Messages

this one's super super close
Just 2 quick things:
-Break the beam in m55 between the pair of 8ths and the dotted 8th.
-You've got space on the final page, so use it to move the top system down a bit so the slur isn't uncomfortably between the mini title and page number.

That should be it

Thanks for the help, lat

fantastic

Thanks for the help, lat

fantastic

looks great

- how's that? I drew it with the line tool, hope it turned out okay

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

otherwise it's great

what is going on here

Did a mix of changes and no changes for page one.
-Changed m2
-I think the emphasis of the weird disordering in m5 is valuable and kept it, but changed m6 because I had previously forgot duplets exist
-Split all half notes oops
-I genuinely can't hear an F# in m8 melody line at all. I hear it resolving from the G straight down to the D......
-M9-10 is infuriating. Libera previously pointed out that the returning G you notated as the last note of m9 is something you expect to be there, but isn't when you slow it down and listen carefully. I had previously agreed, but as I'm writing this just now I mapped out all the beats in the measures (and equally spaced the markers to ensure accuracy) and it's right there. It's something like a triplet 16th after the barline but I think it may be safe just to notate it like m9-10. Would like to hear from libera again on this since it's a reversion from his previous suggestion.
Here it is mapped out. The first 2 lines after the measure are the G and then the E and the ones after it are perfectly evenly spaced beat markers.

It comes in slightly before the strings, but I think notating it like m6 might be clearest to the performer who probably doesn't care if the notes are a millisecond off.
Since this is a reversion, I'd like libera's take on this again.

files updated

oops i meant I recommend the former

going to approve with a word of advice.
Most people have slurs ending on the final note of a tied set and you've done that exclusively in m7-8 RH. You can choose which one you do, and while I might recommend the latter, you should 100% make them consistent.

LH first this time
-Up to you if you want to include this, but I kinda like how b1 of m2 and m21 drops out before coming in stronger on b2. Up to you if you want to have tremolo there, but it feels distinct from the other measures.
-Seperate dynamic for LH in m25-40? I don't think it and the RH are equal in strength here
-I could be mistaken on this, but I'm hearing b4 of m24 as a G#, not An

RH now
-m27 -Hearing layer 2 movement on b4 from the An to a G#. It also restrikes in m18b4
I'm not 100% positive on this, especially on the final chord, but here's what I'm hearing for 37-38.


I don't remember ever hearing this song in the bit I played of FE12, but it's really great and your arrangement is fantastic, as always. And the notes are also quite a bit easier to hear than your other sheet currently in submissions.....

edit: it took me too long to notice that the bassline part is just the divine dragon motif, what a cool integration of that

I just have one thing
In m42, why does it have both the inversion on beat 2 but the note removed altogether on b4?
Might be nice if you either made all the ->4th inversions (you don't have a ton) consistent in all cases, or dropped the top note from the chords in all places. Note that the only thing this doesn't refer to is when you need to drop the notes a whole octave.

is m26 not supposed to have a staccato on b2?

[I was thinking might work well as far as staying within key to have an Ab tremolo on beats 3-4 here]

I'm hearing that line lower the second time..

Yeah, you're right about m14 oops

I'm not hearing the Eb to G line in m38, unless that's something other than the timpani line?

Oops this was m39 and kricketune got it so it's fine now

-One additional suggestion for m44 LH... I don't hear the A on beat 4.5 but I was thinking might work well as far as staying within key to have an Ab tremolo on beats 3-4 here

I like this idea

alright, round 2
-m2/m8 RH - I hear this full chord as a Bb7 and the C a D instead.
-Scratch the chords on m41-end. At first is sounded like they were hitting on b2.5 as a separate note, but then I realized it's the same situation as the intro and it's been a while since I've done sheet music
-I do, however, hear a G on b2.5 of m40, which makes it copy m39's rhythm

And that's it! Between all of us, I think we got this sheet in a good position. This is all I've got for you.

I somehow never realized, until this very day, that it's spelled Vaike and not Valke. I'm going to have a mental breakdown.
-m17-m24 RH - The most prominent harmonizing woodwind I hear is playing notes a bit different than what you've got now, seems to be mostly in major 3rd harmonies (e.g. D in m18). I might just not be hearing what you are, however.
-m18 and similar LH - I'm not 100% sure what both
-m22 LH - Since the hand is now following the bass, I'm not sure why it'd restrike on b3.5
-While this isn't ninmidimusic, you can copy+modify an existing articulation to lower key velocity and essentially mute the RH in the final measure.

-m33-34 is such a headache in the original and while I don't think what you have is exactly the original, it's good enough and gets the point across.

ahahaha I never noticed the derpy fake level up in m35-36, that's amazing

gah these notes are a nightmare ill need to come back and give this another once through once you respond I just need a break

yup, it's good
makes me want to print it out and play it tbh