Messages

• m2  beat 5 I hear a quarter note length En

I'm writing the bass pickup for that beat instead of the timpani.

• m3-5 and m11-16 LH 5.5 the C on top sounds like a Dn

I just changed the m5 one to G because the melody is playing that D

• m18 RH 3.0 hearing G# not An, 4.0 hearing F below the C

So I'm not hearing the F on beat 4. While I do hear the G#, I don't like how it sounds on the piano because it ruins the resolution and sounds weaker overall.

• m22 RH beat 6.0-6.5 hearing a Bn and C 8th notes
• m24 RH 4.5 separate 8th note En

How did I miss these 😭

• m30 RH 4.5 the 8th notes start with the G, 6.5 should be a Dn. Also, there are notes underneath all the pitches: E-F-G-A-B

I intentionally excluded the bottom pitches because it was more awkward to play going into the next measure (and because I excluded the bottom notes for that entire section)

• m39,47 LH 1.0 think these C's should be up one octave

Why? It sounds good and is satisfying to play.

• m45 RH did you mean to include the E in this chord? Just stuck out all the clusters are 4 notes in other measures

It's because the E is played right before this and re-striking felt awkward.

Updated.

Also, this thing about the tempo:So m71 is still at 8th=235, and it stays at that tempo when it goes back to the D.S.

Interesting 🤔

Updated.

In that case, I think it's fine as is. Since these chords are very long and tied together, having them overlap with the melody would have a very visually unpleasant effect. But maybe for the text it would be better to just have something at the top of the staff that says "play chords in the bass clef with the right hand" or something similar?

The RH LH markings work well for that, I think..

Also, the .musx links of both files redirect to Holehills, so could you fix that?

Yeah because HOLEHILLLLLLS is just that good oops

There's 8 in both (the red line doesn't interfere)

-The key signatures at the start seem kinda random to me: at first it's E major, making the Emaj9 - Dmaj9 the I-bVII. Then it becomes Ab major, making the Dbmaj9 and Cbmaj9 a IV-bIII, and later on it becomes F major, making the Bbmaj9 and Abmaj9 a IV-bIII. I think it'd make more sense to have the first chord of all of these the I, so it switches between I and bVII, which would make the key signature at m13 Db major (5 flats) and at m17 Bb major (3 flats). I think switching at m17 also makes more sense than at m21, since this is where the Bbmaj9 and Abmaj9 chords start.

I'm assuming the Bb major should go through the m21 section (since I had it as 1 flat).

-m35 and similar: You may have already tried this, but I think it reads a little bit cleaner to have the chords at beat 4.25 be in a seperate layer, as it looks a bit weird to have the melody tied over into the chord.
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There's one of these in m47 as well. Trying to not have accidentals clash with dots might be a bit of a thing though..

I have, in fact, not tried this 🙃. I adjusted everything to try and cram in the accidentals as well as keep the visual rhythmic distinction. Doing this made some of the ties go wonky, and I checked and fixed them but the one going from m37-m38 tilted for some reason and I can't fix them?

Updated.

I've never heard such intense arrangements, these are amazing so nice work!

It's HOLEHILLLLLS you have to

I think the issue here is how is the right hand even supposed to play those chords, if it's busy playing the melody part?

The right hand plays the chord on beat 1 then moves to play the melody. Since the pedal has to be held regardless of what hand plays it, it's just easier for the right hand to do it (for me at least).

• There are a few octave notes in both sheets that surpass 5 ledger lines (m39 and m47 in Holehills, all throughout the final part of Withered Savannah) it could probably be fine as is but wouldn't putting an 8vb on those improve readability, as 4 is usually seen as the limit? Also, in Holehills, would a double barline fit at the end of m18 to indicate a new part?

For the ledger lines, it depends on the context, but because they are octaves, the player can read the top note and infer what the bottom ones are. As well as they can look at intervalic relations (like in m56-58 of Withered Savannah) so they don't have to count the lines.
Double barline added. As well as one for m36 since that's also a new section.

• Still in the topic of parts, I get that there's a time change in m41 of Withered Savannah, but considering there's already an automatic double barline two measures later for the key change, it looks a bit weird to have two double barlines so close together

Yeah it does look weird. I decided to remove the one for the time signature change since the other one indicates a key change and a section change.

Updated.[/list]

Probably the coolest Earth Temple in zelda games (in terms of setting).

m11, 19 - I'm hearing a staccato G on beat 1 here.
m25, 31 - Dynamic markings could be moved to the right a little.
m33, 37 - The treble clef, rest, and dotted eighth note are all really close to each other and could be spaced out.

I honestly don't remember this song (or even the track) from mario kart wii lol

m16-21 - This section feels very confusing to me, I had to stare at it for a while before I could figure out what was going on. I don't really have any suggestions but I'll just mention some things for the conversation.

• The flat sign on the Ab in m17 and m21 makes sense after looking at it closely but I'm wondering if parentheses will make it more clear.
• The stem of the cross staff octave Cs in m18 gets really close to the top C and I had originally thought they were all connected..
• I don't get why there's a rest in m21 and not in m17, regardless it's too close to the stem.
• In general the repeated Cs above the chromatic part feels kinda unnecessary since there's already so many Cs, but I also feel like it may sound better to just put those in between the octaves in the LH.
• I feel it would be easier if the RH took over the melody in m21 and have the chromatic part move down an octave (it would all be the same chord shape too) so it leads more nicely into m22.

m26, 27 - Is there a voice going F E F E D in quarter notes here or is my brain messing with me?
m32 - The rest could be moved up a little

It's time for HOLEHILLLLLLLLLS!!!!!!!!

For this one I was struggling a little bit with how to combine the bass and the middle voices in m3-m18 in a way that's fun to play and sounds good. Right now I just settled for being more accurate but it's a little awkward to play imo but if other people think it's fine then I'll leave it. There's a lot of wacky harmonies in m31-m34, though it's mostly just chromatically rising in the chords and I dunno what's happening in the melody.

[musx] [mus] [pdf]

And joining the fray is Withered Savannah!!!

I want the right hand to play the chords on beat 1 in m1, m7, m17, and m21 but I'm struggling to find a clean way to notate that. Right now it's just in the bottom staff and I labelled it vaguely, but I also considered adding a 3rd clef or just putting it in the top staff but it looked messy to me. I did not put any key changes until m43 because there's a lot of accidentals and changing harmonies. Also I did add some interpretive notes closer to the end to fill out the sound and also to represent the percussion when there's only chords being played.

[musx] [mus] [pdf]

Cashwarrior1's Pokemon Quiz 6

It's been a while since the last pokemon quiz (there's been like 3 games released since then). So lets do another one!

The quiz is out of 40 points, you get 1 point for guessing the game and 2 points for the game and title of track. I'm also allowing one hint for each question, I'll tell you the generation and if the game is main series or not. Hints will be kept track of but will only affect tie breakers.

The quiz will end in a week (August 13th).

Also here's the player stats as of last quiz if you're interested.

I'm currently arranging the Wind Temple theme

[7/31/23]

7/31/23 Twee (n.)- nickname for Turtwig

Leave the RH playing B and E like it is the measure before, and have the LH play the first three notes of the melody like it does in the first half of measure 29. As it is right now, there's clash since the RH is playing on top of the LH (they both play E on beat 2), so changing it would remove the clash.

• I like the tempo marking
• m10 The right hand can still play the melody in its original octave starting on beat 1.5. The jump isn't too bad and having it in the left hand here kinda loses it.
• m17 The clef change can be moved to m18 since it's already in bass clef and you don't need the treble clef until the next measure.
• m31 Thoughts on keeping the eighth notes in the right hand for beats 1 and 2 and having the melody switch to the left hand?
• m41 RH beat 3 has a D below the F#

wait i forgot how crazy this track is.

for measure 8 in the last 2 bars there's a lower harmony I think could be playable with the left hand (might have to put the last note in the left hand so the right hand can get the chromatic)

Also in measure 26 there's a lower harmony on beat 4 that could also be put in the left hand.

insert dank memes here

reading is hard, yo