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Messages - daj

#616
Ooh, Minecraft sheets? Interesting. Lots of ambient tracks (11 and 13 haha), and that might make it hard...but hey.

Which one is the Nether soundtrack? Think I wanna give that one a shot, but I can't seem to find it on the list. Haha :p
#617
I think I've found a new interest in the track after looking at your score. it's weird right idk how either

So, I don't really have playback devices where I am, but I do have a decent idea of how your track sounds, and your intentions in your writing were very clear, so that helps a lot! Most of this will be theory-whacking.

The first thing that I wonder is why you have an F-sharp minor key signature when there are B tonic pedals throughout the first section. I took a look through it (knuckles are awesome btw), and I'm completely convinced that this is B Dorian. With that in mind, I would definitely cut the G-sharp in the key signature and, believe it or not, add it to every single G in that section. I'm pretty sure that's the standard way of notating if you're using a mode. In Sibelius this process is easy, but I'm not sure if you have to manually change all the Gs in Finale...so if it's too much work, maybe you don't have to be too particular this time :)

Same thing applies to bars 26-30ish. Basically I think you can keep the two-sharp time signature until the part where you -really- change key around the fourth page.

Parts cross at bar 35! I don't think it sounds too bad but to be safe you could just remove the F-sharp in the bass~

I don't think you need to change key to the parallel major in that section either. There's no cadence - no resolution, even if we don't think about cadences - to B major. The A-sharp is kinda troublesome but I would argue that as a pivot-chord-ish that kills the tension and helps with the real modulation to F-sharp minor.

With that in mind, your F-sharp minor section at the end is actually based on the original semiquaver-spam section after the arpeggic-ish part with accented first beats succeeding the knuckle frenzy (god i love structural analysis!). It's in Dorian mode too, so all your E-flats are probably D-sharps. Yup.

(edit: on second thought I realised augmented sixth chords are a thing. Sorry bout that :p)

Other than that, looks great, hope this goes up soon! :)

p.s. that section in fourths is unplayable. man. appreciate the fingerings though.
#618
Yay! Much better :)

Erm, if you don't mind, more tiny nitpicks! I think it's acceptable if you don't want to change these anymore haha, but your call.

For bar 10, you may take the liberty to use crotchets (quarter notes i think) instead of tied quavers (eighth notes i suppose). The only rule when it comes to beaming within the bar in 4/4 time is that the second and third beat should not be beamed together save special cases. So crotchets are easier to read here. You can use a dotted crotchet in the right-hand part too, with this same logic :)

Also, one bar before the ending, you might want to use F-sharps. Makes the chords more clear (the melody is, after all, triadic). But I think it's acceptable-ish to use a G-flat too.

That being said, I think you've got a great work right there; if you choose to submit it, all the best :)
#619
Quote from: WaluigiTime64 on June 08, 2016, 12:04:52 AM- Also the key signatures seem a bit off. The sections in G Minor have a lot of E Naturals, as if they are in D Minor, especially the last section, which also happens to end on a D chord. I think the C Minor might be fine for that middle part though.

Other than that, it's pretty accurate and well made! I can't wait to hear more!

I don't really know how this sounds, so that means that whatever I say here is pure theory-whacking! Bwahaha :)

That being said, echo Waluigi's point - the first and last sections are definitely in D minor. So that's one flat. You have more E-naturals than E-flats in either of those sections, so yeah :p. Plus the ending is a D minor chord. Yeah, you get the idea :)

Tiny nitpick! All your D-flats should be C-sharps to avoid confusions arising from false relations with the tonic (D) note. Basically, in the D minor scale, you shouldn't have a D-flat, but you can have a C-sharp (it's way more complex, but that's the idea). Not a tough fix~

Other than that, I think it's pretty "awesome"! (you know, because awe-inspiring? urgh. shoot me now). The fourths are pretty tasteful even if I don't know what the original sounds like, the progression is clear and it's pretty organised. Great stuff :)
#620
Looks good now! It's much neater and clearer. :) Yay~
#621
Quote from: Th3Gavst3r on June 06, 2016, 07:34:10 PMOh yeah, I've fixed my "style" a couple times before lol. Normally I just forget about slurs because Finale doesn't seem to care whether they're there or not as far as playback goes, but I agree that adding slurs makes it much easier to read, so thanks for picking that out! Was there something else about it that bugged you? Because how I write music is pretty much baseless lol

Ooh. You write music baselessly? Bwahaha. Prepare to be stoned to death.
(nah, kidding. that's violent and sad.)

Mm, took a closer look at the score and did a little mental-sight-reading of it though. Found some things!

b. 4, bt 3-4 is dangerous. You've omitted the third note of both the G major and A major chords - that makes the harmony ambiguous (i.e. without the 3rd you don't know whether it's a major or minor chords). Adding a little harmony note (B, then C#) in the middle of the right hand octave would be an easy fix :)

b. 8, bt 3 same thing!
b. 8, bt 4 has a C natural which I'm convinced doesn't belong there. It also makes a nasty clash with the F-sharp in the bass; you've got a bunch of other clashes but this one would probably stand out the most.

For b. 11 replace A-sharps with B-flats! :) because your current notation looks very wrong to a performer - it's a false relation. Theory also states that you should use a B-flat, so yeah~

b. 17-18 is in italics because I think the writing is awesome and I have to point it out. Great concept here! :)

for b. 20 I would put the middle part in the right staff; i'd play it with my right hand for sure, and I think it makes the transition back to the main theme + flourish much clearer if you do :)

b. 31-37 is really, really creative. You achieve the transition without losing the drive. The harmony at b. 32 is a little iffy, but I think it should sound okay.

b. 38 though is a pretty unsatisfying transition after such an awesome section. I think you really need that perfect cadence on bt 4; the C natural is a lottle (a little, except a lot) out of place. It might be smeared once we get up to speed, but the transition might come out of nowhere and that kinda sucks. I know the original had something like this, but there was some pedal point on B somewhere that made the transition much smoother. Do consider either throwing in a pedal point or changing the C-natural to B~

~

Yup! That's pretty much it. Hope the comments help, dont hestitate to ask me if you need clarifying on stuff :)


QuoteIf you end up playing this though THAT WOULD BE SERIOUSLY SO STUPID GREAT. I haven't actually heard a real playthrough for any of my arrangements yet, and in terms of arranging I don't think anything would make me happier (half-expectation is more than enough hehe) :D

If your other arrangements are as creative as this, I think I'll definitely check them out. Yeaaaahhhh :D

Haha, good works deserve to be performed~
#622
Haha xD

At some point, if I ever feel like sight-reading something Pokemon, I would definitely read this. No promises, but heck, I love this score. It is the most creative rendition someone can get of something as straightforward as Slateport City. The semiquaver flourishes are magnificent. There are so many ways to make this arrangement boring, but clearly you weren't into those. So that's really really good.

With the amazing creativity checked off the list though, I don't agree completely with your voicings and style, buuut bleh. It's your style. But I do believe that for your staccato flourishes, adding some slurs would paint the phrases more effectively. If you have a non-staccato to a staccato note, slurring the first note to the second accomplishes the same effect, and it's infinitely more clear to the performer. :)

Small nitpick. But otherwise, I'm keeping this in view; all the best and hope to see this on the main site soon, hehe.

(also do half-expect a rough recording of this at some point. whee~)
#623
Ooh. Interesting piece.

Quote from: Bespinben on June 05, 2016, 08:53:38 PMI'm of the opinion that this piece is in A minor, borrowing the F# from the parallel Dorian mode and the (one) C# because Picardy Third. I'm less convinced of A major borrowing G from mixolydian and C from the parallel minor.

Everything tells me that this is should be scored in A minor. It sounds like A Minor, and there's a pedal point that keeps reminding me of that. Basically, ditto to Bespinben's thoughts.

Though it would be justifiable to score this in A major too, haha. This track is too clearly based on the idea of a Renaissance motet. Won't go into details, but in modern Renaissance notation, the "major key" (though not defined as such at the time) of the pedal point sung by the "tenor" is often used as the key signature, based on what I've studied so far.

That being said, writing this in A minor would clean up the score. A lot. Do consider :p

~

As a side note, I don't really see why this piece should be in duple time - it definitely feels like it's in four. (one hundred half-notes a minute is kinda dodgy, haha).

Aaand I think putting in some grace notes at bar 5 (and the next occurence of those blippy things) would spice up the product a lot~

Oher than that, that's a pretty deceptively straightforward track we've got there haha~
#624
Art / dajwxp: Sketches from the Live Range.
June 05, 2016, 08:46:42 PM

eh, might as well.



Sketches from the Live Range.
believe it or not, that is actually not a figure of speech.


Okay, to be fair, I don't always draw in the live range. Most of the time I do it in our barracks.
Still, sitting on some bench in the great outdoors with a clipboard, sketchbook and a mechanical pencil has become a thing.
The clay-mores exploding behind make it much more conducive.




introduction!

So, being a Singaporean means that I need to serve my country in the military for two years. Oh well.

Disclosing the details of my service would be utterly idiotic, but basically, when I'm not training, I'm drawing, writing, or transcribing music. When you go out into the wilderness (live ranges included, haha), you can't bring your music devices along, so I'm left with writing and drawing. Writing is cool until it gets boring, so this is what I spend the other half of my time on. Yeah.

I'm not a trained artist - heck, I'm far from a trained artist. And being limited to mechanical pencil and paper for so long (the Economics lectures have trained me well), it's become the only medium that I'm kinda comfortable with. But I do want to do my own art for my arrangements (youtube videos need art for awesomeness), so this thread is a pretty sweet dumping ground...because, you know, I might as well :p

Basically, mechanical pencil sketches! Amateur art. Much cheers to all~



cool (and free) stuff!~

 
Buttons!

   
Difficulty Meter!

   
Instrumentation Buttons!



note: the six digit number is the date in DDMMYY format, and the four digit number is the time in 24-hr format. military style! just to add to the effect.

071115 - The End of Econs
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well, at least it's the subject that gave me the most art training.
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261115 - Family Portrait
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The most impulsive, crazy, unprepared, but totally awesome band ever <3
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271216 - Marcy and PB. don't judge.
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180516 / 2034 - The Armour Badge.
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Fun sketch! Military stuff needs a little life added to it sometimes.
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260516 / 2117 - Wake Up.
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Because if your wings are clipped, you might as well tie your hands~
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090616 / 1044 - Route 216: Cover Art
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Cheap instagram filter! Done for the youtube score + audio release~

Draft files:
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Eevee Trace:

Basically, I try to copy the original as accurately as possible (some people even use tracing paper for this, therefore the name) so I get all the details.
Did a Glaceon too, but for some reason I didn't capture it on photo. Oh well.

Reductions:


Unfiltered version:


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200616 / 1120 - Route 216: Full-colour Cover Art
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300616 / 0937 - "that was tough. I loved it!"
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110716 / 2345 - Youtube Channel Art!
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Channel Logo
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Channel Cover Art
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more coming soon!

#625
Pokemon DPPt: Route 216 (Solo)
It's not too hard to write a solo version once the duet is done~
For those who don't have four hands! Or two pianos. :p


PDF!

~

Oh yes! Will be tidying up this thread at some point. Hopefully now, if I don't bore myself to death.
I'll also be relocating all scores to box.com! It's a hipster cloud service that isn't as awesome as Drive, so I can care about it less. Yep :p

All links in thread replies might be broken, so do check out the OP for the proper links~
#626
Yay, reviving a project! :D

Claiming Temple of Flames and the Hyrule Field theme for a start :)
#627
Quote from: NocturneOfShadow on June 04, 2016, 09:07:41 PMmight I introduce you to the Legend of Zelda: Minish Cap soundtrack?  Perhaps you'd be interested in doing some work for our unofficial arrangement project :D

I played that game, yes! :) I'll be totally on~

How does one do this arrangement awesomeness? :)
#628
Project: Pokemon BW - Abyssal Ruins (for cashwarrior!)
Hehe, pulled off a fast one. Pretty awesome track that was pretty easy to work with once the (bloody ridiculous) melodies and counters were transcribed~

Score + Audio:

PDF!
#629
Quote from: DS on June 04, 2016, 07:33:04 PMOh my gosh, I actually think I saw that somewhere on an epic orchestral production tutorial that "400 Hz is dangerous" or something like that. The main reason I didn't put too many highs into the mix is because on a spectrum analyzer you can see that Logic's default mix brings out frequencies above 20kHz that for some reason just sound 'too high' (even though technically a person shouldn't be able to hear it, maybe it's just me XD) so I've also set a high cut filter for around 1950+ kHz or something like that. Maybe it's cutting into the mix too much.

Thanks for the feedback and comment!

Whoa, whoa! Please don't cut the highs. Eep. Apologies for the asian english.
(haha dont worry we're cool~)

I meant, cut the lows of the upper piano part starting from 400Hz going down. That should clear up your bass. The highs are fine :)

p.s. If you'd like the theory, 300-500Hz is the range where things sound like hitting cardboard boxes. Eww. While a good balance of this is necessary, your mix is muddy because there are way too many cardboard boxes being struck. If you clear out the cardboard for one part it should balance out nice~
#630
Quote from: Latios212 on June 04, 2016, 07:33:07 PMHaha don't worry we're here to help :J

Mind if I take some time and give this a big fix-up in Finale? I'd looooove to

Oh...wow, you're too kind. That would be awesome; thank you so much man <3