Messages

Cool, thanks for that, all changes made per above

Here's one I've looked at before!  Admittedly though it was quite a while ago and I'll be giving it a much more experienced/in-depth look this time.  Still, I'm glad to see you've implemented some of my suggestions from before and a lot of the rhythms are easier on the eyes now.  (Also wow that was just barely over a year ago now...)

Oh yay! I'm glad it's familiar for you. Your original suggestions definitely helped.

I've replied to some feedback points below with my queries (all other points have been updated):

-The rhythms are correct but I'm hearing different pitches for a lot of what's going on in bars 19-35.  For example, here's what I hear for 19-20:

Spoiler

You cannot view this attachment.

[close]

and I think it continues along the same lines further on.  I think your G# C# pattern is a mixing of the two layers, like this:

Spoiler

You cannot view this attachment.

[close]

At least that's what I'm assuming happened, unless I'm hearing things wrong or something else.  (Excuse the terrible picture.)  With that knowledge, you might want to rework bits of this whole section (19-35) to account for it.  Although in some places it's likely to be awkward to have it completely verbatim.  Either way, I'll let you decide what you want to do there but if you need help/ more suggestions I can give that.

I agree with the change to the RH, however I'm still hearing the G# C# pattern in the LH, weird! Perhaps my headphones aren't picking up some of the quieter sound layers? I can't for the life of me hear those F's and A's that you have included in the LH.

-It's a little jarring to not have the melodic line in bar 28 resolve onto a D#.  It might be worth writing out those repeats (25-29) explicitly so that you can put in the resolution (you could also add it in for bar 25 with a '2nd time only' notice, but I can imagine that looking very cluttering with everything else going on there.
-Similarly you could also write 31-35 out explicitly, with melodic line in 34 resolving onto a lower F, but since 31 starts with an F in the bass anyway perhaps its not so bad.

Makes sense, I've expanded both of these sections to remove all repeat signs.

-I think before you haven't used parenthesis for notes like the G on beat 2.5 in bar 14.  Just thought I'd point it out in case you didn't want it there.

I think this was a more recent addition, should be fine to leave as is I guess?

Your efforts did not go to waste!  I actually really like this sheet and I'm very happy that you took the time to write out such a strange piece.  It's much easier for me to get an idea of what's going on here now that you've done all the hard work.

Thanks, I'm happy to hear that! The sheet wouldn't be where it is now without your help. *high-five*

Let me know if you need files of the 1st version of the sheet to review changes made.

Hiii, thanks for the feedback and bump, sorry for the wait. >.<

Might I suggest turning the 16th-note pairs in the LH from m5 onwards into just single 8th notes? The 16th notes feel unpianistic and hard to play, and listening to the original, they're very easily heard as just 8th notes.

Yep, agreed!

In m3, there are some A's that are missing directly on each beat (not the A's you have between each beat). The way I hear the melody is A-C-A-D-A-D#-A-E (with the A being higher than the other notes)—you have the C, D, D#, and E, but not the A's.

Hopefully I understood this correctly. I've moved the A's in the RH to be on the beat rather than off beat (this is what I'm hearing in the original).

Is it necessary to use staccatissimos for the entire melody? It looks kind of unnatural, and I feel like the meaning of playing the note shorter than a normal staccato is lost when they're used so much.

I see what you mean, I think my aim was to get across a sharper staccato for the melody, with a more relaxed staccato being from m21 onwards. Anyway, I'm happy to change this to normal staccatos if the current notation isn't appropriate.

It feels awkward to jump directly from the descending pattern at the end (which should resolve to the low A) back to the high notes in the beginning, not to mention that it's probably a difficult jump for the hand. I would suggest substituting one of the notes on m1 beat 1 for the low A in subsequent loops (you could notate the note directly with m1 with a written note or add another measure before the repeat).

Agreed, I have added two additional measures to the end which now loop back to m3 instead.

Awesome collection, thanks for sharing

This would be a wonderful sheet to see completed! Unfortunately I can't accept this request at the moment, but if anyone else wants to have a go, here's the link to a great piano cover that may help.

[Oreburgh Gate - Onionleaf]

Oreburgh Gate - Onionleaf
This is an interesting piece...

• The 6/4 bar at the beginning should be only around 4 beats long. Yep, the note is 4 beats long, with the other 2 beats being in the very last measure of the piece. I hope that's appropriate?
• m17 LH: There is a pickup to m18 in the melody line here on beat 3 (E naturals); also, the Dxs in this measure should be E naturals.
• m26-33: The G naturals should all be Fxs. In m33 LH, the D natural in the melody should be a Cx, and like in m17, there is an E natural quarter note on beat 3.
• m45, 49 RH: Some of the accidentals in these measures are bit too close to notes and other markings.

Hi Static, sorry for the delay, I've made all the changes with just one query added in blue above.

I can have another look at this sheet sometime next week if that will help? It's been a while since I've edited it, so may be worth for me to do an extra self-review.

Link to file

Hiya, sorry for the late reply. Those are some good changes To answer your queries:

• Why not write all notes as eighths starting from m. 19, including those chords? Actually, I think the 2nd and 3rd chords in all other measures can also be written as eighths, as this is how the accordion plays them (with breaks in between).
• That's a fair point about the repetition, I didn't notice that the second repeat also includes the eighths. I suppose one option would be to include these additional notes on page 1 but to make them smaller and add a narration to only play them on the repeat. Hopefully this won't clutter the page - if the notes start looking too cramped, I'd suggest to increase the width of all measures.

This would be a great piece to see completed, I'll definitely be printing this one off once it's done. Let me know if you'd like some further feedback on this and I can have a closer look at the notes.

Merci beaucoup

Tried my best with this one, hope you'll enjoy reviewing.

Woohoo, what an achievement! Congratulations, and huge thanks to everyone who has contributed to the site so far!

Cool, should be tidied up now!

Also, I just realised that this is by the guy who did the Dark Souls soundtrack, which I was pretty surprised by!

I did not know this, nice find! This composer is one of my favourites, so I'll be sure to listen to this soundtrack. ^^

What a sweet piece to arrange, it does look like it's fun to play. Just thought I'd drop by to help with a couple of your queries:

• I think it would be worth including the change in accompaniment that occurs in the second repeat. Removing the repeats, adding more measures, copying over the right hand melody and changing the left hand to play staccato quarter notes/chords on each beat should do the trick.
• The bottom note in the first 4 rolled chords sounds like an A. More often than not, chords form a simple triad, so if the chord sounds pretty normal (ie. there's no dissonance) then checking if it contains a root, a 3rd and a 5th of a key is a sure way to spot any missed notes. Also, I believe there should be an A in the rolled chords on bars 10 & 12.

That's all I had for now - good luck with the rest of the polish, I'm sure it will come out splendidly.

Incredible! I liked how you managed to bring out all the ebbs and flows of this rich piece. It must have been both a pleasure and a pain to learn! >.<

Cool, all noted! (no pun intended...) I'm glad you spotted all of these things, m17-23 are now looking much better with the bass notes. I also updated the last quaver note of each bar here to match the bassline in the original - hope my interpretation of it makes sense.

And oh yes, thanks to your detailed input there's been a fair few changes made to this replacement!

As always, let me know if I missed anything.

Hiya, welcome to NSM! I think you're off to a great start with this arrangement. Like you said, it's a bit rough at the moment but with some polish it should come out great. I suppose at this stage just focus on the notes, and all the formatting adjustments can come later. There's a thread here on the forum where you can request assistance to bring the format to NSM standards.

• Key signature: There are a lot of accidentals throughout the piece, so that's a strong indication that it's not in the right key. The very first chord of the piece is usually an easy way of determining the key - in this case, Eb minor would do nicely.
• There's an obvious change in the accompaniment starting from m. 19 - how about including some of those 8th notes in the left hand? It will mean the current notes will need to be shuffled around or the chords "thinned down" a bit to accommodate for the new 8th notes.
• Starting from m. 51, in the left hand I would change the dotted 8th notes to just being 8th notes. It will make the sheet much easier to read for the performer.
• Also starting from m. 51, see if you can clearly show the two interlacing melody lines in the right hand. Often this can be accomplished by having one melody line's note stems all facing up, while the other's all facing down (even if they swap their positions).

Hope this helps get the ball rolling. It's just a high-level review from me so there may be other NSMers who can provide some more feedback.