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Messages - Khunjund

#31
Quote from: Latios212 on July 18, 2021, 05:45:44 PMThis looks really nice! I just have a few rather small comments:
- Thoughts about tying something over between m. 6-7 so it's not just empty in the left hand? The way it's written right now doesn't readily imply that the chord/pedal is held over from the first system to the second. If you think it's not ambiguous though, it's fine.
- The last measure needs a click to respace (notes too close to the left barline)
- URL is missing the www

I get what you mean. My problem is that whatever I do here, I'd also have to do for the right hand in measures 17 and 20, for consistency. I thought about hiding the rest and making it a blank measure, but that wouldn't work for the right hand. Tying just the last note looks off to me, as would putting open ties or l.v. etc., which also seems redundant when I've already written con pedale. Ultimately I think leaving the rest there is the least bad option.

Fixed the URL and last measure.
#32
Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • Missing piano staff name

Please, please let me get away with this one. We don't even have arrangements for other instruments on the site anymore.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • You could add a double barline before measure 19

I don't think the shift in character is large enough to warrant this.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • m1 Fx should be an eighth note and the last D# isn't there

Done.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • m2 maybe you could add a B and A# as grace notes to lead into the G# of the following measure to vaguely emulate the minor pitch drop

Interesting idea, but I think I prefer it straight.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • m10 last two sixteenth notes sound like A#-B instead

Done.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • m19 flip the last sixteenth note group so the stems are down

Done.

Quote from: Zeila on July 04, 2021, 05:04:09 PM
  • m21/23/25/26 I think it would be better to include chords at the beginning of these measures instead of just putting arpeggios

I agree with Static that given the speed + pedal I don't think it's necessary.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • m5-6 LH: The 16th notes sound like B-C# to me.

Done.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • m9 LH: Fxs should be F#s.

Done.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • m10 LH beat 2.5: These 16th notes sound like E-F#, but it's hard to tell.

Perhaps that's another voice? I'm pretty sure I can hear the bass doubling the melody here.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • m10 LH beat 4.5: These 16th notes should be Fx-A#.

I'm inclined to agree with Zeila: sounds more like A#>B to me.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • The above also applies to m11-18.

Fixed it there as well.

Quote from: Static on July 16, 2021, 07:49:38 AM
  • Ecole Software should be listed as a developer as well. And if you want to get technical, technically only Sega published the original arcade release. Arc System Works published the games starting with Exe:Late iirc.

This is the copyright information I've seen on every site pertaining to the game (minus PS logo etc. belonging to Sony, and licenses), as well as the only title screen I've found. I know Wikipedia lists Ecole Software as a developer but I'm not sure what to do here. Under Night In-Birth wiki lists only "Ecole Software / French Bread" under "production/rights" in the credits of the first game so IDK.

Thanks for the feedback.
#34



Attention NSM visitors:

Fictional women.

That is all.
#36
Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- What do you think about restriking the LH on beat 5 of m2/4/6/etc. instead of tying it over from beat 4? The LH is providing a constant rhythmic driving force, so I think it feels a bit odd/empty when it suddenly doesn't restrike on those beats.

It's playable, but I find it tiring at that tempo, and I like the little variety the syncopation gives.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Beats 4.5 and 5.5 of m18 are also dyads and have notes under them. Did you omit these intentionally? I don't think they'd be particularly hard to play, since they're just eighth notes. (Same for m40)

I did away with those to make legatio by hand easier and to lighten the texture ever so slightly.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- In m21-22 RH, the bottom note should be Bb on beat 2 and Ab on beat 3.

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- On m22 RH beat 4, the G should be an octave lower.

I'm pretty sure it's at the octave where I have it.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- On m22 RH beat 4.5, the lower note should be a Bb instead of a A.

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- I'd consider removing the Eb on m22 RH beat 5.25. I think I hear where you're coming from—I hear an Eb an octave lower there, but it's faint and doesn't really sound coupled to the melody note as a dyad. To me, the melody note sounds like it's unharmonized, and I think not having the Eb in the sheet would reflect that better.

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- In m21-24 RH, the eighth notes off the beats are also dyads with notes under them. I think they're playable enough since there will be pedal usage during this section, but if you want to leave them out for playability, that's fine too.

I'd rather leave them out to avoid jumping around and make legato easier.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- The A's in m21/23 LH beats 4-6 should be G's.

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- The F's in m22/24 LH beats 1-3 should be G's.

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- On m21/m23 beat 6, I think it would make more sense for the Eb to be in the LH than in the RH, since the LH is in better position to play it and since it's part of the chromatic ascending line in the LH.

It kind of messes me up to play two notes with the left in the middle of the arpeggio pattern, and I think the fingering is kind of gauche (C-Eb dyad with 2-1, then bring 2 over to En?), whereas in the right hand the eighth note gives me time to move my hand down, and the left hand can continue its motion upwards more fluidly (2 on C, 1 on En, 2 on F).

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Really don't like how cramped m24 is... but it's also tricky to avoid. You could try splitting up m23 and m24, perhaps like so (although in this case, you end up with m23 as a one-measure system—this is just one possible example I came up with on the spot):
Image

[close]
At the least, if you don't change the distribution, I'd recommend at least making m24 a bit wider so that the accidentals aren't colliding so much with the notes.

Done. (By the way, you can limit the size of an image by typing [img width="#" height="#"][/img] like that, inside the tag.)

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Any particular reason the F in the RH is struck on m38 beat 4 instead of on m39 beat 1 like in the original?

To put emphasis on the syncopated D being held into the next bar.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Double barline at the end of m38 for the section change?

I don't usually use double bars unless there's a major shift in character. The double bar at the beginning of measure 25 is because of the key signature change (sheets I've seen usually have single bar line for time signature changes, and double bar line for key signature).

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- For m43-46, same feedback as m21-24.

I made the same modifications.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Ignoring the RH chords on beats 4.25 and 4.75, this is what I hear for m46 beats 4-5:
Image

[close]
However, given that LH beat 3.75 is also an Eb, the Bb on LH beat 4 seems fine to me, since restriking the Eb would be difficult.

I think my left hand is correct, here, but I changed the right-hand chords.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- I feel like the sheet should be mf from the beginning. Starting off at mp gives the wrong impression about this piece, IMO (makes the beginning seem softer/more lulled than it really is). That said, it also allows for the progression up to mf later on, so... up to you.

That's one of my issues with video game music: when it's all kind of the same dynamic throughout. When that's the case, I kind of try to exaggerate the mood, and while the beginning is also driving, it does feel like more of a lull comparatively to the rest of the piece to me. Also, I don't like starting a piece with mf (in the words of Alan Belkin: "You might as well just write nothing in that case. Think about it: if you give a sheet with no dynamic indication to someone, what's he going to play?").

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- Move the forte in m32 up to beat 4 of m31, since that's where the dyad strikes?

Done.

Quote from: mastersuperfan on June 17, 2021, 08:58:08 PM- You're already at forte in m32-37, and then in m38 you crescendo to... forte again in m39?

Yea, you crescendo throughout that measure towards the climax of the phrase (F-D dyad), then immediately fall back to regular forte. I shortened the hairpin to have it end on that note, instead of looking like it carries on to the next measure.

Thank you for the feedback.
#37
Help! / Re: I need help proof reading this melody?
June 17, 2021, 02:32:53 PM
The video you linked is private, so we can't access it.
#38
Request / Re: [PS3] Skullgirls- Multiple Requests
June 01, 2021, 03:52:27 PM
Mondo late, but here's my arrangement of In a Moment's Time, for voice and piano, in the off chance you're still interested.

https://www.dropbox.com/s/xg3qgtrissyrcj4/In%20a%20Moment%27s%20Time%20%28Voice%29.pdf?dl=0

I'm having issues with the solo piano arrangement, but it should be out within a few weeks at most (and I'll actually be able to submit it to the site.)
#39
Quote from: Latios212 on May 31, 2021, 12:23:31 PM
  • Any particular reason for not using dotted quarter notes in m. 11/13/15/17 beat 1?

IDK I just thought it looked better that way.

Quote from: Latios212 on May 31, 2021, 12:23:31 PM
  • Thoughts about maybe removing the lower notes on the ascending dyads in m. 21 and 25? Those seem far more difficult to play than anything else on the sheet

I thought about it, yea (that's already kind of what I did with the last two 16ths in measure 21, where it got too hard for me LOL), but I figured it's pretty easy to just leave out the bottom notes when play it yourself.

Everything else has been changed.
#40
Quote from: Dekkadeci on May 21, 2021, 08:19:21 AMThe rhythm of the Bar 1 run actually doesn't sound like it's 100% there - I actually hear a 16th-note triplet of D#-C-B in the original on Beat 4 instead of your D#-C.

Maybe it's because of the distortion or drums, because I listened at 0.5 playback speed I'm pretty sure the electric guitar only has straight sixteenths.

Quote from: Dekkadeci on May 21, 2021, 08:19:21 AMThe 16th-note drumming pattern sounds like it goes through the entirety of Bar 14 in the original, to the point that your left-hand accompaniment sounds off.

The drums have the same rhythm as in measure 19, etc. The only constant 16ths are in the synth pads, which I've left out completely. Anyway, the way I see it, it's not any worse than beat 4 of measures 12, 16, or 18. I'm not sure what you'd like me to do here.

Quote from: Dekkadeci on May 21, 2021, 08:19:21 AMI appreciate your efforts to transcribe the original's busy whirring accompaniment with red notes (at least they're red in Finale), but the crunch between C and B in Bar 25 sounds too dissonant to match the original.

Yes, i agree that the dissonance is more pronounced than the original; however, personally I am fine with that. I'll consider it some more.

Everything else has been changed (plus some tweaks to the rhythm in measure 22).
#41
Quote from: Static on March 21, 2021, 11:10:58 AM
  • Wow you didn't even transcribe the intro (you don't have to)
  • You could add those extra 16th notes from the other voice in m10 RH beat 4 and similar spots - those notes in particular stick out to me in the original track, but of course make that lick a bit harder to play.
  • There's some more stuff going on in m20/24/42/46 RH beat 1.
  • For the game title, I also agree that it should be spelled "Touhou" because it is the most common spelling for this particular game (other times I would disagree, like Ōkami for example). But in this case, most people call it Touhou, including the officially-published spin-off game localizations on PS4/PC (such as Genso Rondo).
  • The composer name could go either way. I often see on here people putting nicknames in quotes (like Daisuke "Pixel" Amaya), but we don't always do that. In my opinion, ZUN or Jun'ya Ota are both acceptable, but I have a preference for ZUN so that it matches the rest of the sheets on site.

Great arrangement

As WaluigiTime64 pointed out, I feel like this arrangement is already kind of stretching what's playable, so I'm a bit reluctant to add even more 16th notes, and to make the runs I've simplified with quintuplets go on for an extra octave like in the original, etc. I hope that's alright.

I've addressed the other issues.
#43
Quote from: BlueKirby on February 10, 2021, 04:45:48 PMok so i'm not very qualified for this stuff but it should be "Touhou" as that's how it is on site, and "ZUN" to be consistent because that's what he refers to himself as. also i was told that it was "3/4, 3/4, 3/4, 2/4" but i'm not very well-versed in that stuff so you might also be correct.

Tōhō is proper Hepburn romanization (the most widely used standard) and Touhou isn't conform with any official system. It's so-called wāpuro rōmaji, used for converting text to kana using an input editor, and for ASCII compatibility. I would much prefer sticking to an official romanization scheme.

I'm not a fan of using nicknames or pseudonyms on sheets (I think it looks kind of unprofessional), so if I could keep the name as-is, I'd like that too.

As for the 6/4+5/4, I like it because of readability, and it happens to divide the phrases into neat blocks of 8 measures. (It lets me show off my Finale formatting skills as well.)
#44



I don't know what's going on with the "quot" parts in the title. Tried reuploading, but it didn't fix it apparently.