NinSheetMusic Forums

Please login or register.

Login with username, password and session length
Advanced search  

News:

All Hail President Bowser!

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - Maelstrom

Pages: [1] 2 3 ... 564
1
Some quick stuff:
The notes you currently have look pretty good at a first glance
8va clefs are not piano notation, use an 8va instead. Those clefs are for vocal pieces or some orchestral instruments instead.
I'm hearing a lot more going on in the left hand than you currently have. Fleshing out that would give the song more character.
I hear harmonies for the melody in most places, and the part where you have the 2 layers (e.g. m5) is downright unplayable. I would recommend messing with the octaves of notes to make them playable by the same hand.

2
Forum Games / Re: The NSM Guess-That-Melody Quiz!
« on: January 24, 2021, 03:26:18 AM »
Time for my first quiz in ages! I hope the winning score is above 4 this time...

MELODY QUIZ NEW

As a special bonus, I will give everyone one (1) hint. They can ask what instrument plays a specific melody and I will answer in a somewhat vague and specific way.

3
Should just be called "In the Fields"

4

Title should be "Realm of the Heavens"

5
The Legend of Zelda: Four Swords Adventures
Realm of the Heavens
[midi] [.mus] [.musx] [PDF] [Original]

Yes, there are actual sheets I'm working on that aren't replacements. Probably.

6
I mean it is free, so there's nothing lost from checking it out.

7
Libera:
The thing I feel most strongly about now is leaving m29 as I have it written. I have made all other changes, except for adding the C# in m79 because it's played on b2 and allows the chord to be held longer.

MSF:
>m18
Nope, don't hear the restrike at all no matter how hard I try. It's just not there.

discussed for far too long over discord
files updated


8
So I can't hear the Abs well and adding them to m53 makes it sound really muddy, but not adding it makes m52 and m53 sound much stronger so I'm just leaving them out.

Did everything else. I understood what you were saying about m65, but didn't want it to sound like a restrike. I originally thought I heard the violin coming in on b1 but now I hear it on b2. Updated and with the initial A an octave lower.

As for m67-end, I somehow missed your comment. I can hear a voice hitting that 4th beat 95% of the time in m67-74 and it sounded like it was just being drowned out in the others as there was no consistency. It sounds like a piano strike )or whatever is a counter melody to layer one in the 2nd half of the page)( in the background and adds some texture to it. I, however, don't hear it in m75-end so I removed it there. Files updated.

9
-I hear different notes for left hand beat 3 in nearly all of bars 1-8.  Bar 1 I hear an E, bar 2 a G etc.  Most of them are octaves and definitely not fifths.
This was completely intentional, lat addressed it too.

>-I don't think you should cut off the melody in bar 28 right on the final beat, it makes that line sound really odd.  I'd recommend instead finishing it on the correct A and then taking over with the new line at the start of 29.  You could still keep the D as harmony if you wanted, but I think you should preserve the ending of that melody.
So I messed with this a bit and it doesn't sound weird to me. This is because the A is far quieter than the D pickup for m29 and that D->A motion has always been far more memorable to me than the that of the strings in m28. I would like to keep it as is, but understand what you're getting at here. I extended the slur from 29 to the pickup to more clearly indicate what it's doing. 

-m30 - I would like to keep b3 as it is, because, first, I don't hear the F, and 2nd, that would end up making that chord a 5th, breaking the pattern here in a very unsatisfying way.

Revisited 39-42 heavily. I distinctly hear the strings playing the Eb and G I wrote in. I think it's quite a bit better than it was before now.

I think the Ds I were hearing in 43+ were actually Cs so I revised the chords to better reflect that.

I did things to the counter melody to get it to work without ever getting rough to play. Most of the time, I just added in the string chord to the octave when it wasn't the octave already. When it was, I added a note that made sense given the part and the melody's movement from the previous notes

Killing the huge rolls worked better than I thought

>-Bar 63 has the same last note as bar 64 in the left hand.
Don't hear this at all, sorry
>The melody line in bars 65-66 should have an A on beat 2 of bar 64.  (The A on beat 1 actually goes down to the F# on beat 3 and isn't part of that line, so the way it's currently written is kind of confusing voice wise but that should be easy to clear up if you move the current lower layer down to the left hand.)
Assuming you meant 65 here. I respectfully disagree as I can't hear a restrike at all. I would be willing to take out the D if you really want, but I do not hear any real change in sound between b1 and b2 of m65.

I strongly disagree on m67-74. I think it sounds pretty close to the original and would like to keep it as is. Yeah, it might be a bit empty, but it feels right to me and contrasts more strongly with 75-end. And using ped. to hold the chords long enough would do funky things to the bassline.

Sorry for this disaster of formatting, hope it makes sense and that I actually got everything you said this time

everything I didn't mention was hopefully addressed, files updated

10
This is what I hear for m1-2


LH:
-m9 and similar - I hear the E on b2.5 as a quarter (e.g. tied to a 2nd 8th).
-m10 and similar - I hear a Db as the last note. 
-m25 and similar - I hear b2 and 2.5 as a Eb and Bb respectively. Also, b4.5 is a quarter (tied to 8th in the next measure)
m36 and similar - I hear a G on b4

-m40 should look like m36
-m41 - b1 (the f#) is a quarter, and b2 is the A. No C here. b3.5 is also an A
-m42 - b3.5 is a F# and b4.5 is a D#. Spell those how you want.
No staccatons on b1 of m35/37/39

RH:
m35-end - I hear a harmony pretty strongly for this here, it's mostly a 3rd below what you have written. 
Final 2 measures look like the first 2.

I made the changes, take a look at this file:
https://www.dropbox.com/s/9vgwkm8ecqa4n7g/Toy%20Time%20Galaxy.mus?dl=1

11
Great work, accepting

12
LH:
m18 - 3rd 2nd layer chord - the Gb should be spelled as a F#
---m21 to m27 LH should be an octave lower with the exception of the last 5 notes in m23 and m27.
m21 - I hear all the Cs after the first chord down an octave
m22 - the off beat Gs in the 2nd half aren't that strong, remove the lower octave harmony
m23 - Same deal with the 2nd half of the measure.
m24 - same thing in the 2nd half
m25 -
m27 - Final octave is a G, not a C (should be lower)
m28 to end - I put the notes in their proper octaves. The way you wrote it completely obscured the motion of the notes in weird ways



RH:
no rolled chord mark on the final chord in m7?


Concering what MSF said
Staccatos in m20 should be below 100%
I hear m27 as MSF said it, and it's unplayable the way it is with the 2 layers here.
30 RH lower note is a F# 100%
m31 - ok so I would recommend using a Fn for all the Fs instead of the E# and a Gb instead of the F# on the 5th to last note. The Gb is less correct to notate that way, but it means the 3 Fns are notated properly, which is the greater good imo. You could use the split stem tool to have both the F and F# but that one's up to you. Regardless, make sure you change the LH too

13
files updated

14
Reword chords in m43-54, should be more accurate now. Will probably give the whole song a further once over today.
yes, the 5th note in the intro was intentional.

I made every other change except the huge rolls. I can't seem to thing of a way to have them all without damaging either the melody or countermelody's motion beyond recognition. 

15
before I forget, I approve

Pages: [1] 2 3 ... 564

Page created in 0.382 seconds with 35 queries.