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Messages - WaluigiTime64

#46
Not 100% on this, but tentatively claiming Field of Hopes and Dreams I guess.

May end up being for both solo and duet/two pianos.
#47

"This is it, Luigi."

i finished my final exams and now have no idea what i'm doing lmao
#48
Quote from: Latios212 on October 23, 2018, 06:08:02 PMThe slur I intended partially as a phrase marking to show that the melodic line was separate from the abovementioned chord in the other layer, and also as you mentioned it's left up to interpretation how you'd want to play this melody legato. Given the nature of the bassline under the parts where the RH needs to jump, I think it's perfectly fine to pedal. (M. 20 beats 3-4 would sound muddy but fortunately the RH doesn't have to move in that place so you can avoid pedaling there.)
Oh ok I see. Thanks. Pieces having wacky basslines like this make performances hard lol.

Quote from: Latios212 on October 23, 2018, 06:08:02 PMThanks, Wah! About that section, that first tenuto chord in 19/23 is taken from the other voice in the original, which is why it has the extra harmony compared to the moving dyads.
I get why you split it up into dyads and triads, but what I'm saying is that while you clearly are making the textures thicker for the (first) chords in M.19, M.21 and M.22 (using the background synth or otherwise), you didn't do the same for M.20. I know there isn't a D in the actual one, but I don't see any harm in emphasising the C-D-Eb-F progression sustained by the backing synths, and it helps with consistency within that four measure phrase (if you're going to pad out the other ones, you may as well pad out this one).

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idk it just feels like it's missing something there, because you included the backing synths in some measures but not the other or something
#49
Quote from: LeviR.star on October 23, 2018, 09:10:44 PMThanks, Waluigi, I implemented those changes. Also, thinking back to Top Man Stage, I put some accents in on the last measure.
Cool, though you forgot to make the Eb's into D#'s (in both the LH and RH).

Quote from: LeviR.star on October 23, 2018, 09:10:44 PMAm I really bad with accidentals, or do I get an excuse for this song?
It's... probably just this piece being very weird.
#50
Off-Topic / Re: The Birthday Topic
October 23, 2018, 01:03:29 AM
oh baby a quadruple (?)

Happy birthday to Latios212, Dudeman and Bloop!
#51
This is a really underrated piece. Nice arrangement too.

In M.19-20, there's a transition from F# to B, which is similar to the transposed interval in M.23-24. However, you've written the B chord as having a diminished 4th (B+Eb) instead of a major third (B+D#). You probably made this mistake because of the key signature having Eb, but yeah everything in M.20 is supposed to follow the key of B (so turn everything into a sharp, except for the B naturals and F natural). You did it right in M.24 so you can compare to that.

I'm not sure how correct it is to put all of these sharps in anyway, given the flat-based key signature. It's possible to go Gm-Gb-Cb-Dbm-C-F-??? though personally I find it kinda gross (particularly the Dbm). Someone else may say otherwise though.
Also I'm not 100% on those accidentals in the last two measures (except the very last D chord, which is definitely correct).

For the intro bit you've written the RH as switching clefs a bunch, when you could put the RH line on the top layer of the LH staff for M.1+3 instead (considering they're playing fourths together), so it's easier to tell the intervals when it switches. Having all those clef changes is a bit confusing to read when it's actually fairly simple.

Other than that, I think it's a good arrangement.
#52
Yep. Airhorns and lasers.

I only really have one thing to say:
 - In M.19 from what I'm hearing (I may be wrong, but pretty sure the background synths are only playing two-note chords for that section) you've added a B(nat) to that first chord, which is fair enough, as it keeps it consistent with the thickness of the chords in M.21+M.22. What's a little weird is that you didn't add a note to the first chord in M.20 to add a similar padded effect for that consistency.
 - ...I guess I'm also a little curious about how you slur all that stuff with the bass being weird but it's probably just a "performer's interpretation"-type thing.

Besides that trivial thing yeah this is a good sheet. me like
#53
nsm doomsday real

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#55
Quote from: Brassman388 on October 01, 2018, 10:42:22 PMYou forgot this part.

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Personally I find that beaming over the 8ths gives a better sense that the last note is on an offbeat (because in 4/4 the stems typically go over 4 eighths, and here you can easily see the first and last of that group of 4, with a rest where the third one should be, blah blah blah). It makes just a bit more sense to me. It's also a different scenario to the first half of that measure, because the rests are over the first and fourth half-beats, so it's harder to see that group of 4, etc.

Quote from: Brassman388 on October 01, 2018, 10:42:22 PMIf the top brass was giving you muck for the same thing then we'll leave it as is.
Not sure what you mean by this but I like the idea of not doing anything.

Quote from: Brassman388 on October 01, 2018, 10:42:22 PMI hate articulations for piano. They make absolutely no sense ever.
This such a mood for me performing anytime, ever.
#56
Sounds nice, though MSF has feedback on note stuff up there.

My feedback is to re-space the sheet. The staves are incredibly small, which would be fine if there wasn't so much white space on Page 3. The distance between the staves are also disproportionately larger than the staves, notes and text, particularly the tiny dynamic markings. Just have a fiddle with it.

I'm also rather curious about that key signature in the first section, though I guess the "Db major augmented" sound probably is the reason. I'm interested in how others would have put it.

Besides that, yeah, MSF has more feedback and I'm just chipping in because this is a nice piece and a nice sheet.
#57
Oh look it's ya boi Top Man.

Not really checking any notes, but about 2 things:

M.17-18:

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Try something like this. I feel that what you have currently is making the rhythms seem harder than they actually are. Didn't help that the rests were so far downward as well. If you decide to go against using staccato quarter notes, at least move the rests upwards.

M.38:

I know it's not actually there, but those notes feel like there could be some more emphasis. Considering all three pitched channels are playing the same notes, you may as well get that idea across, even if two of them have the same pitches.
Basically I suggest making the LH into octaves (I say the LH because the RH has to re-prepare for M.5), hitting the octave notes between the ones you have currently.
If not, maybe slap some accents there. Or both. idk do whatever lol.



Otherwise, very nice sheet. The notes seem fine from a quick listen.
#58
Quote from: Brassman388 on September 30, 2018, 05:21:31 PMThe first 8 bars don't look bad as far as implementation, but the RH could possibly moved back behind the repeat. I'm not sure what the parenthesis note on the & of 3 is for; maybe as an optional note to hit those bass octave B's??? I would just leave it out if that was the case. A lot of stuff going on there so if you feel like dropping a note or two for the performer's sake, I wouldn't hound you for it. Now that I think of it, whenever you have a middle staff like you do, it's usually up to the performer to see how they could handle that section. Just some food for though.
Hmm...
First off, a long time ago I asked about three-stave piano parts and was recommended to use masking instead of having it behind the repeat bar. That's why I have it like that (plus it makes it look fancier than it actually is, hehe).
The parentheses are intended as optional notes, but it's only because I find it would be easier to give the chords a greater strength if there was a gap for the pianist to get into position to strike them. However, it is still possible to hit the chords well without it, so the parentheses are more of a simplification indication. I'm not 100% on how to display this, though.
I'll think about this stuff more when it arises (I've only ever made 3 arrangements with a 3-stave part).

Quote from: Brassman388 on September 30, 2018, 05:21:31 PMIn bar 10, you have this syncopation going on from the & of 1 to the downbeat of 2. Those eighths probs be disconnected. Finale likes to connect them because of the 44 meter, but since you're doing some intricate stuff, it would be easier, in my mind, if you kept them apart. Same goes for the & of 4 in the same measure, and continuing rhythms like it.
This sounds good to me. Fixed.

Quote from: Brassman388 on September 30, 2018, 05:21:31 PMHalf notes are pretty long themselves already so I think tenuto marks are redundant.
Tenutos aren't just durational articulations; they imply an extra bit of stress on the notes, hence why I put them there.

Quote from: Brassman388 on September 30, 2018, 05:21:31 PMThat's all I got for now, let me know if I can help you with anything I suggested.
Thanks for taking a look! Files should be updated now.
#59
Site News / Re: Update, Monday 1st of October 2018
September 30, 2018, 08:29:19 PM
Woot!

Quote from: Yug_Guy on September 30, 2018, 07:49:37 PMIf my calculations are correct, if the rate at which these updates are posted increases at an exponential rate, then by 2024 each update will be posted exactly 30 seconds before the previous one.
...shouldn't the gap between each update approach 0 seconds without reaching it..?
#60
Quote from: Libera on September 30, 2018, 04:40:04 PMCould you add the Gn in the second chord?  It sounds odd without it.
I was hesitant at first but it doesn't actually sound bad at all so I added it in. (it's just an Fadd9 chord lol what was I thinking)

Files updated.