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Messages - Maelstrom

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So I can't hear the Abs well and adding them to m53 makes it sound really muddy, but not adding it makes m52 and m53 sound much stronger so I'm just leaving them out.

Did everything else. I understood what you were saying about m65, but didn't want it to sound like a restrike. I originally thought I heard the violin coming in on b1 but now I hear it on b2. Updated and with the initial A an octave lower.

As for m67-end, I somehow missed your comment. I can hear a voice hitting that 4th beat 95% of the time in m67-74 and it sounded like it was just being drowned out in the others as there was no consistency. It sounds like a piano strike )or whatever is a counter melody to layer one in the 2nd half of the page)( in the background and adds some texture to it. I, however, don't hear it in m75-end so I removed it there. Files updated.

Submissions / Re: [3DS] Fire Emblem Awakening - "Destiny" by Maelstrom
« on: January 17, 2021, 10:31:19 PM »
-I hear different notes for left hand beat 3 in nearly all of bars 1-8.  Bar 1 I hear an E, bar 2 a G etc.  Most of them are octaves and definitely not fifths.
This was completely intentional, lat addressed it too.

>-I don't think you should cut off the melody in bar 28 right on the final beat, it makes that line sound really odd.  I'd recommend instead finishing it on the correct A and then taking over with the new line at the start of 29.  You could still keep the D as harmony if you wanted, but I think you should preserve the ending of that melody.
So I messed with this a bit and it doesn't sound weird to me. This is because the A is far quieter than the D pickup for m29 and that D->A motion has always been far more memorable to me than the that of the strings in m28. I would like to keep it as is, but understand what you're getting at here. I extended the slur from 29 to the pickup to more clearly indicate what it's doing. 

-m30 - I would like to keep b3 as it is, because, first, I don't hear the F, and 2nd, that would end up making that chord a 5th, breaking the pattern here in a very unsatisfying way.

Revisited 39-42 heavily. I distinctly hear the strings playing the Eb and G I wrote in. I think it's quite a bit better than it was before now.

I think the Ds I were hearing in 43+ were actually Cs so I revised the chords to better reflect that.

I did things to the counter melody to get it to work without ever getting rough to play. Most of the time, I just added in the string chord to the octave when it wasn't the octave already. When it was, I added a note that made sense given the part and the melody's movement from the previous notes

Killing the huge rolls worked better than I thought

>-Bar 63 has the same last note as bar 64 in the left hand.
Don't hear this at all, sorry
>The melody line in bars 65-66 should have an A on beat 2 of bar 64.  (The A on beat 1 actually goes down to the F# on beat 3 and isn't part of that line, so the way it's currently written is kind of confusing voice wise but that should be easy to clear up if you move the current lower layer down to the left hand.)
Assuming you meant 65 here. I respectfully disagree as I can't hear a restrike at all. I would be willing to take out the D if you really want, but I do not hear any real change in sound between b1 and b2 of m65.

I strongly disagree on m67-74. I think it sounds pretty close to the original and would like to keep it as is. Yeah, it might be a bit empty, but it feels right to me and contrasts more strongly with 75-end. And using ped. to hold the chords long enough would do funky things to the bassline.

Sorry for this disaster of formatting, hope it makes sense and that I actually got everything you said this time

everything I didn't mention was hopefully addressed, files updated

This is what I hear for m1-2

-m9 and similar - I hear the E on b2.5 as a quarter (e.g. tied to a 2nd 8th).
-m10 and similar - I hear a Db as the last note. 
-m25 and similar - I hear b2 and 2.5 as a Eb and Bb respectively. Also, b4.5 is a quarter (tied to 8th in the next measure)
m36 and similar - I hear a G on b4

-m40 should look like m36
-m41 - b1 (the f#) is a quarter, and b2 is the A. No C here. b3.5 is also an A
-m42 - b3.5 is a F# and b4.5 is a D#. Spell those how you want.
No staccatons on b1 of m35/37/39

m35-end - I hear a harmony pretty strongly for this here, it's mostly a 3rd below what you have written. 
Final 2 measures look like the first 2.

I made the changes, take a look at this file:

Great work, accepting

m18 - 3rd 2nd layer chord - the Gb should be spelled as a F#
---m21 to m27 LH should be an octave lower with the exception of the last 5 notes in m23 and m27.
m21 - I hear all the Cs after the first chord down an octave
m22 - the off beat Gs in the 2nd half aren't that strong, remove the lower octave harmony
m23 - Same deal with the 2nd half of the measure.
m24 - same thing in the 2nd half
m25 -
m27 - Final octave is a G, not a C (should be lower)
m28 to end - I put the notes in their proper octaves. The way you wrote it completely obscured the motion of the notes in weird ways

no rolled chord mark on the final chord in m7?

Concering what MSF said
Staccatos in m20 should be below 100%
I hear m27 as MSF said it, and it's unplayable the way it is with the 2 layers here.
30 RH lower note is a F# 100%
m31 - ok so I would recommend using a Fn for all the Fs instead of the E# and a Gb instead of the F# on the 5th to last note. The Gb is less correct to notate that way, but it means the 3 Fns are notated properly, which is the greater good imo. You could use the split stem tool to have both the F and F# but that one's up to you. Regardless, make sure you change the LH too

Submissions / Re: [3DS] Fire Emblem Awakening - "Destiny" by Maelstrom
« on: January 17, 2021, 12:10:08 AM »
files updated

Submissions / Re: [3DS] Fire Emblem Awakening - "Destiny" by Maelstrom
« on: January 16, 2021, 05:48:03 PM »
Reword chords in m43-54, should be more accurate now. Will probably give the whole song a further once over today.
yes, the 5th note in the intro was intentional.

I made every other change except the huge rolls. I can't seem to thing of a way to have them all without damaging either the melody or countermelody's motion beyond recognition. 

before I forget, I approve

Oh, yeah that's right. The rhythm is as previously notated

Looks great!
I agree with everything you said and don't hear what lat said at all, so I'll accept then.

Piano Arrangements / Re: Link to the Past "File Select" second draft
« on: January 16, 2021, 01:37:27 AM »
In the future, I recommend replying to your old topic and editing the first post with the updated files. That's generally how things work around here.

m2 b4.75 - hearing a C# here
m6 - On b1, I hear the bottom note of that chord as a F#, and a E-A-B chord on b2.
m10 - Same thing as m6 on b1, b1.5-2 I hear a voice descending F#>E. I hear it ascending in m42 so I might be hearing it wrong.
m12 - I hear the counter melody descending on b2, as a G# instead of the B
m30 b2.75 - I hear a E here instead of the G. I get how this might not mesh well with the chord after it though.
m36 - same deal as m6 b1.
m40 like m12 as well

m17 - I hear b4's lowest note as a B.
m19 b2 - I hear almost the same chord from m15 here. Maybe not the C#, but def. the B so maybe the C#could just move down a step.
m36 - If you're following the guitar instead of the bass on b4, might as well include the E on b3.5 as well.

Might seem like a lot but it's not that much honestly. You did a fantastic job translating this incredibly dense song to piano.

I relistened and I agree with libera now.


Piano Arrangements / Re: Link to the Past "File Select" first draft
« on: January 15, 2021, 02:07:10 AM »
As always, please don't forget to check these topics for formatting with finale notepad:

At first glance, it seems pretty accurate. There's one large issue though. There's no reason to tie the top note of each measure, as this song is intended to be played with the pedal, which would do that for you, essentially.

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