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#16
Quote from: Kricketune54 on March 15, 2024, 08:30:14 PMGot it. Is it that much to jump down for m2? Not because of an error or anything just would think since there's two beats of rests the LH shouldn't be a challenge for moving from the tremolos
Not as it is right now, but if I wanted to add in the higher voice I would either lose a few notes in the process which doesn't sound right, or I would need to add the L.H. to the tremolos in beat 5-6 which then would make the jump down harder.

I pitched up and still hearing as I had heard, but I am fine with the phrasing as is in this case.
Ah good point.

Quote from: Kricketune54 on March 15, 2024, 08:30:14 PM• Relistened, slowed down and played with pitching up octave, I think for m6-9 RH beat 2-3 are a half note as opposed to two quarters. I think the same half note instead of two quarters also applies for m14-17 as well (for both layers).
Huh, I never noticed, but you're right! I shared it with my bf and he was like "wait excuse me" lol.

Quote from: Kricketune54 on March 15, 2024, 08:30:14 PMAlthough it is a performance, I would submit this as evidence, as it is performed by the composer.
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Ah yes, I actually remember watching this to see if the conductor would count it in 2+2+2 or in 3+3, and I think that's where I decided on 2+2+2 before. Anyway with my current beaming I think it doesn't really matter anymore haha. At 1:21 is also a clearer Ab on beat 5 in m27 btw ^^


Quote from: Kricketune54 on March 15, 2024, 08:30:14 PM• m18 and m20 RH it sounds like there is no Dn on beat 6
Ah yeah, I can kinda hear it on m20 but it's pretty faint compared to the others, so I kept them out! Tbh I'm guessing that might be the player's fault on the in-game recording, since it is there in later iterations and in the live version, but oh well :p


Fixed the tremolos too, files are updated!
#17
That works for me, I'll accept!
#18
Quote from: LeviR.star on March 13, 2024, 01:42:01 PM- I'd like to keep it as-is, if that's ok with you
It's alright to keep it as "Performer's note", but still make sure to put the box inside the margins instead of outside

Quote from: LeviR.star on March 13, 2024, 01:42:01 PMNow that the sheet is in a new key, could you please re-check the accidental spelling in the LH as well as the last four measures? I'm updating the files for now.
-m5: C# could be Db too (as that makes sense in the F minor-ish context)
-m13: C# should be Db (b9 in C7b9)
-m14: F# should be Gb (b9 in F7b9)
-m22: C#'s (both hands) should be Db's too (resolving to the C in Fm once it repeats)

That should be all though ^^
#19
Awesome, then I'll accept!
#20
Quote from: Kricketune54 on March 11, 2024, 08:54:09 PMThis goes pretty hard, feels like I need to go chop wood or run around in the forests of Eastern Europe
the ladies like to chop things yes, but not wood:
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Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• There is no tempo mark on this sheet. Without it I'm also not really sure I understand why 3/2 was chosen over 6/4. It seems like the beat is much easier to follow in 6/4?
Yeah I had a hard time figuring out if I preferred it in 3+3 or 2+2+2, and chose 2+2+2 at first. It sounds like it just switches between those two or does both at the same time. Now I got the idea of just keeping it mostly vague and not beaming 8ths in 6+6 or 4+4+4, but just 2+2+2+2+2+2, that solves that issue hahaha.

Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• Credit should be to CD Projekt Red, and for year 2015
woops looks like i totally forgot to check the copyright, my bad

Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• for the 2nd RH tremolo in m1, I think I'm hearing F#/En instead of Dn.
I didn't notice the higher choir voice at first, but I think I'd rather keep it as is to imitate the slow rising effect and still have time for the L.H. to jump down to the low G in m2.

Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• m27 LH it sounds like the Ab comes in an 8th note beat earlier than in the original, though seems like that screws up your upper LH layer. LMK if intentional phrasing
I think I still hear it as I currently have? But I also arranged the bass notes to imitate the percussion hits, so I'm going to call it intentional phrasing haha.

Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• m35 RH you could add a Cn grace note on beat 1 (to the upper Dn)
Ah yeah, same thing on beat 4!

Quote from: Kricketune54 on March 11, 2024, 08:54:09 PM• m35 LH I guess depending on time sig decision could end up getting rid of top layer LH 8th rest (the second one)
I think I'd rather keep it to fill up the beat, since it's on beat 2.5

Reuploaded the files, thanks for taking a look!
#21
Quote from: Latios212 on March 11, 2024, 05:47:15 PM- m. 10 - any reason why the LH beat 1 is written out with explicit 16ths and the rest in tremolos?
This is to indicate that the tremolo afterwards isn't an unmeasured tremolo, but a measured tremolo in 16ths. I've usually seen this in some classical sheet music (like this one)

Quote from: Latios212 on March 11, 2024, 05:47:15 PM- I'm not too sure about a few chords in the m. 41+ section - do you hear a B in the RH of m. 41/45/49/53?
I don't think so no?

Quote from: Latios212 on March 11, 2024, 05:47:15 PM- m. 50 - I hear the beat 2 small note as a C# instead of G#?
Ah yep, you're right, same in m42!

Files are reuploaded, thanks for taking a look!
#22
Awesome! I made some edits and reuploaded the files (fixed some formatting things too), so I'm ready to accept!
#23
Looking pretty good! Mostly just some elaborate maybe's:
-Maybe you recould rewrite "Performer's Note" to "Performance Note" instead? It's what we use in the formatting guidelines at least. Also, the text box for the performance note is currently outside the margins
-m1: I hear a C instead of a Db in the 5th note of the second and fourth set of 32nds (the last note of the R.H. parts)
-m2 and 3: Maybe you could use 3/2 and 2/2 as time signatures, since you're counting the beats in half notes?
-Maybe as for key signature, I think Gm would make a little bit more sense? The piece doesn't really like to stay in Fm for too long, but there are some cadences in Gm that do seem to stay in key (Aø - Eb7 - D+ - D - Gm in m7-11, as well as the II-V-I back to Gm in m17-19). I don't think you'll have to respell much, it mostly will just get rid of some naturals but might add a few Ab's. The only respellings you could consider are the Db to C# in m8 (the Eb7 acts as an augmented 6th chord here, a chord type I had never heard before college), and the F#'s-Db's in m19 to Gb's and Eb's (as the descend towards F's and Dn's afterwards). This last one you could do even if you keep the key signature in Fm.
-I don't think the courtesy accidentals in the R.H. in m5 and 14 are necessarily needed: all the chromatic runs make it pretty easy to see which note you'll be ascending too, and the notes are in a new system, which resets the accidentals a bit more too.
#24
Awesome, then I'll accept!
#25
Alrighty, then I'll accept!
#26
Looking pretty good! Mostly some playability things I noticed:
-m9: You could move the R.H. E on beat 2.5 down an octave (like in the original) and put it in the L.H.: the L.H. can easily get there, the R.H. part becomes a bit easier to play and it brings out the melody voice a bit more.
-m19-20: You could actually put the 16th note part of the L.H. in the R.H. instead, I personally find that a bit easier to play and you'll be able to have some space for the L.H. to take a break from the 16th workout. If you wanna keep it in the L.H. though, that's fine too ^^
-m21: The Bb-C 9th on beat 3.5 in the L.H. is quite hard to reach for me in this context. There isn't really a good way to work around that though, so maybe you could just put one of the two notes in parentheses (probably the Bb)?
-m34: It sounds like the L.H. part also plays the triplet + quarter note in beat 2-3, instead of just holding a half note.
#27
Looking good! Maybe you could write the L.H. in treble clef instead of bass clef, since it's all in ledger line territory?
#28
Looking pretty good, just two tiny things I noticed!
-m6 and 14: I don't really hear the lower R.H. notes in beats 3-4.5 (the C, E and D), and they're quite hard to get to after coming from beat 2.5 too. Maybe you could leave those out? You could then also add accents if you want those notes to come out a bit more
-m18: You could also write the tied L.H. G's in beat 3.5 and 4 as a dotted quarter note, if you prefer that
#29
Quote from: Kricketune54 on March 06, 2024, 07:23:43 AM• m2 and m18 RH beat 1.0 might've said this before but staccato dotted 8th notes are not typically used, as they are a bit ambiguous as far as length goes. Usually, these are written as staccato 8th, followed by a 16th rest or an 8th note without a staccato and a 16th rest
Quote from: Fernman on March 06, 2024, 07:50:16 PMI don't have a musical reason to disagree with this, however I like the fact that it makes the music cleaner by having less stuff on the page. a dotted 8th and 16th are very recognizable compared to having a space in between.
For my personal take btw, I also use dotted 8ths with staccatos. My thinking is that staccato doesn't necessarily mean "50% of the note value", but rather "play this note short/detached". Also, the difference between a 32nd note in length won't make that much of a difference at this tempo. tl;dr it's fine as is ^^
#30
Quote from: cacabish on March 06, 2024, 12:06:28 PMOut of curiosity, is there is a specific reason to spell it all out (other than just being less terse and more explicit)? I've seen a couple pieces of music where it's just "al niente" as the conclusion.
It personally felt a bit weird to have something stated as "moderately strong to nothing". You can probably assume it means to decrease in intensity, but it feels more logical to have it specifically written out. It's also one of the two things that Behind Bars recommends, the other being a hairpin with a circle at its end, but with the recommendation to specify the meaning of the circle if it happens more often.

Anyway, I'll approve!