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Messages - Bloop

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oh oops i missed that completely
Don't think that one needs replacing though. Nice to see a different approach to the same song! Will probably delete this submission and place a new one then.

Nice work!
I'd change the time signature and tempo marking to cut time and half note = 112. It feels really weird to count the tempo in 4 beats, but way more natural in 2.
You also missed some grace notes in a few places, and some staccato markings are missing or are incorrect. Take another listen to the original and see what places you can fix.

m. 40 and 44: Change the Ab in the L.H. into a G#, like you did in m. 36. The same problem occurs later on in the score too.
m. 51-82: Change all the L.H. Eb's into D#'s and G's into Fx's. That will save some accidental markings.
m. 80-85: I think one mf marking should be sufficient
m. 105: You missed a tie here on the low Eb
m. 116: Change the L.H. C# and G# into Db and Ab
m. 118 and beyond: In the original, there's a little F bass note and a small grace note piano thingy from D# to F after this F7/C chord.

Almost! This is what I meant in m. 16-18:

And one last thing: you could change the time signature from 4/4 to cut time (). The song is a bossa nova, which is one of the most famous music styles in alla breve feel.

@Mastersuperfan I actually did put in the chimes, although a bit sneaky: they're in m. 43-52.

Also, the flow and lack of downbeat in my piece was intended. I wanted it to just flow like a waterfall, as a big inspiration of this piece was Isle of the Dead and the wavy sound of that piece. Because something has complex time signatures, it doesn't have to be rhythmically easy of clear to listen to: take Stravinsky's Rite of Spring as example.

As for the mixed time signatures @EGadd: composers use these so they won't have to change time signatures every time. The way I interpret them is: until the next time signature change, these bars contain 5/8, 7/8, and 6/8 bars.
A compound time signature is a time signature that has dotted notes as beats, like 6/8, 9/8, 12/16, etc.

Last chord in m. 18 is also a Bm7 and needs F# instead of Gb. (Though that looks a bit weird coming in from a Gb...)
That's why I suggested adding a courtesy accidental on that note.

As for a more detailed explanation of my Gb's: basically what's happening harmonically in m. 17-19 is A9 - Ab9 - Gmaj9. The notes of these chords are a - c# - e - g - b, ab - c - eb - gb - bb, g - b - d - f# - a
That's why I suggested changing the f#'s to gb's and adding a courtesy sharp on the last f#, so that chord won't be misread as G9 (with an f instead of an f#)

Looks pretty alright to me! I'd change all the Gb's and Bbb's in the bass part into F#'s and An's, for better readability. Also, you could put the bass and chord parts in the L.H. in bars like m. 10 and m. 12 into seperate layers, to make a clear visual distinction between the two.

Nice work! Just a few things about the fingering:
m. 1: I don't think it's necessary to specify how you should play the first 4 notes: I think every player would start on the thumb.
Also, I'd recommend changing the last two fingers to 4 2 (instead of 3 1). That way, the hand is already in the right position for the sus4 chord after it.
m. 6: Again, I don't think a fingering is needed here. The pianist will probably do this by themselves.
m. 8: Because you specified the 4 before, it's not necessary to point it out in this bar too. Also, the 5 isn't that useful either, because the pianist will have to actively move their finger without need (and it feels cramped to me).
m. 9: I'd recommend adding a 3 on the first C# in the R.H. here (and maybe a 5 on the first A as a starting position), because this part is actually a bit harder to grasp.

Also, there's a slight rhythmic notation error in m. 17, and the slur in m. 35 isn't connected to the last E octave like in all other similar bars.

maybe i'm gonna rise from the dead for sheet fixing

m. 12, L.H.: E#'s should be F naturals (F11 chord)
m. 14, L.H.: Bb should be A# (A#dim chord in R.H.)
m. 18 + upbeat in 17, R.H.: I think I'd rather see Gb's here than F#'s (Ab9 chord), and maybe add a courtesy accidental on the last F# on the Bm7 chord
m. 21-29, R.H.: See if you can lower some of those floating eighth rests
m. 28, L.H.: I think it makes more sense to write an Eb here instead of a D#

Also, if you want to have the L.H. played an octave lower, maybe start on m. 5 instead of m. 1, because the treble clef part in the L.H. should be played on its normal octave.
I'm doubting however if the L.H. should be played an octave lower at all, I think it could sound better in its written octave right now. Else there is a big gap between the R.H. and L.H. which may sound a bit empty.

Hey, Bloop: Would your entry happen to be inspired by Rachmaninoff's Isle of the Dead? I'm just wondering because of the ostinato and time signature you used, and also because that was one of my inspirations.
It is, yes! That piece was my main inspiration for my entry; the viola also plays the ostinato from that piece in like three bars or so.

Apparently you can only choose that option after entering how long the poll will run.

The judges don't have to judge the entries before the popular vote poll right? That's just unnecessarily delaying the results.

oops forgot fixed

Signing up too, with Waterfall from Undertale

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