Messages

I should have listened to this transcription back in your thread, Latios212.

• I agree with Zeila on adding the harmonies to Bars 13-16. I actually think the harmonies get dropped in Bars 17-18, so I don't think those 2 measures need to be adjusted similarly.
• Bar 20 actually mirrors Bar 4 less than you'd think - I don't hear the G above Middle C in the original for Bar 20 - the F above Middle C is a lot more prominent there.
• I don't know whether your current set-up in Bar 40 is for ease of playing, but the "brass" harmonies actually start in Beat 4 there in the original, not Beat 4.5 like you currently have it.
• Whenever I sing Bar 47, I sing the melody's (right hand) C note an octave above what you have written there (probably influenced by the high glissando there). While I do hear a lower C in Bar 47 in the original, it's actually a Middle C so I don't think you need to respect it. I'd also appreciate any nod towards the high glissando in Bars 47-48 - even substituting Bar 47's melody C note with the first part of the glissando would be enough.

I haven't come up with jazz for a while, either - I guess I mainly compose them for concerts. Here's my newest such piece: Premiere at the Battleship!

I haven't come up with a video game level theme in a while - now I have for a winter/snow level: Winter Joy!

Came up with the full version of this etude at the piano today: here's my Etude in B Minor ("Off-Beats")!

Also forgot to tell you about this very slow waltz I composed for a contest last month: the Lilliputian Waltz!

Managed to create a piano transcription of non-(strictly-)video game music: the OverClocked ReMix "Zaghnol Comes", arranged by Juan "SixtoSounds" Medrano, itself a remix of "Hunter's Chance" from Final Fantasy IX!

My piano transcription of "Zaghnol Comes": https://musescore.com/user/9996931/scores/6900599

"Zaghnol Comes"

https://ocremix.org/remix/OCR03404

I'd noticed that you've had previous trouble downloading NinSheetMusic files. Does the over-10-minute-long file open and play back properly? Does it sound like the sheet music when played back?

Responses below since I fixed up the Musescore website version of my Multi-Man Melee 1 score:

In the future it would be more convenient if you provided a .mscz or .musicxml file, but if you would rather not then that's ok

• It would be nice to include double barlines before key signature changes

In retrospect, I guess this theme is sectional enough that the double barlines at key signature changes mostly serve a purpose form-wise. The only double barline at a key change I still omitted is the Bar 4-5 one because it's still part of the intro and keys change the fastest there. (The only double barline I put not at a key change is at the start of the solo between Bars 38-39.)

• m1-2 LH there are low F#'s playing here

Added the low notes. I can't seem to hear them at all in the original unless I put the speed at 50% or lower, though, so I kinda originally grouped them with the crowd noise in those measures and didn't include them at first.

• m15/23 RH beat 4.5 lower note sounds like C

Listened to there a bunch and kept hearing that lower note as E flat instead. I did start hearing the lower note of the RH Beat 2.5 in Bar 23 as G, though, so I changed that. I decided to keep Bars 15 and 23 consistent with each other because the Bars 15+ version actually uses sweeps instead (which I don't really feel like making people play).

• m16/24 RH beat 2.5 lower note sounds like Eb; beat 4.5 lower note sounds like C

Good ear for both notes. I changed them accordingly.

• m17 RH beat 2.5 lower note sounds like Ab; beat 4.5 lower note sounds like G

I kept listening to Bar 17, and I kept finding that its RH Beat 2.5 sounded more like it was harmonized with G than A flat. It was hard for me to hear any lower note in Beat 4.5 of both Bar 17 and Bar 25, though, so I switched both to G like you suggested.

• m18 I'm not sure if the 32nd notes really add much, but if you still want to keep that in then you should flip the stems and raise the half rest up to it's default position

I prefer the 32nd notes in Bar 18 and Bar 26 to make differentiating between them easier (just like they're easy enough to differentiate when listening to the original, but only because of those flourishes). Flipped the voices, but I'm now worried that the half rest in its default position will make people play the whole note as if it's a half note instead. Left the stems as-is since the 32nd-note stem direction is what Musescore defaults to and the dotted quarter-note stem looked wrong when pointing up instead of down.

• m20 I'd personally write the fall as a gliss extending to beat 1 of measure 21

Listened to that measure more and found the falls(/glissandos?) actually jumped higher again in Beat 4 of Bar 20.

• m25 RH beat 2.5 lower note sounds like Eb; beat 3 I think it would be better to change the D to C

Good ear for both of those notes. I changed them accordingly.

• m31 RH I don't think this is feasibly playable

Tried playing that passage in thirds and it's a little beyond my skill level, so I removed the inner voice for playability's sake.

• m35-38 LH I think it would be nice if you wrote out the guitar rhythm for one of the A's while keeping the other sustained

Listened to that passage yet again in the original and, as far as I can tell, those low guitar(/bass?) notes in the original really are sustained and are not playing a shorter (e.g. quarter note) rhythm. Are you confusing the low guitar notes with the voices on top (which echo like crazy, which is more apparent at slower speeds)?

• m43-46/51-54 LH why did you exclude the 5ths here?

I just plain don't hear the 5ths there at all, even at slower speeds, unlike the 5ths in the F sharp minor(/major?) solo sections.

Why do I keep transcribing music I find I need help with later?

My transcription of "Multi-Man Melee 1" from Super Smash Bros. Melee:
https://musescore.com/user/9996931/scores/6882325

Super Smash Bros. Melee

So I thought that, just like with "Face to Face", I could transcribe both hands by ear; therefore, this was achievable. Oh boy, did the right hand of Bars 40-54 shake my faith in that.

I passed on transcribing the quietest lines. I probably simplified the right hand of Bars 40-54 or otherwise got them mildly wrong. I may have gotten lower dyad/chord contents wrong. I may have gotten octave voicings wrong. I didn't bother transcribing nearly all of the pitch bends. I probably skipped a lower inner line or two. I definitely simplified the right hand of Bars 15-18 and likely Bars 23-26. The chromatic slide in Bar 10 is an approximation, as are the second half of Bar 2 and every single 32nd-note passage. I notated some places with falls because what's actually there is far too complex and filled with pitch bends, but at least it generally goes down.

Finished Multi-Man Melee 1:

• Musescore: https://musescore.com/user/9996931/scores/6882325
• Original: https://www.youtube.com/watch?v=ivuOaU4wjL0

Any fixes to suggest for this arrangement before I attempt to put it through the cacabish Musescore template and XML converters? I kinda winged the second half of Bar 2 and the precise chromatic drop of Bar 10, and I had particular trouble with the right hand of Bars 40-54 (the entire solo) and pretty much every passage with a 32nd note in it and/or a fall.

I'll claim Multi-Man Melee 1; I've been thinking of transcribing that for a long while.

Yeah, I need help with my latest transcription again:

My transcription of "Face to Face" from Iji:
https://musescore.com/user/9996931/scores/6873305

Iji

(Higher quality)

(Notably does not drop in volume at the end)

This theme uses a lot of distorted electric guitars, and I swear the high chromatic notes in this theme are microtonal. (All those high notes in Bars 2-17 and Bars 55-71 are dodgy.) I therefore had quite a lot of trouble transcribing this theme period. In particular, I had extreme trouble with the accompaniment of Bar 33 and Bar 104 (to the point where I may have made up the middle left-hand notes), I may have transcribed the right-hand E flats and D's wrong in Bars 46-53 along with the last right-hand quarter note in Bar 50, the higher left-hand accompaniment notes in Bars 2-28 and Bars 54-63 are dodgy, the right-hand single notes in Bars 22-24 and Bars 39-40 are very dodgy, and all the small notes are dodgy.

In the meantime, I may have moved around the octave voicings of some notes, I ignored nearly all the pitch bends, I notably left out a prominent inner voice in Bars 106-107 (and a bunch of other single notes) because those notes were hard to reach while playing the existing parts, I ditched any power chords that would have been in the middle of left-hand accompaniment octaves because they plain didn't sound any good - neither in Musescore nor on my actual physical piano - and I definitely inserted a lot of notes corresponding to drum beats. ...I actually did forgo adding notes for drum beats in some places, though, where the right hand already carries enough momentum.

Managed to compose another piece this July - here's my rather march-like Prelude in B Flat Minor!

Here's my 5th monophonic video game theme transcription: the title theme of Kirby Fighters Deluxe!

My B♭ clarinet transcription of the title theme of Kirby Fighters Deluxe: https://musescore.com/user/9996931/scores/6837055

Kirby Fighters Deluxe

[B 8th note]

Hey neat, one of my favourite Mega Man-series themes! (Why do the X and Zero sub-series have better music than the others, IMO...)

The rhythm of the Bar 1 run actually doesn't sound like it's 100% there - I actually hear a 16th-note triplet of D#-C-B in the original on Beat 4 instead of your D#-C.

I hear the highest note of Bar 10 as the closest B whole note above your whole note F# there.

The 16th-note drumming pattern sounds like it goes through the entirety of Bar 14 in the original, to the point that your left-hand accompaniment sounds off.

I hear the melody of Bar 24 in the original as D dotted 16th note -> C 8th tied to 16th -> B 8th note -> A 8th note -> B 8th note -> C 16th note -> D dotted 16th note. Note that I bolded all the notes that don't match your sheet music.

I appreciate your efforts to transcribe the original's busy whirring accompaniment with red notes (at least they're red in Finale), but the crunch between C and B in Bar 25 sounds too dissonant to match the original.

I hear the melody of Bar 32 in the original as B dotted 16th note -> D 8th tied to 16th -> C 8th note -> B quarter note -> A 8th note -> B 8th note. Again, I bolded all the notes that don't match your sheet music.

Man, I haven't tried a set of variations on classical music for a long time. Here's my latest one...which I started several years ago: Variations on Beethoven's Turkish March!