an octave is the lesser evil.
  • I think the mezzo forte in measure 24 gives the impression that it’s a sudden change in dynamics, whereas it’s more like one musical phrase is ending, and the left-hand arpeggio is leading into the next one. I would instead use a crescendo there, leading into mf at the beginning of measure 25.
  • Since you can’t realistically take up fewer than two pages, how about spacing out your measures a bit more and taking up those two pages? I think it would look a lot cleaner than a dense first page, followed by a three-quarters empty second one.

I made a document with all the above changes, if you want to compare. (I really should have made an image with both pages side by side, but I didn’t know how to do it, so I apologize for that.)

Unlike with key signatures, double bar lines are typically not used at time signature changes, unless it's a new section.

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