Rest in pepperoni, Mario Mario, 1981 - 2021
He will be missed by all, except for me! WARIO, NUMBER ONE!
This one is evocative of a Chopin nocturne... ^^No kidding. Chopin and Liszt are my favorite classical (romantic) composers.
Re: margins - I'm not quite sure what you were going for, but my suggestion as per the help guide was to set the page margin value to what you want and set the (horizontal and vertical) text box margins to zero so that they fit snugly against the margins. What you have now is margins that don't represent the actual margins and the text not aligned properly. Compare before and after:Spoiler[close]Spoiler[close]
That's all, not a thing to hold the submission up over but wanted to make sure that was clear so the sheet looks polished. I'll approve for the next person to review, but please update it
Looks pretty solid! There's just a few (recurring) things I noticed:I'm DEFINITELY hearing a C...but after listening to it again, I actually do hear the D and Eb, as well. I did both.
-Anytime you have this figure:
I hear it as this instead:
-I hear the marimba figure that plays in m15-16 (and else where) an octave lower. It doesn't matter too much either way, but having it an octave lower does allow you to keep the "high" C from the strings.Yeah, I purposely transferred the marimba part up an octave. I think I'll leave it as is.
-From 37 on, it may be a nice effect to add a long C an octave below the L.H. every 2 or 4 bars, to add a bit of tension and to imitate the low strings.Good suggestion. Updated.
-m50 and 54: I hear a C on beat 2 instead of a D.I'm for sure hearing a D. Any second opinions?
Nice to see you againGreat to be back.glad we can finally get this one up!
- m. 15-16, 23-24, 31-32 would be better with the middle voice on the top staff, since it's being played by the right hand and those voice is already on the top staff everywhere else.Adjusted.
- I think the slurs could use a bit of adjusting in m. 26 and 34. In m. 26 the first slur is awkwardly curved at in m. 34 having the slurs start and end on top of beat 1 looks rather odd (perhaps flip the first slur downwards like in m. 26?Cleaned this up.
- Speaking of m. 26/34, do you think the grace notes might be better written as D#/F# instead of Eb/Gb? The Eb is part of the key signature but the grace note chromatically approaches the En.I mean, I guess either could work. What's your recommendation? Personally, I like to stay diatonic, but if you think changing them would be better I'm chill with that.
- I'd highly recommend removing the courtesy naturals on the F# in m. 50 and 55 - there's sufficient space from the previous F#Axed 'em.
- Rhythm grouping in beats 3-4 of m. 55Fix'd.
- The beat 1 C's in the right hand in m. 57-60 are offset too far to the rightYeah, stupid finale. Fix'd.
- I'd recommend putting dynamics at the beginning and ending of the crescendo in the last four bars. It starts out pretty quiet in the original and seems to build up more tension than it returns to at the beginning of the repeat. How does p < f sound?Good suggestions. Fix'd.
- Your header/footer text is outside the page margins; I would recommend putting it back within the page margins and lowering the systems on each page as well because there's more space on the bottom than at the top as is
- "Suspense" doesn't need to be capitalized
