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I don't think so, I'm pretty sure you need full Finale to be able to do that. Or ask someone who has it to do it for you.

Ah man. That works.

It's cool! There are ways to work around it hehe.

Thanks for the update man ^^

Was working on a little Minish Cap arrangement on Finale Songwriter 2012 just to familiarise myself with the software, and hit a little block.

MUS | PDF

At bar 7-8 the second layer crosses over the first layer, and as a result the note beams clash; in Sibelius it can be manually fixed, and apparently in Finale there should be some "Note Mover Tool", but Songwriter doesn't have that.

Is there any way to move notes manually if you don't have that Note Mover thinkamajigg?

[Pokemon DPPt - Oreburgh City (Duet)]

Pokemon DPPt - Oreburgh City (Duet)

Did it! Also submitted this for the site.

A bunch of people have arranged this, it seems...but somehow, this hasn't appeared on the site yet. It's a terribly fun track, in a game location surrounded by other awesome places with fun tracks of their own (Oreburgh Gate and Oreburgh Mine, maybe I'll do those soon). Love the pumped up feel you get from throwing jazz harmonies in but keeping it in straight time. Fantastic little piece here, hope you guys enjoy my take on it

PDF! | Submission Topic!

Original!

Audio + Sibelius PDF!

(edit 120616: so i somehow decided to say this was for two pianos, after all the effort i went through to make sure it was playable on one. hmm. fixed.)

Ooh. Took a look at the Cloud Tops and Palace of Winds scores that we have. Think I'd like to give them a fix.

Will upload the Vaati's Theme and Cave of Flames arrangements tonight! (i.e. in three hours or so)


Done:
- Vaati's Theme (links here)
- Cave of Flames (links here eventually)

Claimed:
- In The Field
- Fix: Cloud Tops
- Fix: Palace of Winds


(edit: 120616 / 1220)
Cave of Flames: all files!
Vaati's Theme: file dump!

Hey! I just happened to be doing this one recently.

Progress:
[MUS] [PDF]

Latios, ya still working on this? Collab maybe?
If you're close to done then I'll keep my hands off, but this track is juicy and I would love sharing it with ya

[Update (110616):]

I like what you got. Cool stuff, and I'm sure Oreburgh City/Eterna Forest will sound great :3

Was putting this reply off until I did a few reviews in return, but ahh. Thank you so much for the compliments, it means a lot to me and it really made my day four days or so back ^^. Much cheers to you, promise I'll go look through some of your works~

~

Anyway, cool stuff coming.

Update (110616):
So, this week in camp I did:
- art for the Route 216
- Eterna Forest transcriptions HOLY FORKING CRUD THIS WAS HARD
- Quick arrangements for the Minish Cap project (Vaati's Theme and Cave of Flames!)
- Oreburgh City proof-reads

I'll be putting up the Oreburgh score and submitting it to the site either today or tomorrow.

But anyway, I'm going back to this thing I used to call "full releases". Basically, it's an arrangement that will ultimately culminate in a live recording.

The stages are:
- Arrange (finalise score)
- Art (for the score + audio video)
- Score + Audio (I'll put up a fancy video on my YT with the art incorporated and release the final PDF)
- Live Record (goes without saying)

First full release will be Route 216! Then Eterna Forest

Mm, not really what I was aiming at, hehe.

Yes, I did consider the idea of shifting everything to the left hand, but Altissimo knows her score - I recall an instance where we have a G-sharp in the middle part and an A in the bass part. So yes, things can get pretty messy. Plus, as a personal preference, I think the (harmonic) 7ths and 9ths are what define this piece, and there's no better way to present that than, well, in the same part. It's for the sake of presentation and I would argue that the way he's done it is the way to go

Erm, that being said, the half-bracket things! They give you the best of both worlds, hehe. For some reason neither a good example nor the formal name of that thing has come to me yet. They just come and go and are read pretty naturally, haha. But reaaaally do consider them~

go team half-bracket-thingies!

New exam repertoire! (this is the finalized version of the other stuff I was planning to play)

- Beethoven: Sonata Op. 81a, "Lebewohl"
- Bach: French Suite #5
- Schubert: Sonata in A minor, D. 784
- Respighi: Nocturne in G flat

Ahhh, this is a beautiful program <3

The Beethoven Op. 81a is particularly beautiful. But what makes it awesome is the program behind it, and some guy has an entire collection of Beethoven lectures, of which the Op. 81a one is a part of. Won't spoil the details, but dang, you've got to know the story!

(also it's called "les adieux". hehe. "lebewohl" is the first movement.)

~

Currently doing Mendelssohn's futher-mocking Rondo Capriccioso. The first section requires you to play like an angel, and then suddenly it goes into this mad rush that needs you to tap the keys with a feather touch and hard fingertips at the same time. And then comes a mad flurry or arpeggios and flourishes before the final recap. Still using that firm feather touch. how even

Oh, and Debussy's Estampes Mvmt I. Beautiful piece there. not just because it's asian-sounding and i'm asian btw, it's really a good piece.

[b. 5 bt 1]

...no one's saying anything about this? Dang, why?

Mm, originally skipped across this areangement because I wasn't 100% sure what the original sounded like, but now I do!

~

On my first read I see a bunch of "LH"s and "RH"s. I was thinking if you could avoid that altogether by just changing staves, but I guess writing it in this way shows most clearly the three-part continuity. But something's not right about it, haha. I think it looks a little sloppy. Would it be possible to add in those half-bracket-thingies (i'll go check up on the proper name once i post this)? Otherwise, consider using "m.s" and "m.d." for playing with the right hand and left hand respectively. I'm cool with using English expressions in writing, but when it comes to performance directions, standardisation is key. So yeah. Tiny pet peeve there haha, but do consider making those changes

At b. 5 bt 1 I'm pretty convinced that this should be an F-sharp. If we're talking in a melodic sense then yes, a G-flat most effectively shows the melodic progression of the middle line. But this creates a false relation with the bass note and makes it confusing. So yeah, consider an F-sharp.

Also, dynamics at b. 14! The game music doesn't do it as effectively because of reasons, but since you're arranging this for piano, you have the liberty to add in some dynamics. Please do~

~

Though, that's all the theoretical stuff cleared! Might make a few more comments on musicality once I get more familiar with this track. Otherwise, a fine arrangement; all the best for your submission!

People can be really loud. Hmm. How do they even do it? ._.

Love this track! Was kinda disappointed at the arrangement we had too when I tried to read it about a year-ish back (really. idk why.), so it's great that you've done a solid replacement

I'm in favour of keeping the accompaniment pattern that crosses over the way it is. It would be pretty nice to keep it in the lower staff, but when you have notes that range, generally, from around middle G to D, then it's not feasible to do so (changing clefs is confusing).

As for the inner voice of the upper staff at bars 24-27, I think it makes a little sense to do that because you want to show the performers that you, as a composer, recognised a chromatic scale in the track. You wouldn't be wrong, but the performers would just go "hmm okay" and wish they weren't there. Bascially, it's awesome that you saw the chromatic scale, but as a performer, I would prefer the more organised score you get if you remove that part altogether~

As Deku Trombonist mentioned, harp glisses! Yes please. We need that glimmer somewhere, especially on bar 3. The one at the ending is kinda-ish okay-ly substituted by tremolos. But something needs to lead-in to the opening section at bar 3, and while a piano gliss probably sucks (unless you do it in thirds! dont you dare.), a modified arpeggio might be okay

Otherwise, great work; a nice potential sight-reading piece! Fantastic effort and much thanks~

Doing Vaati's Theme too!

Current stuffs:
- Hyrule Field
- Cave of Flames
- Vaati's Theme

New art! Cover art for my Route 216 YT release. Also, it's processed using Insta, because mobiles are limited. Kinda.

Spoiler

[close]

Will be uploading the draft files of this project soon!

[[NDS] Pokémon Diamond Version & Pokémon Pearl Version]

New for today:

[NDS] Pokémon Diamond Version & Pokémon Pearl Version
"Solaceon Town (Day)": NEW!
[MUS] [Original]

Latios212 - Solaceon Town.

Soooo I used to have a proper reciewing system when I wrote stories. I guess reviewing scores aren't much different~

Trying this out with on my home turf (Pokemon DPPt), for someone with good taste (hehe). Right, let's go

~

first impressions:
I know this track pretty well. And by looking at this score I hear most of the elements - the two-part first section perfectly recaptures the brassy synth + gentle piano combo, and the chordal writing in the second section similarly recaptures the laid-back saxophone part really well. Subtle changes in the writing add up to beautiful contrasts, and in a track like this, finding that subtle contrast is everything.

No overall comments, great arrangement!

~

the proper analysis:

b. 1-2 is instant yay. Because the chords are right and the theory is right. I think I would add some syncopation using the left hand to create the rhythmic build that the tom drum creates in the original. But this works, and it works well

Would use G-sharps in b. 5 instead of A-flats because it helps eliminate dominant confusion. In fact, I think it would be more appropriate to use a C-sharp major chord instead of a D-flat major chord for the same-ish reason.

Same thing with b. 6 bt 2 (R) and b. 7 bt. 6 (L)! And b. 12 bt 6 (L). And b. 13 bt 1 (R) and bt 2 (L). And b. 14. Erm...you get the idea :p

Ultimate creativity at b. 21!

b. 27-33 is very confusing, because the drum beat actually goes to quadruple meter in the original. Two things about the way you wrote this:

The left hand part is effective in creating contrast, but it kills that 3+3+2 effect in 4/4 time a little. What I'd do create the effect is to "score the drum beat" - basically, score accompaniment based on the rhythm of the drums - bass notes for kicks and mid-range chords for toms and snares. Took a while to figure out this skill, but I promise it'd help if you gave it a shot

To better create the 4/4 effect I would change the time signature to 4/4 from b. 27 bt 1 to b. 32 bt. 3, insert two 5/8 bars (3+2, then 2+3; that's the way the score seems to be organised), then change it back at b. 34 to 6/8. It's not totally necessary, but it's "theoretically correct", I'm quite sure.

A bunch of slightly brave changes that you might want to consider! The track is a little more rhythmically complicated than we might hope, but hey~

The transition at b. 33-34 is accurate and awesome. Effective and simple. That's how we do our transitions

~

a (kinda) verdict.
Spent most of the words here complaining of A-flats and time signatures. But this is a fantastically clean arrangement that holds true to the sophisticated simplicity of this track; it's a great job done! Thanks for the music, hope this goes up soon