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Messages - Libera

Pages: [1] 2 3 ... 179
1
Projects / Re: Deciding the Next Special Update! (Summer 2023)
« on: August 09, 2023, 09:23:20 PM »
It is time to announce the results!  It was a pretty close contest this time.

The results...
5. NSM

4. Sports League

3. Nature

2. Keep Your Enemies Closer

and so our winner is, erupting out of a volcano...


1. Too Hot to Handle

[close]

Kricketune will be posting the project thread shortly.  Thank you to everyone who participated in nominations and voting!

2
Projects / Re: Deciding the Next Special Update! (Summer 2023)
« on: August 09, 2023, 09:04:06 PM »
Voting is now closed.  I will be announcing the results shortly...

3
Projects / Re: Deciding the Next Special Update! (Summer 2023)
« on: August 04, 2023, 08:58:43 PM »
Nominations are closed as of yesterday evening, and now the voting begins.

Voting will work in the same way it did for the previous projects (you can see the details of the method that we are using here).  To vote, you need to PM me (using the forum PM system is my preferred method) a ranked list of the options from most favourite to least favourite.  Here is an example vote message (themes made using my own blatantly recycled neural network).
Spoiler
<username>
1 - Music appearing in TV advertisements
2 - Music featuring Blathers from the Animal Crossing (tm) series
3 - Music that makes you regret arranging it
4 - Extremely powerful music
5 - Save music
[close]
In your vote you need to rank every option, with no ties allowed.  If you don't do this, your vote will not be counted.  Also, just like in previous times, arrangers (those with at least one sheet on-site) will have their votes count for double.

Here is the shortlist formed by the updaters (click the links for the relevant nominations/descriptions:

The Shortlist

-Nature
-NSM
-Too hot to handle
-Keep your enemies closer
-Sports league

You have exactly five days (120 hours from the time of this post) to send in your votes to me, after which I will announce the winner and open up submissions.  More details surrounding how the submissions will work will be given at that time, although it will mostly function similarly to how it has done in the past.



Hey, I reached out to several people on Discord yesterday about a late nomination, but got no response, so I'm posting it here in hopes it is still accepted:

For clarity, this was still considered.

4
Yeah that sounds good to me.  Files updated!

5
Sorry for the wait.  Thanks for all the discussion.

Mordents:

That's interesting that they're not actually written in but are in the echo channel.  Still, I think they have that effect when you listen to it so I'd prefer to have them in.  I didn't feel like the one in 9 was as noticeable as the others, but I'm happy to add it.

Graces:

I think I'd prefer to leave them as graces since, as Static said, they're not quite sixteenths.  I think you always run into this problem that the performer might misinterpret things, but I don't think it's a big deal here.  Most people would have listened to the original playing these old sheets anyway.

In m18, I'm not hearing the G being restruck on beat 3. It sounds like the Ab is an triplet 8th note.

Yes I think you're right.  It's a lot clearer in the echo-less clip you posted.  Fixed.



Files updated, thanks everyone!

6
Sorry for the long time to get back to everyone.  I really appreciate all of the feedback.  (Replies in-line to prevent this from being huge).

Not much to say really. Looks great!

- m21 RH beat 1: Melody should be D A here instead of B F#. Oops.
- m24: The crescendo is just barely grazing the top of that sharp. Fixed.
- m25 RH beat 1: The grace note sounds like a D to me, like it's restruck on that beat.  Yeah, I guess I don't really like how that sounds on piano so I just removed the grace entirely.
- m40 LH beat 3.5: I hear the guitar playing an F# there (in the staff). The B is played by a string voice so you could put that in the RH. Sure.

Thanks Static!

Nice work on this!! I agree with most of Static's comments
I agree with this suggestion, but I hear a B played by the guitar as well. I think what happens is that sometimes there are two guitar notes at once, like what I hear in measure 26 for example
I think I like how it is now with the F# at the bottom.

Other than that, here's what I got:
  • How did you hide the rests in the first eight measures and very last measure to the point where they are completely invisible past the "hidden" markings? I don't even see anything with the note shape tool, nor do I see any kind of blank notation staff style. Btw, the way you did the courtesy key signature was quite elegant Staff style.  I thought I was being clever, apparently not...
  • m. 8 beat 3 sounds like it's just a quarter note. If the low A on beat 3.5 is just that quiet, then I think it should have parentheses or something else to signify that it's softer in comparison. The only type of sound I hear is an unpitched string release or something like that Yeah I do hear an A on beat 3.5 but it is very different aurally to the others, so I added some parenthesis.
  • m. 10/17/18 were the beaming differences here compared to measures 9 or 11 intentional? Nope, fixed.  Also I fixed 33/34.
  • m. 22 RH I hear B->A instead of D->C# under the top notes Fixed.
  • m. 25 I'm unsure, but I'm hearing something like this with a tiny pinch of rubato. The G is softer in comparison, and the RH could play the first two eighth notes
    Hmm.  I feel like the effect of this bit is that the music is pausing.
     Sure, I can kind of hear something going on but its nowhere near as definite as what follows later and I'd prefer to leave it like that.
  • m. 26 LH beat 3 as what I notated in the first picture, I think this is a D instead of a B, but idk Sure.
  • m. 30 LH beat 2 sounds like a D instead of G I don't hear it.  Maybe you're hearing the melody D?
  • m. 30 LH beat 3 there's a low F playing throughout the measure and I think it would sound better if you put one on beat 3. You could just have the RH take the G at the top (with split stems or a bracket to notate it unless you want to leave it ambiguous) so that the LH wouldn't have to play a 9th interval I'm not sure the F is needed really.  There's an F in the RH so the harmony is all there, and I'd like to keep the LH consistent where possible.
  • m. 33 LH beat 2.5 I'm hearing B#->D# instead of G#->A# I still hear what I wrote.  Maybe you're hearing the melody? (or a doubling thereof?)
  • m. 35-38/43-46 maybe you could put arpeggio markings on beat 1 in all or some of these measures I don't really hear the arpeggiation that strongly to warrant writing it in here.
  • m. 35/36 I do hear a high D on beat 3, but I hear one an octave lower too and feel like that's more prominent sounding to me You're completely right.  I got the contour of the melody wrong.  I think it doesn't help that the melody is soft and there is a high D# going on throughout in the strings.  It is much easier to hear the correct contour in Falling Petals!
  • m. 35 I think this has an A# in it too I don't hear it.  I think the G#m7 chord is fine and I'm not sure how to even voice the A# in a way that isn't distracting.
  • m. 36 much less sure about this one, but there is like a hint of dissonance that might be an E# here as well Similar to the above.
  • m. 37 I think there's a D# in the first chord that you could replace the E in the RH with Yep, sounds good.
  • m. 38 RH it sounds like there's a low D# in the first chord too. Just an observation really, I don't expect you to add it unless it's arpeggiated Yeah I don't think it's necessary here.
  • m. 38 LH beat 3 I think the last two notes are an An and F# I think it's actually a repeated F# but I didn't like how the repetition sounds on piano so I picked another note from the same chord for beat 3.5.  I think I'd prefer to leave it like that so that you don't have the bare octave on beat 3.
  • m. 41 I think it's more important to at least partially finish the melody phrase instead of prioritizing the high strings here. Here's one suggestion, although if you don't like how the voices kind of blend together then that's okay too!
    I can see where you're coming from, but I personally think it's more important to have the whole of the string line going into bar 43 with the cresc.  I'm also not a huge fan of how the parts would then blend together in bar 41.  I agree it's not ideal, but this is the compromise that I think is best.
  • m. 43 I hear an A# here too just like in measure 35 As above.
  • m. 45 I think there's a C# in that chord too I'd prefer to keep this consistent with how 37 is now, so without the C#.

Thanks Zeila!  It's really nice to see you around here again.

  • m24: I think the B in the chord at beat 1 should, be an A, but I'm not sure. I do hear a string voice (A-G-A-B) on beats 2 and 3 which you could addd if you like I still hear the B and the A comes in on beat 1.5 so you still get the right sort of harmony almost immediately.  I'd prefer to leave it as-is.
  • m25: Alternatively to Zeila's suggestion, you could add just the low G on beat 2 (borrowed from a strings part) I like that.  You still get the pause, but it's a bit less empty.  I just put it in as part of the same LH line.
  • m27: I feel like you could let beat 3 stand out a bit more here, it has a more weighted feel in the original than in your sheet. Maybe a low F in the RH, or something to a similar effect? That was kind of the idea of how I wrote out the LH here.  Of course, the playback doesn't account for this.  But I don't see the harm in adding an extra F as well to help out, so sure.
  • I think I hear something along these lines for m41:
    I still hear what I wrote.
  • Quarter rests in the staff should have their bottom hook intersect a staff line, could you reposition the ones in m48 & m49? Sure.

Thanks Xiao!



Files updated!

7
Accepted.

8
Yeah OK if I transpose it up its a lot clearer.  Although that last interval still sounds like it's going up in 58 at the actual pitch and only sounds like its going down to me lowered.

Anyway, I'll accept.


9
I actually have surprisingly little for how long the piece is.  It all looks pretty good to me in general.

-I hear the last four sixteenths in bar 58 as E -> D -> C -> G (with the last interval going up rather than down).
-Cresc. starting in 73?
-I hear the bass going up at the end of 84/92, but I also see the value in what you wrote in.

Also I wasn't super happy with the left hand in m. 77-92, but after revisiting it a few times I didn't have any better ideas for this section. Feel free to suggest :P I think everything else here went rather well, surprisingly given the style of the original track.

Yeah, somehow the arrangement of the original here doesn't lend itself to piano that well.  I don't have any amazing ideas.  Maybe you could try to emphasise the percussion more and only move to the bass for the interesting bits?  But then it's not really clear what notes you should pick for the percussion notes....

I go back to my original statement of not having any amazing ideas.  What is there currently isn't awful, but I agree it doesn't feel amazing compared to the rest of the sheet.  Sorry not to be more useful.

10
Nice little sheet.  I've not heard any of this OST before, so I was a bit surprised with the direction the second half of the piece went in after the start.

-I hear a bend up to the Db on beat 2 of bar 4 from the C.  It's not in the other instances though.
-Is there any reason for the difference in notation between bar 5 and 13?  With how loose everything is I'm not sure it makes much difference and you might as well homogenise the notation, but maybe there's some reason I'm not seeing for distinguishing them.
-There's a kind of notable An in the second half of bar 30 going into the Bbm in bar 31.  Notable in the sense that that harmony doesn't appear anywhere else in the piece, so it might be nice to include.  But maybe it clashes too much with the Ab on piano so you left it out.
-Thoughts on putting the second melody line in 36-42 below the first one rather than above it?  Compared to the original it sounds a bit off jumping up the register so much, when it actually sounds a little darker than the main melody instrument (to me at least).
-Flip the slur on the grace note on beat 2 of bar 40?
-In bar 40-41 layer 1 I hear it as Eb -> F -> Eb rather than F -> Gb -> F.

13
Ok, it all looks good now to me.  Very happy to accept this one!

14
Looks pretty good, a few minor note comments from me:

• m16 LH hearing this a bit differently Agreed aside from the F at the end is still there.
• m24 RH beat Bb should be a D I'm pretty sure the lower string line drops to the Bb, so I didn't change this.
• m30 LH beat 4.5 I think this is an F (down 2 octaves from previous beat but might be better written as 1 down) The bass plays that yes but I've been dropping the bass notes in favour of the piano throughout, and the piano plays the C there as written.
• m35 LH beat 4.0 sounds like an Eb, 4.5 Eb but down 1 octaveSame as above for the Eb on beat 4, but I agree with the change to Eb on beat 4.5.
• m35 RH beat 4 the G almost sounds like an A is also there but I think it's better to keep the G as is as far as the progression goes Maybe both are present but I think it sounds a bit more consistent with the G going into the next bar, so I left this as-is.
• m39 LH beat 4.5 Eb sounds more prominent to me Again I think both are present and I prefer the Bb over the Eb since it fits better with the surrounding patterns and avoids the triple Eb at the end of the bar.

Thanks for checking!  Files updated (by Latios since I have no access to finale at the moment.  Thanks Latios!)

15
This looks great, will accept!

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