Got that all updated, thank ya!
The monkeys are up to something...
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Show posts MenuQuote-m2: I don't really hear a lot going on in the original for this L.H. part: I only hear the bass play the F#'s on beat 1 and 3, and an organ D on beat 2. Aside from the melody I can hear a countermelody part, but since it's quite soft and about as busy as the melody, I don't think the arrangement necessarily needs it included. tl;dr maybe you could do something like this:I like filling out the chords more if possible with simpler bass sections, so if possible I would like to keep the Ab (quarter) and the F# octave.
Quote-m4-16 (as well as m20): This whole section has the repeated-pinky thing going on, which is easily fixed with using another chord tone (usually the 5th from the bass note, sometimes the 6th whenever you see an An on Bn in the L.H.) instead of repeating the root notes. Whenever you're dealing with a fast piece, it's best to avoid repeated notes as much as possible.m4-16, I instead opted for an octave pattern rather than the added 5th/6th chord.
Quote-m21-24: Playing the softer organ voice in the middle of the L.H. is quite hard in combination with the rhythmically heavy slap bass part. Personally I think I'd leave out the organ voice, as it's quite soft and doesn't add as much as the slap bass part does.I opted to merge it with the bass as I would love to keep the organ, as I know in a lot of remixes and orchestral remixes (i know I'm not arranging those but) tend to have it more prominent.
Quote-m6 and 8: I think you could leave out the 16th runs on beat 3-4, as they're pretty hard to play (especially if you wanna hold down the C in the melody), and they're not as prominent in the original. The bass part does a good enough job of filling out the empty space.I did up the Ab to make it hopefully easier to play. I do at least want to keep the second run of D F G, but understand if both still should be removed.
Quote-m9: The run in thirds on beat 4 is pretty hard to play at this speed. Maybe you can just keep in the Bn on beat 4 and remove the other 16ths? It'll be easier to end the run in beat 1 of m10 on just the C and (high) Eb, but you can keep the low Eb in if you want.Opted to do two 8th notes of the B on beat 4 and and a C on beat 4.5.
Quotem1 & 3: Beat 3.5 doesn't sound staccato, in either handIm still hearing the staccato in the RH at full speed tbh
QuoteFor beat 4 in the RH, I hear a C-A-B-C 16th figure in m31, and C-D-B-C in m35.I hear that as well now but I only kept the last two notes otherwise the ostinato wouldn't be able to be played
Quotem33: For beat 3.5-end in the RH, I hear C#-G be played in the same rhythm as the bassFor these two it did not sound right at all, so I've opted to keep them out and would rather have the two sixteenth notes or nothing at all.
m37: Same as for m33, but this time A-B
Quotem1-m8: I think you could let the ostinato shine a little more in this section, before the bass comes in. I understand wanting to keep this section consistent with how the ostinato is in the rest of the sheet, but I feel like it takes away from how special this figure is.
Quote1) What are your thoughts on using mordents instead of small triplets? In my opinion they're easier on the eyes and also help save spaceThey could be mordents I suppose but I felt since they dont sound as fast as mordents to me I'd prefer to keep em as triplets if someone else agreed. If need be i can switch to mordents but for now id rather keep em as triplets.
Quote2) For the LH, did you intentionally change the bass note sometimes to match the ostinato note played at the same time? Because in some places you have, some places you haven't.I believe so? Honestly since its been a month I kinda forgot why I chose things but usually if I choose it its for trying to keep it sounding pretty close to the same. I do remember I had to make some sacrifices on the ostinato iirc and kept more with the bass to sound better and not to clash as much.
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