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Messages - Zeila

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Miscellaneous Arrangements / Re: VGM Guitar Arrangements
« on: June 02, 2023, 06:01:51 AM »
This is some really neat stuff! I don't play guitar so a lot of them look very intricate and difficult to play (particularly Ikoroshia), but they're nice to listen to. Thanks for sharing!

Music / Re: Your Favorite Arrangement
« on: June 02, 2023, 05:35:20 AM »
There are many arrangers that I admire and pieces that I like, but here are some standouts

National Park by Olimar12345
- It's presented very neatly and beautifully condenses rich, orchestral harmonies into a solid piano arrangement :3

Foreboding Forest by Bespinben
- The blend of textures and dynamic variation really make good use of the piano, and it's all around fantastic

The Heritors of Arcadia by Libera
- Honestly I just love this song and it's one of the few sheets from here that I actually attempted to learn. It suits the piano quite nicely and they did a great job with the arrangement

While technically not on site, The Deku Trombonist has some really neat stuff like his arrangement of the ACNH main theme on his website. It just looks super clean

And another honorary mention to this beauty's midi xd

Two updates from me today!


Mobile Suit Gundam: The Witch from Mercury
slash / Red:birthmark
[Original][PDF][MUS][MIDI]Solo Piano

I didn't expect to do a piano arrangement at all, but then episode 17 happened. It started off as a parallel to episode 12's piano arrangement of the first OP "The Blessing," but then that fizzled out and I just combined the second cour's OP and ED. Initially, I didn't even like the ending (the song that is, the visuals are really cool), but I came to appreciate it more and I actually like it now

Fire Emblem

Fire Emblem: Three Houses
God-Shattering Star (Man on the Internet ver.)

I started this around late 2019 and left it hanging in a mostly completed state for years. Then I got inspired to actually finish it when I heard this fantastic cover from Man on the Internet, led by Alex Beckham. It includes a whole new choral arrangement and I just think it sounds very cool

There are 3 orchestral arrangements left for me to edit, and the theme for the next one is 🐝

Great to see you back!  Gun to my head, I'd say your arranging style is probably my favorite of anyone on NSM.  So anytime you want to necropost again, you'll have at least one person really happy to see it!

also, Star Allies, Triangle Strategy, and Engage all have awesome soundtracks that are way too often overshadowed by their brothers.  Love to see them get some love.

That is some high praise, thank you!! I haven't listened to much of Triangle Strategy's OST, but from what I've heard I think it sounds great! The other two are also super nice and have some tracks that really stand out in their respective series imo. Maybe I could finish something from Kirby Star Allies before the end of the year because I have a semi-complete piano arrangement that needs lots of TLC, but it would be very unlikely for me to start and finish something from the other two anytime soon

I think this is a new record for "necroposting" on my thread :p

Kirby Star Allies
Last Friends
[MIDI] | [MUS] | [MUSX] | [PDF] | [Original]

Don't Panic Zanik
[MIDI] | [MUS] | [MUSX] | [PDF] | [Original]

These next two are very rough, but I wanted to post them anyways in case someone wanted to build off of them or use them regardless

Fire Emblem Engage
Trial of Awakening (Reignite Us)
[MIDI] | [MUS] | [MUSX] | [PDF] | [Original]
This is a pretty neat remix c:

Triangle Strategy
Combat -Destiny-
[MIDI] | [MUS] | [MUS] | [PDF] | [Original]
I probably won't ever submit this one in particular because the 2nd half isn't very authentic to the song. I didn't know how to make it interesting and stand out from the 1st half, so I made something up for the LH accompaniment. Also, the ending is taken from this video

see you next year for piano arrangements

Submissions / Re: [NES] Solstice - "Title Theme" by Cashwarrior1
« on: April 10, 2023, 08:34:28 AM »
This is quite the complicated piece, but you did a great job on it ^.^ (Tim Follin is a beast btw) It looks like a lot of comments, but everything is very dense

*edit: I went to go listen to the PAL OST, and I found out that it's supposedly the version Follin originally composed for. I saw a direct comment from him, but it's for a different game's OST. Perhaps you could make a note that it could be performed at a slower tempo, or actually change it alongside the key signatures and base this off of the PAL version. OR you could put a range or something somewhere in between the two tempos if that were to be his "ideal" speed

I also wrote an adjustment to my comment for m. 50 that I realized was incorrect. I double checked a few spots (like m. 26, 31 and the end chord), but not everything, so I hope there aren't other mistakes like that... sorry

  • Does this song repeat? Or does it stay silent for the rest of the title screen or wherever this plays?
  • Just a tip, but you can use a custom Ped. smart shape that has the * attached to the pedal in a single expression so you don't have to manually enter the asterisk too. The only issue is that you would have to drag it to the end of the section you want pedaled, so maybe you already know this and intentionally use the P and L articulation shortcuts, but at least the smart shape would be easier to align together if you cared about neatness to that extent
  • It looks like you put a space after "Piano" in the full group name for the staff, so it looks off-centered. Erasing it fixes that
  • This is more of a personal preference, but I think it would look more consistent if you used 4/4 instead of common time given the switch in time signatures
  • I know this is a byproduct of the decreased staff size, but the tempo markings look a bit tiny. Fixed size looks too big, but you could try changing the font size to 14pt instead of 12pt. This isn't necessary though, so you don't have to bother with it
  • I went to check Behind the Bars for proper fingering formatting since it doesn't look very readable due to the small numbers colliding with the staff lines, and in short they should supposedly be bolded and clear of the stave whenever possible. It's probably more important here when you also have triplets/sextuplets. Here's an excerpt:
  • It feels bad that you only have 1 system on the last page, so you could try condensing the first page even more. I would say you could just add more space to the rest of the staves and make the last page include multiple systems, but the only place where that is really necessary is the 4th system on page 3 (or the one starting at measure 43). Shifting other measures around might make it look too spaced out, but you could try doing 3 measures per system starting from page 3 to the end so that there are 2 systems on the last page instead of just 1. I demo'd a demonstration of the two ideas below, and I'd probably go with the latter
    cramped 1st page
    after changing the staff size to 0.65cm and decreasing the space in between staves
    spread out 3rd page
  • If you're going to keep it like it is now or go with the latter, you should put more space in between the systems of the first page because it already looks too close together with the low hanging notes and pedal markings
  • m. 5-8 I think you shouldn't hide the rests to make it clearer
  • m. 38 I think subito or sub. p is more appropriate than a regular piano dynamic marking
  • m. 42 why do you have a staccato on the inner side of the lower octave for the last two notes? if you want to separate the two by each hand, then you should split the stems, or at the very least put the staccatos on the beam side. Disregarding that, since it doesn't look like that was your intention given the jump, then only the top staccato markings are necessary
  • m. 45/48/49/etc. the arpeggio markings are a bit close to the staff line, and you can add extra space at the beginning through editing the measure attributes. **you don't really have to do this, it's just a nitpicky suggestion to make it look slightly neater
  • m. 48/67/68/79/80 why did you put a slur ending on staccatos practically everywhere except here?
  • m. 50 I'm kind of conflicted on the group that's cross-staved but I guess it's okay. You should at least hide the natural though since it's present in the LH already
  • m. 51 why does this trill look different compared to m. 27/29?
  • m. 59 I know that there are two layers here, but since the top one is a whole note, I think it would look better if you flipped the staccatos and slurs because they look a bit awkward
  • m. 64 you could maybe get away with lowering the rests by 6 steps so that it sticks out less
  • m. 79/81/82 super picky but you could center the natural trill a bit more, and then 80's is probably just a tad bit to the left

  • m. 5-9 just commenting that I think this is a nice interpretation given playability reasons
  • m. 9 I think it would be nice to include a crescendo to the mf. It also sounds like the low point is at the start of beat 2 rather than beat 2.5 or wherever else
  • m. 10 I think if you're going to put a staccato on the 3rd sixteenth note, then you should put it on every 3rd sixteenth note of measures 10/12 and only the 3rd/6th sixteenth note of measures 11/13. Also I'm going to assume you left out the mordents here because it's already pretty fast
  • m. 13 I don't see why there are accents here
  • m. 18/20/22/24 LH I'm going to assume you took out the 8th sixteenth note (unlike the RH) for playability reasons
  • m. 26/28/30/32 LH I think the 2nd part actually goes F#-E-C#-B-A-G#. Picture for clarity
  • m. 31 last 6 notes sound like a regular D major scale starting at G. You also mentioned that the composer used tricks to emulate more harmony (like a flam or grace note of sorts, quickly switching from one note to the next one), and here it sounds like the A part of the chord changes to a B, so you could add a B on that last accented hit if you really wanted to. Measure 33 is the same but raised an octave
  • m. 34-37 LH I don't think the accents on beat 4 or 6 (i.e. starting from the second group of three notes) are appropriate compared to the original, but I also don't really care if you leave it in. This is another good interpretation with incorporating the percussion given that the bass part actually starts a sixteenth note late, but the punch at beat 1 is more important
  • m. 34-38 the chord hits sound like A-E-D from top to bottom instead of G-D-A
  • m. 39/41/etc. why did you write a triplet here instead of a mordent like in m. 6/8?
  • m. 39-42 I would say this section feels more like it should be a simple time signature instead of compound, but then the parts after it do sound like it should be compound meter. It just feels weird because it's similar to m. 5-9
  • m. 39/41/45/53/etc. melody figure in general: I think the slur should start on the 7th eighth note (or the 3rd eighth note group) rather than starting from the 6th eighth note because it sounds like there's a slight divide between the two
  • m. 43/45/47/49 I think the bass part plays two sixteenth notes as a pickup to the preceding measures (basically in unison with the percussion). It doesn't add much though so you don't really need to add it, just pointing it out in case you didn't know, and I could be wrong anyways
  • m. 47 doesn't sound like there's any staccato here
  • m. 48/50 what made you stop the extra bass hits similar to measures 44 and 46? Also, as a suggestion for that, I think it could be nice if you made the eighth pickup to the quarter note two sixteenth notes, with one being an octave lower
  • m. 50 unsure but I think it sounds like this instead. you can pick which voice line to cover **sorry I was mistaken here, it actually sounds like the D I put in the picture for the first note of the run in the LH is a low F# instead
  • m. 71 RH sounds like this instead (the last sixteenth note of group 2 and the 2nd to last sixteenth notes were changed to F# and E respectively)
  • m. 72 RH this particular layer sounds like it plays two eighth notes instead of the first two quarter notes, similar to measures 67/68/73, unless you want to kind of mix it with the other melody which does play a quarter note. The last quarter note sounds like it should be an eighth note + eighth rest
  • m. 74 RH the last three eighth notes sound like B-F#-D# instead of B-G#-E
  • m. 75/76 RH last eighth note sounds like G# rather than F#
  • m. 79-82 LH the 6th eighth note sounds like an F# rather than an E
  • m. 79-81 RH I think there's a layer that goes Dn-A, I don't hear any B at all, and the G# sounds like a Gn instead. This would be a lot more accurate if the channels were separated, but I don't want to bother with that
  • m. 82 RH I do hear a B here unlike the previous three measures, and there's also an A present. I'd probably write the chords like this, and you can modify the grace notes however you like

Okay that's it from me

Here's a very overdue update! Everything except the Fire Emblem stuff has been sitting on my computer in a completed or nearly completed state for over a year at this point

Fire Emblem Engage
A Tea Party in Firene, Guitar Duet
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]
This is a nice arrangement of my favorite battle theme out of the big 4 imo, although I prefer Camping in Solm as a guitar arrangement instead. I think there is also a cajon drum playing in the background if that's not just percussive guitar hits

Trial of the Sacred (Restore Calm), FE8 soundfont
[MIDI] | [MP3] | [MSCZ] | | [Original]
Do I think this is better than the original? Not at all, but I thought it would be a neat little project to try and replicate it for the GBA. This is fully functional in a rom hack of Sacred Stones, provided that it also has the 12 track patch. Just use the assembly source file and you're ready to go :)

There are some bends that sound odd, and I don't have access to a DAW to edit it so I guess they will stay like that. I also could've juggled instruments in order to condense it to the standard track/sound limitations, but this was much simpler

Pokémon Sun & Moon
These were all done out of request, and some individual lines/samples were pretty hard to discern
Heahea City (Day), Small Ensemble
[MIDI] | [MUS] | [MUSX] | [MP3] | [PDF] | [Original]
Konikoni City (Night), Small Ensemble
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]
Paniola Town (Day), Small Ensemble
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]

Paniola Town (Night), Small Ensemble
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]

Poké Pelago (Day), Small Ensemble
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]

For Every Life, VRC6
[MP3] | [NSF] | [Original]

The Sky Is Falling, VRC6
[MP3] | [NSF] | [Original]

The Sky Is Falling, Rock Band
[MIDI] | [MUS] | [MUSX] | [PDF] | [MP3] | [Original]
Ironically the bass part gave me more trouble than the guitar solo, which was already tough enough (although in hindsight that was probably due to my ears at the time rather than just a drowned out bass...)

Unless a catastrophe happens, I have a few orchestrations in the works that are nearly finished or just need more editing done, so they'll be posted within the next 1-3 months! Some were intended to be performed in person and others were just for the sake of completion. The next post will either be related to 🐝 or 👼🗡️⭐

Hello to all! This announcement is a little different than normal. Today we are thrilled to introduce a new tool that will enable us to produce high-quality sheet music quicker than ever instead of adding some new arrangements to the website.

AI is a powerful tool with many uses. Breakthroughs in health care and autonomous vehicle control have been made in recent decades. AI is also being used for everyday applications like home security and digital assistants. The potential for AI to improve the world is just beginning to be realized.

We are excited to launch Encore!!TM, an AI-powered utility that will assist in producing sheet music for the website, for this reason. Given a MuseScore notation file or a YouTube video alone, Encore!!TM can assist you in creating a Finale notation file because NinSheetMusic excels in creating them. Simply supply either source to the tool, and Encore!The remainder of the arrangement is taken care of by TM. It is even integrated with our current submissions system so that, when it is prepared, you can get prompt input from our staff.

Years of study and months of programming, testing, and improvement went into creating this tool in order to reach the highest levels of precision and accuracy. Encore!!TM was created by fellow community member and computer tamer cacabish and was built using a few critical integrations. In order to give you text-based instructions for a comfortable user experience as you explore the tool, Encore!!TM first makes use of FlatGPT. Zeta, our site-specific bot assistant, was connected to the sheet music generation engine so that it could use all of the site's sheet music files as teaching examples for how our arrangements should be made. Finally, to make sure the model could manage the variety of video game music one might throw at it, we had one of our Code Monkeys, Th3Gavst3r, feed in countless music videos and MuseScore arrangements of all types of styles.

It eventually reaches the point where we are prepared to make it available to the general public after all of this combined with meticulous manual tuning of various parameters. Here it is without further ado!


Please savor being amongst the 1st to encounter Encore and feel free to share prepositions on how we might make it even greater!

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It seems like AI has taken over my account, please send help

On a more serious note, this was a nice surprise. Awesome work to everyone involved :3
...and ofc "right align" doesn't work with tables on this forum unlike "center align," or maybe I'm just doing something wrong

No worries, things happen! Yes, I think it would make the most sense to place the melody text direction where the melody first begins on the lower staff - it looks a bit confusing right now in m. 9 before looking ahead to m. 10.

The other changes look good so I'm ready to accept once that's updated! :D
I thought it would be too crowded, but it actually fits quite nicely. It has been done :3

Site News / Re: Some staff updates (Wednesday, 22nd of March 2023)
« on: March 24, 2023, 07:22:03 AM »
Thanks for all of your hard work on improving the site and community, Maestro, braix, and mastersuperfan! Good luck with your future endeavors!

And congratulations to Xiao and Kricketune, you'll both do great :>

Alright, let's get down to it for this one! :D Sincere apologies for the wait.

My first request would be to use 3 measures per system throughout the A section as well. You have more than enough room to do so given half the third page is empty, and some places are awkwardly cramped like the LH of m. 13.
I changed it aside from putting 4 measures in system 3 on page 2 so that the new section would start fresh, although I'm not sure if I should move the "*melody" text to the 3rd system or leave it as is. And sorry for the long wait myself!

I don't know if I would describe my preference as "strongly" haha, it comes down to what you prefer instead ^^ If you didn't know yet, there's an option under Utilities -> Change to change the note durations, which will probably save some work.
No strong opinion from me
Okay then I guess I really will just leave it. Also, I found that Finale bugs out when you try to change the note durations when utilizing layers because it won't account for rests/breaks in the 2nd-4th layers, and that's more of a pain to copy/paste properly

- May I ask where the second eighth note in the lower layer in m. 6 comes from? Sounds like an A might fit better given the original. Same comment for the same place in m. 16, and 22.
For measure 6, I think I just lowered the E from the piano arpeggio down an octave so that it would continue the upwards pattern of the other measures. Idk why I prioritized that for m16 and put an F for m22, but they have all been changed to A's to fit the chord better

- The exposed tritone in the left hand on beat 1 of m. 10 sounds a bit empty and dissonant compared to the intended lush harmony. I’d strongly suggest filling out the chord with a D between the notes, written in the second layer to preserve the separate melodic line. Perhaps an F below too - you lose the Bb at the bottom of the chord but I think the richness of the chord more than makes up for it. Same goes for m. 12.
I added the extra notes, except in m12 I put an E at the bottom to match m13

- There are actually quite a few grace notes preceding strong beats in the melody in the A section, which are especially more prominent in the original starting in m. 18. Were these omitted intentionally? (If so, I’m fine with it to decrease complexity since we already have all these rolled chords and 16th lines)
Yeah, I did it because I felt that it was already busy enough with the chords and preceding sixteenth notes

- The grace notes in m. 28 don’t make much sense to me with the on-beat chord re-striking the grace notes. Would a roll marking be better, or alternatively a single grace note G that’s tied to the half note G?
Idk what happened here, but I changed the sixteenth grace notes to a single grace note A since it sounds like a bend

- A crescendo would probably be nice in m. 24-25 (just cresc. Text in m. 24 to avoid the hairpin taking up too much space)
- m. 33 second half - the melody sounds like it should be Bn-A-G-Bn. Additionally, the Eb’s below the melody should be natural.

I also decided to add an arpeggio marking to measure 1, and then I lowered the A and E eighth notes for beats 2/3 of m22 in the LH down an octave. As always thanks for checking!

-m9: I'm not sure if I hear the Bn and C on beat 4.5 and 5.5, I think that might just be reverb. The crescendo also suggests that those two notes should be played slightly louder than the previous note, which definitely isn't the case, so if you wanna keep them you could maybe add an accent on the Bn and C on beat 4 and 5?
I guess I'm just used to it being there because it sounds a little empty without the extra notes, so I'll leave those in to mimic the percussion fill and add some accents. Also I think the very last note is actually a D instead of nothing or some reverb of Bn

-m24: I hear a slightly different ending in the harp/piano/pingy part here:

The F on beat 5 does clash a bit with the E-G dyad in the L.H., but this clash is there in m25 beat 3 as well.. It's up to you if you wanna re-octave some parts here or just keep it as is :p
I'm not hearing this personally, maybe someone else does?

-m25: Maybe you could add parentheses or delete the Bn in the R.H., since it's being played in the L.H. as well.
It has been terminated :latiosbeam:

-m26: Was there a specific reason you didn't keep this in 4/4 with 16ths, instead of 2/2 with 8ths? Both work if you prefer having it in 2/2, but since you haven't written the harp parts in 16ths (or 32nds in 4/4), there's not much against having it in 4/4 either.
I originally wrote out the fast harp part many years ago and worked off of that file, so I just kept it as 2/2. I think I'll leave it as is for now unless somebody feels strongly about using 4/4 instead

-m4: The lowest dot of the dotted half note in the L.H. is touching the notehead of the second layer, moving it up a bit fixes this though.
-m19: The chord on beat 4 in the R.H. should be stemmed upwards.
-m28: Maybe you could add a courtesy accidental for the Bb as well in the L.H.?
Done, thanks! And sorry for the wait!

Nice job you two :3 . I'll split my feedback between both hands

Right Hand
It looks like you both intentionally made the beginning simpler so that the last section would have more of an impact, so I'll just be focusing on m51-end for the RH. There are some extra notes that I don't think would be too difficult to include, and I think they would provide a fuller sound

- m52 sounds like there's an F natural here too, and maybe you could rewrite the G# as Ab but idk
- m54 there are some A's here too
- m58 there's an A here that you could lower an octave, but it's understandable if you both want to omit it
- m60 I think it would be better to include A's instead of C's in the RH because the LH is already playing C's
- m61 sounds like there's an E here that's more prominent than the F imo, but you could include both too
- m62 instead of doubling B's you could replace the B's with G's in the RH

Left Hand
- m4 this is more of a commentary (unless this was unintentional or there's another part that actually does this), but I like that the LH was changed to sort of imitate the upwards motion of the vibraphone/mallet part. I hear the original bass part as G (high) -> F# -> D# instead of F# -> B -> D# for the last three notes
- m6 maybe you could imitate the extra voices here by adding an echo note for the low A on beat 2.33
- m10 it sounds weird but I think the C# on beat 3.5 is actually a B
- m14 I think the B is actually two eighth notes instead of a quarter note
- m22 the first three notes sound more like a quarter note triplet (with the last two notes written w/ staccato possibly) rather than quarter note on beat 1 + eighth triplet on beat 2
- m30 I think the B should be two eighth notes but I'm unsure
- m65-68 there's a string pizz. that plays every measure instead of every other measure, and I think leaving it as a tie in the piano arrangement makes it sound slightly empty there

Hi, thank you for the feedback and sorry for the delay. I should be able to respond sooner next time!

this is in 3/4
This is actually in 12/16

When the melody comes in in the lh at measure 9, I think you could add "melody" because I know that some readers will think that the right hand arpeggio is the focus. Either that or putting accent marks on it might help?
I think putting accent marks on all of them would make it look too cluttered, so I put "melody" for now

Then in measure 17 when the rh takes over the melody maybe put a line to show where it moves to.

Measure 23 has pedal markings running into the beaming of the lh.
oops I thought that was hidden, thanks!

It is a little confusing in measure 26 when you right "senza pedal" but then on beat 4 have chords that the rh is supposed to play while also sustaining the melody. Perhaps the bottom note of that chord could be in the lh and the top two in the rh so it'll be easier to play without pedal. Same goes for measure 34.
I'm wondering if for 30-33 you could write "optional pedal" since it would make it easier to sustain the melody and play the rh arpeggio. In general I think there are moments in this section that would sound good with pedal (and kinda need it) so maybe it would be easier to write "light pedaling" or something?
I changed "senza pedale" to "pedal as needed" and flipped the A of that chord in measure 26, but I left m34 the same


I was working on some feedback earlier today and wasn't sure if I should post it in the Replacement Initiative thread after I was done, but now that this exists I don't have to face that dilemma. Anyways, thank you Kricketune for tackling this on!

  • There's no extra beat in between measures 10 and 12. The crash just comes on beat 6 so you could stop the trill by the end of beat 5 if you wanted to. The rest of my feedback will still be off of the current measure numbers though
  • E minor key signature maybe?
  • I think it is better to prioritize reasonable staff spacing over centered dynamics or text, so I think it would look neater if you closed the gap between the staves in the first system and just raised the mf (or you could put it off to the side)
  • Instead of using an octave clef, just write an 8va under the left hand. Static wrote something similar in his Infinite Blue sheet, but you could also probably just write some text
  • m3 RH you should split the rests to go alongside the pulse of the measure just like how you split it up in measure 2/4/5/etc. to show the strong beat
  • m7/8 if you're going to hide the 2nd layer rests, then you should place the 1st layer rests in the default position in the middle of the staff, and the power chords should be flipped down
  • m6/9 RH somehow the second D/G dyads on beat 4.5 are missing the flat accidentals even though they playback correctly. Maybe they were previously tied and that hid the accidentals
  • Idk if it's just me, but the timpani part you accented throughout the entire left hand is either very faint to me (m2-15) or I can't hear it at all (m16-end). When I tried raising it up an octave, this is what stood out to me (the picture is from m15-17):

    Even if you wish to keep your current notes, I personally think some of them clash too much and make it sound too muddy. I think raising the timpani hits up an octave would help with that (and might be easier to play too)
  • m6/9 RH pt. 2 the A-Dn dyad of beat 5.5 sounds more like B-Dn to me
  • m9 RH beat 6 there's a missing E that would be nice to add
  • m12/14 I think the last two dyads are actually an octave higher relative to the rest of the phrase. It might be better to leave measures 12-15 down an octave to keep it in the same register as m6, and unlike measure 9 there's no high strings alongside that phrase
  • m16/18 RH I think there's a tie between the two F's on beats 3/4
  • m17/19 RH I think the last note in the melody sounds more like half notes instead of two quarter notes; also, for m17 maybe you could re-strike the D and Bb harmony for the last melody note
  • m17/19 LH beat 5 I think the F sounds more like a Bb (just like in the picture above about the timpani part)
  • m21 RH beat 2 the F# sounds more like F (or E#) to me
  • m21 LH I think beat 3 sounds like it lasts for a quarter note instead of an eighth note, and the Dn on beat 6 sounds more like an E to me

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