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Messages - Static

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1
Projects / Re: Static's Replacements
« on: Today at 07:37:22 AM »
I've went through all my old sheets above and updated the formatting, made some different arranging choices, https, the works.
For Battle on the Big Bridge, my new edits in addition to the older ones make it more of my arrangement than the original, so I've made it a challenge replacement instead of an edit replacement.

New sheets will come soon...

2
Projects / Re: Replacements Update
« on: May 31, 2020, 03:08:53 AM »
I will be finishing up the Super Mario Kart OST, except for Koopa Beach (if I recall, Nine Lives has an arrangement of it). I'll also be doing basically as much of the FFI through VI soundtracks as I can get to. I might do some other stuff, but this is what I'll focus on.

3
At least I got the filenames right lol. Should be fixed now.

4
Projects / Static's Replacements
« on: May 31, 2020, 02:01:39 AM »
This post is a replacement of Static.

Animal Crossing - Sonny & Don Resetti*[MID] [MUS] [MUSX] [PDF] [Original]
Final Fantasy IV - Battle with the Four Fiends[MID] [MUS] [MUSX] [PDF] [Original]
Final Fantasy IV - The Final Battle[MID] [MUS] [MUSX] [PDF] [Original]
Final Fantasy V - Battle at the Big Bridge[MID] [MUS] [MUSX] [PDF] [Original]
Final Fantasy V - The Final Battle[MID] [MUS] [MUSX] [PDF] [Original]
Final Fantasy VI - Battle to the Death [MID] [MUS] [MUSX] [PDF] [Original]
Super Mario Kart - Choose Your Driver[MID] [MUS] [MUSX] [PDF] [Original]
Super Paper Mario - Flipside[MID] [MUS] [MUSX] [PDF] [Original]
Pikmin - The Forest Navel[MID] [MUS] [MUSX] [PDF] [Original]
Pikmin - The Forest of Hope[MID] [MUS] [MUSX] [PDF] [Original]

*This is a replacement of both this and that sheet, with more accurate rhythms, pitch, and added optional percussion parts, as well as including Don's theme. The Resetti themes used in City Folk and New Leaf are identical to the GCN versions (basically we have 2 duplicate sheets).

Much more to come soon...

5
- m5: I hear what you have on beat 2, but the G# on beat 2.75 I actually hear tied to beat 3 (the rest of beat 3 I hear exactly as I had it before).
- m12: I still hear the harmony here, added the other notes though.
- m22-24: I hear all these notes but they sound like they're from a synth part, and not the piano part I was transcribing. I'd like to just include the piano part so the 2nd layer is consistent, but I wouldn't be completely against adding these extra notes in if you think they really should be added.
- m25: I don't hear the D# on beat 1.5 at all, at least not in the piano part.
- m26: I hear what you have in that image, but with the A# and D# swapped. I also hear the E on beat 1.5 as 2 16th notes now.
- m27: I don't hear this at all, but I do hear an E below the A# on beat 1.75 so I added that.
- m29: I hear the D# an octave up now (on beat 2.5), but the octave drop I think is only in one of the synth parts, so I just left it as an 8th note. The 3rd above on beat 3.75 is there, but it's also not the piano part so I didn't include it. However, I do hear a B below the G# on beat 4.5.
- m30: I definitely hear the A# on beat 1, added the D# though.
-m33: the notes should be G#-A#-B - all a full step lower than they are now
- Fixed (I assumed you meant m32)
- m35: I very clearly hear it has G# and A#, not B.
- m44: I hear the 2 16ths you added as D#s, and the tied 16ths as an F#, and the beat 2.5 as a A#-E dyad (which is also completely different to what I had originally)
- m69-70: I hear what you said for m5-6 plus what I said above, so I just changed it to that.

Everything else has been changed accordingly. Thanks for checking!

6
yes finish sophisticated fight alreadyplease don't give measure numbers after you add measures
Oh yeah, I'll keep that in mind in the future.

I took the liberty of making the intro fermatas instead of two measures because that seems more in like with how someone would play it and not because 2 measures completely ruined my measure spacing
Fair enough lol

Looks nice.

7
But it's not a continuation? The part before it still has the lift at the 8th rest like m17 onward.
Ah yeah, my mistake. Everything looks good, so I'll go ahead and approve.

8
Just copying this over from your solo version:
  • You might want to make the 16th note triplet just grace notes instead, up to you though.
  • I'm not hearing any of the 16th note things in the bassline, even slowed down or an octave higher. It just sounds like a touch of vibrato on the note (which most of the notes have anyway). I would just leave them all as quarter note As.
  • m43 and similar: I would make the third 8th note just a staccato quarter note. When playing, it'll sound the same, but it makes it a bit easier to read and a bit less cluttered.
  • m43-50 LH: Sounds like there should be a C between the two Fs.
  • Copyright year should technically be 1995 since that is when this tune was written.

OK, new stuff:
  • Since there are two LH parts, you should specify that it's the Secondo LH you want lowered.
  • You might as well move those staccato notes in Primo m20 and 36 to the RH, since nothing else is going on there. It just gives the hand something to do and lets the LH stay in the same position for the whole melody.
  • Secondo RH m24-28: I'm hearing something completely different here... Beats 3-4 of m24 should be C and Bb (quarter notes). Beat 1.5 of m25 should be a C. m26 should look like m25 but with Bbs instead of Cs.

9
OK now it's time to look at the actual music part of the music:
  • For that triplet in m4, I would unhide the 8th rest so it's clear where the triplet is in relation to the other notes. Or, alternatively, just make it grace notes.
  • m8, 12 RH: Maybe add the trumpet thing in? It might take some messing around but right now those measures (along with m7 and 11) sound kinda empty compared to the original. Maybe even just adding harmonies to those single notes would help fill it out some more.
  • I'm not hearing any of the 16th note things in the bassline, even slowed down or an octave higher. It just sounds like a touch of vibrato on the note (which most of the notes have anyway). I would just leave them all as quarter note As.
  • m43 and similar: I would make the third 8th note just a staccato quarter note. When playing, it'll sound the same, but it makes it a bit easier to read and a bit less cluttered.
  • m43-50 LH: Sounds like there should be a C between the two Fs.
  • Copyright year should technically be 1995 since that is when this tune was written.
  • Given that there's a lot of space available, I would probably make it 5 measures per system (hey look at that it's exactly 50 measures too). This also lets you fit everything pretty comfortably on 2 pages.

10
Submissions / Re: [A2600] Pizza Chef - "Main Theme" by Jacopo Tore
« on: May 23, 2020, 03:22:24 AM »
This video more clearly shows the entire piece (just ignore the talking...). Starts at 0:12.

  • The order of the phrases is incorrect (the loop starts and ends in the wrong place in the sheet). You can hear in the video above that it starts on m7, and ends at m6. The bottom 2 measures should be moved to the top. This also makes more sense melodically when thinking about the overall melodic contour and the implied harmonies and cadences underneath.
  • If you would like, you can just have a note saying "sempre 8va" so you don't have the line across the entire sheet.
  • Measure numbers are based on the current sheet:
    • m8: F natural should be F#.
    • All D naturals should be D#.
  • The copyright info should have Bit Corporation in addition to Zimag, since they developed the game. The copyright year is 1983.
  • Norio Nakagata is an old Namco arcade composer; I haven't found any info on him composing for this game, and honestly I really doubt he did, considering the developers were based in Taiwan, not Japan. I think it would be more appropriate to just have "Composed by Bit Corporation".
Congratulations on submitting the first Atari sheet to the site! I can't believe we've gone 16 years without one...

11
  • Watch out - the rhythms in m10 and 14 are different than in m12 and 16.
  • m12, 16 RH: Beat 1 should be beamed together.
  • m30, 46 RH: Beat 4 should be beamed together.
  • m31-32, 47-48 LH: I would make the 8th notes on beat 1 and 3 a C natural and B natural, respectively (both below the staff). What makes these chords sound distinctive in the original is that the 3rd of the chord is in the bass (as well as in a middle voice).
  • m47: To indicate the pedal markings a continuation of the implied ones from before, I would start the line just as a straight line without the bracket, or start at the ^ before it.

12
Nice to see a Legend of Heroes sheet! Also this reminds me I still have to finish Sophisticated Fight
  • I would include the intro, even if it's just octave C#s in the bass. It's still part of the track.
  • m9 RH beat 2: The G#s should be G naturals.
  • m18 RH beat 3-4: The C naturals should be B#s and the Ebs should be D#s (G#7b9 chord).
  • m19-25 RH: The lower harmony sounds like it should be a 6th below the melody, not a 3rd.
  • m34 LH sounds a bit more complex than you've written it. If you intentionally simplified it there, that's fine, but I wanted to point it out anyway.
Cool sheet.

13
Panel de Pon is technically a different game (Tetris Attack is a reskin a la SMB2). To be honest, I kinda prefer Panel de Pon because it's not part of the Tetris series and Lip isn't even in Tetris Attack (from what I remember at least). In every Smash game this song appears in, it is also only attributed to Panel de Pon.

...With that said, the game and track title you have are fine for the site since I know American titles are preferred here. Maybe you could add Panel de Pon in the game title in parentheses or something (to mirror the track title) if you want, but up to you.

14
  • The melody at the beginning is articulated pretty distinctly in the original; some notes are slurred, some are staccato.
  • You can probably throw some of those squiggly lines on a lot of the chords to simulate the plucking effect of the guitar and ukulele.
  • In the section starting at m8, the third note (beat 2) in a lot of measures should be staccato, and the lowest note should be held. I would put the bassline as a separate layer and have the notes held out for full length (this can be played using the pedal).
  • m16, 18 RH: The staccato markings should be aligned with the center of the notehead, not the stem.
  • m16 RH beat 2: You might want to check the notes you have for that 2nd layer part there. I'm hearing the first dyad as D-C and the 2nd one as C-G.
  • m20: You can hide the quarter and half rest if you want, since nothing is there in the lower layer.
  • m20 and 23 RH could use some more articulations in the melody as well.
  • All grace notes should have slurs connecting them to the main note.
  • I know the title theme is called "Welcome Horizons", but it shares that name with one of the new K.K. songs. In case that one ever gets arranged, the titles should be distinct somehow. I'd recommend "Welcome Horizons (Main Theme)" or something similar.

15
Help! / Re: What do the bars by the songs mean?
« on: May 22, 2020, 07:41:25 PM »
Yep, that's exactly right. Blue/completely filled means it's very popular, empty means it isn't.

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