I was convinced that the whole ensemble was stacatto in those places, but I think the bass root in the piano is actually the one thing that's held. It does feel more natural for those notes to be held like m1 and 4, so I added the tenutos.
Up-to-date news?! Preposterous!
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
Show posts MenuQuote from: Bloop on May 21, 2022, 05:39:54 AM-m32: Maybe you could add a courtesy accidental to the An in the R.H. here, as it could be accidentally mistaken for an A# (you also added one in m42 it seems)Yeah that's a good spot for one, added it
Quote from: Bloop on May 21, 2022, 05:39:54 AM-m37-38: I think I hear a C# on beat 1.5 of these two bars in the L.H., but I'm not 100% sure.It's definitely a bit difficult to pick apart from the F#M vocal chords in m37. That said, including both notes together on beat 1.5 sounds too rich, and I like the sound of an F# better than a C# because it creates a stronger separation from the C# on beat 4.5 of the measure before and avoids carrying over the C#M sound. I can hear an F# much more clearly in m28 though, so I'm more convinced that's what's really played.
Quote from: Bloop on May 21, 2022, 05:39:54 AM-m66: Maybe instead of tying the R.H. note to that 8th note, you could just change it to an 8th rest, so it doesn't look like there's a connection between that note and the next line.Oh yeah, I think that's a good idea! Gets rid of that super tall stem too
Quote from: Bloop on May 21, 2022, 05:39:54 AM-m67: I don't hear the high Eb on beat 2.5 of the R.H., I'm pretty sure that's just an overtone.I still hear it really clearly, at about the same volume as the E from m66 in fact. It's clear enough that in my ears it overpowers what would be the fundamental lower octave if it were an overtone, and I don't think that's characteristic of piano timbre is it? There aren't really any comparable overtones in the adjacent notes either, so I'm convinced the higher octave is well-defined enough that it must've been played intentionally, and I've still left it in.
Quote from: Static on May 11, 2022, 06:59:57 PMm34 RH beat 3.5: I meant an E in the RH. Although, now that I'm listening again I hear that D in the LH too.Oh right, I totally misread and missed that. Added it
Quote from: Static on May 11, 2022, 06:59:57 PMI was hearing those extra notes in the piano part specifically (along with that E in m34). It might not hurt to transcribe those parts as they were performed, even if it is a bit more awkward to play (I think this was a live recording, wasn't it? maybe not, idk).m44 RH beat 3.75: I think I can make out an F# in m44 but I can't hear anything resembling a C# and it would be difficult to play anyway, so I added just an F#.
Quote from: Static on May 09, 2022, 10:19:05 AMm12: I know this is nitpicky, but the diminuendo here is ever so slightly not aligned with the crescendo in m10-11Thanks for being nitpicky, I spend hours pixel-perfecting sheets myself lol. I used the align dynamics tool this time so it should be right
Quote from: Static on May 09, 2022, 10:19:05 AMm32 LH beat 3.5: There is a low C# hereYup I hear it, added
Quote from: Static on May 09, 2022, 10:19:05 AMm34 RH beat 3.5: There's an E under the G# hereI hear a D natural in the piano actually. I think the timpanis are tuned to E, but the D natural chromatic approach seems more in line with the low C# you mentioned in m32. I added it instead.
Quote from: Static on May 09, 2022, 10:19:05 AMm44 RH beat 3.75: There are some additional notes (C# and F#) under the A#I don't hear any new notes, all I hear is the sustained F#M in the chorus with those pitches. If anything I might barely hear an anticipatory F natural on beat 3.75, but I don't think it sounds very good played there since F natural would be immediately reiterated on the next bar. Speaking of, I removed the lower G# octave from m45 because I didn't notice it's kind of an awkward position coming from the 16th A#.
Quote from: Static on May 09, 2022, 10:19:05 AMm48 RH beat 2.5: I think there's a C# under the F#I don't hear this one either. I'd rather keep the clarity in the melody line anyway, like it does in m54
Quote from: Static on May 09, 2022, 10:19:05 AMm67 RH beat 2.5: I'm not hearing the high Eb hereI hear it pretty clearly myself, and I'm pretty sure it isn't an overtone or anything. Even though it's kind of weird palcement, I think the regular ascending scale sounds kind of bland leading into the most complex voicing of the song. I think adding the octave helps a bit.
Quote from: Static on May 09, 2022, 10:19:05 AMm69 LH beat 3: There should be a Db hereYeah I hear that too. Added it
Quote from: Static on May 09, 2022, 10:19:05 AMm74 LH beat 1: I think there's an additional Bb an octave above the low one.I think you're right that there's an octave, but I think an A1 is too low. The tone down at the bottom of the piano doesn't sound delicate enough to me, so I added an upper octave instead.
Quote from: Static on May 09, 2022, 10:19:05 AMm81-81: Maybe put a crescendo here like in m76-77.I left it out on purpose just like in m21. Most of the phrases in this song fade out at the end, and I don't want the energy to increase into a rallentando/smorzando
Quote from: Static on May 09, 2022, 10:19:05 AMIf you want, you can disable all those natural signs in the key changes by doing to Document > Document Options > Key Signatures > uncheck "Cancel outgoing key signatures". Unfortunately, this also includes key changes from more to less sharps/flats, but luckily you don't have that here so it won't be an issue. I just think doing this eliminates unnecessary visual clutter.That's a great tip, I had no idea you could do that! Thanks, looks a fair bit nicer without those accidental clusters
Quote from: Static on May 09, 2022, 10:19:05 AMAlso nitpicky, but Halo 3 was published by Microsoft Game Studios specifically, not the company as a whole... it's probably fine either way though.I was going off the copyright credit on the soundtrack boxart. Bungie isn't actually even credited as copyright holders but it feels like they should be on there too ¯\_(ツ)_/¯
Quote from: Static on May 09, 2022, 10:19:05 AMGreat arrangementThanks!
Quote from: Bloop on October 31, 2021, 02:39:30 AMThey're still there in m12 thoughWhoops guess I forgot about the second time
Quote from: Bloop on October 31, 2021, 02:39:30 AMI think I see what you're thinking, but I think the Ab is just a passing tone, not a part of the chord. m7b9 chords don't appear that often anyway I believe, because they don't really sound that good. The Gm7 isn't a strange chord to have in Eb major, so I don't think people would quickly forget the Ab's they played before.Alright sounds fine to me, changed it back to Gm7 with no courtesies
Quote from: Radiak488417 on October 30, 2021, 07:48:59 PM-For m8 RH, I've always heard the melody note on beat 3.5 as being an octave lower than you currently have it. I know it's a weird jump from the chord on beat 3 but that's what I hear as the more prominent note (you could leave out the F for playability if you want). I also hear a D on beat 4, you could include that instead of the F there if you wanted. Also shouldn't the chord symbol here be something more like Fm/Bb or Bb7sus2?After talking about it a bit, I think this is what's going on in there
Quote from: Radiak488417 on October 30, 2021, 07:48:59 PM-For m23, you have the chord labeled as a Bb9sus in the sheet, and Static listed it as a Bb9sus4, but the 4th isn't actually there—it's a 7sus2 chord. Whenever I see "9sus" or "13sus", I usually infer that it's a sus4, but in this case since it's a sus2 which is a bit more uncommon I think just calling it an Fm/Bb might be better. I'm no expert on this though, so let me know if I'm wrong.So we talked about this for a bit and it seems like Bb7sus2 is a better representation of the movement from V to I, but chords are very hard so if anyone else can present a case one way or the other I'd love to learn lol
Quote from: Static on October 29, 2021, 05:08:04 AMLooks great! The ties especially look much better now, but if you wanted to do some more tiny adjustments, I'd align the right side of the ties as the beginning of m4, and in m7.I'm all about tiny adjustments. Fixing the ties already took hundreds of them, so I can do a couple more
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m4 and m12: The Fb's in the second layer here should be En's too.Oops fixed em
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m11: The courtesy accidental Ab here isn't really needed right? You're not coming from an An or something.I put the accidental there and in m3 because Ab isn't part of Gm7 so I thought it might be easy to miss, but maybe it's just a m7b9 chord instead. I changed the chord symbols to include the b9, but I'm still new to these chord things so let me know if that's right
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m20: The should be a staccato on the 8th note Bb at beat 4.5Ah yeah it looks like Finale keeps the midi duration from the import despite the written duration, so I didn't notice when listening back. Yet another thing to watch out for I guess. I just changed them all to staccatos, the m22 durations feel more staccato-y to me
-m22: Beat 2 and 4 (the C and Eb) are played shorter, maybe add staccatos or change them to 8th + 8th rests?
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m23: I hear a grace note C before the D before beat 3.Oh yeah, I had it in the original project but I must've accidentally deleted it at some point. Good catch
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m25: You can add the G to the grace note before beat 4.5 too: the thirds aren't that hard to play. If you do prefer a single note, I think it'd be better to choose the G anyway, as that is the melody.I mentioned this is Static's feedback too, but I think it's kind of difficult to cleanly move 4 into 3-5 there at high tempo. It's a lot easier for me to just roll the whole hand from 2. I think either the top or bottom grace note is able to get the point across fine and they sound much different at tempo, but I'm not a very good pianist lol so if it's not actually a very hard fingering I can still change it
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m28: There should be a staccato on the 8th note D at beat 4.5More of 'em, very sad
-m29: Again a staccato on the D but now on beat 4
-m30: And like in m22, a staccato or 8th+8th rest at beat 2 and maybe beat 4, though that one is a bit longer.
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m33 and 41: I hear a grace note Cn before beat 1I left these grace notes out because the player doesn't have much time to reegngage the pedal before they have to lift off the chord and move to the arpeggio, and I didn't want them to catch the clash from the grace note. Also freeing up the pinky lets you use it for the Eb to start the arpeggio which is a slightly nice. This also made me realize m37 wasn't the easiest thing in the world to pull off, so I moved the bottom Bb octave up to Eb instead
-m37: Grace note Ab here too
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m45: Though not necessarily wrong, maybe you could rewrite the grace note before beat 4.5 as a C# instead of a Db, as the song is in a modulating part where these chords fit into Eb major more.I'm not sure about this one. I think it might be up to the player, but it's easier for me to parse the single natural accidental as a minor second rather than reprogramming my brain for the only sharp in the piece At least for readability, I think leaving it as Db is more useful than indicating where the modulation is going
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m17-32: Maybe you could add tenuto mark ings or legato slurs to the notes that don't have a staccato dot (except the tied notes), so it's a bit clearer which notes aren't staccato too.I added some slurs, I think they make less visual clutter than tenutos
Quote from: Bloop on October 29, 2021, 07:23:23 AM-m33 and on: I'm not really sure if the bass pattern here needs those extra octaves and fifths: this voice is pretty subtle (if there at all sometimes), but it makes the left hand pattern a bit tiring because of all the repeated notes in the pinky. I think a better pattern would be something like the beginning part.I changed up the pattern a lot to have fewer doubled notes and a lot of alternating octaves instead. I added the fifths because unlike the first section the RH doesn't play offset accompanying chords, so the continuous bass octaves sounded kind of lame to me. There's a low guitar in there playing power chords that you can pull from, so I included some fifths for a little additional motion
Page created in 0.147 seconds with 18 queries.