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Messages - Static

#1141
Oh, I hear that now. That note has now been changed.
#1142
Ah, OK, that makes sense. The fermata in m46 still looks like it's a little off-center, but everything else looks good.
#1143
I think that makes sense. The rest of the changes look good, so I'll go ahead and accept.
#1144
Nice sheet, I just have a few things here:
  • Feel free to include the lower harmony in the RH voice - it'll make it harder to play but players can just leave it out if they want. I think it adds a lot to the sound of the piece.
  • This is technically in Eb major, so the key signature should be 3 flats rather than 4.
  • The third-to-last 8th note in m4 LH should be one octave higher.
  • The left side of the tempo marking should be aligned with the left side of the time signature.
#1145
  • You should consider writing in explicit articulations in m9-16 RH. Most notes are staccato, but some (m12 beat 2, m16 beats 2-3) aren't. Also applies to m62-76 RH.
  • Beat 3 of m18 RH sounds like it should be staccato 8th notes.
  • Beat 3 of m48 RH sounds like it should be staccato as well, you might want to put that in to differentiate those notes from the 8th notes in m49.
  • m54, 56, etc. LH should have 16th notes instead of 8th note triplets. I'm not sure if you put triplets to make that part easier to play with the 16ths in the RH, but I'd argue that a fast 3:4 pattern like that is harder to play. I'd just use normal 8th notes instead for that purpose (or just leave it as 16ths).
  • Typically, pickup measures are not included in D.C. directions anyway, so you can just use that instead of D.S. Up to you though, since the D.S. makes it very clear where to go.
  • Your page numbers/titles and copyright info are outside the margins.

Edit: I forgot to add this to the post, but I'm fine with how you've written that m46 section.
#1146
Quote from: SlowPokemon on October 26, 2020, 12:36:19 PMAs I said, I do not give permission for my existing arrangement to be transposed. This is ridiculous. The thing is, the reasons you're giving are the same as outright banning arrangements beginning in seven accidental keys—none will ever be accepted if you guys continue upholding these musically conservative opinions. Maybe you're okay with that, but as I said with all due respect, I think it's a disgrace. You guys have really surprised and depressed me here. Sorry to Levi, who said I've been posting "attacks" on the moderators, but if you go back and read all my posts I'm literally just respectfully disagreeing.

Nowhere in this thread did anyone say that you can't use 7-accidental key signatures. We have examples of them already on site like this and this and this.

Look at what all these arrangements have in common - a lack of copious amounts of double accidentals. The key signatures were selected in order to reduce the amount of unnecessary visual clutter in the sheets, which makes them significantly more approachable and enjoyable to read through. It's the same reason why Eb minor might be picked over D# minor in certain cases.

I don't really have anything else to add...
#1147
Oops I accidentally edited your post instead of replying... but now for a reply:

Quote from: LeviR.star on October 26, 2020, 09:14:53 AMThough I don't appreciate your personal attacks on the updaters, I understand your intentions, Slow, and agree with Static that it's a noble gesture. Having both A# and B-flat minor variations isn't a change to your arrangement, it's just an alternative for those who aren't skilled enough to play in the former.
Just to be crystal clear here - I'm not arguing that A#m is harder to read; I'm arguing that it takes more time to read.
#1148
This will be my last post on the subject since I don't really have much more to say, but something here kind of bothered me.

Quote from: SlowPokemon on October 26, 2020, 05:48:24 AMThen don't accept it. I just don't really think it's appropriate that you won't despite the fact that someone approved it and I'm not breaking any rules (and like I said, I think adding a rule about using simpler key signatures, which you're basically enforcing here, would be a disgrace). I won't be changing it and I don't give my permission to change my existing arrangement.

As a user of this site long ago, seeing this arrangement would have really intrigued me and gotten me excited, and I know there are others like me out there. Sorry that you want me to bend on this, but I won't.

The thing is, changing the key here has nothing to do with your arrangement itself - we aren't asking you to change notes or chord voicings or any actual arrangement techniques that you used when writing this out. We're merely asking that you make it easier to read.

You might have gotten really intrigued by seeing something like this, but as I've said like 2-3 times already, most users of this site are not trained musicians or in training or music theorists. Our sheets are not meant to challenge our reader's ability to interpret music theory concepts, they're meant to convey the music clearly so that anyone can just find a sheet and play it without thinking too hard about reading it. Working on the music itself - the phrases and notes and dynamics - those are the most important to work on. It's a noble goal to try and educate a bunch of random people on this stuff, and I really see where you're coming from, but it really isn't within our scope here and I don't think it should be.

Music notation are just that - notation. What matters is the audio that's produced from said notation. If you go ahead and add a 2nd page with the same song in Bb minor, I guarantee you most people would just read that one - why go through the headache to play the A#m one?

You're free to still refuse of course, but I just don't understand why this needs to be written like this.

#1149
Looks great, I'll accept now.
#1150
Looks great
#1151
  • In m2 LH and similar places, I think it would look less cluttered if you replaced some of those 16th notes with staccato 8th notes like this:
    Spoiler
    [close]
  • In m8 LH, you might want to consider breaking that 8th note beam in half to keep in line with all of the other 16th note beaming - I personally think it makes it look more consistent, but up to you.
  • I do not hear the 16th note on beat 2.5 of m19 or 21 RH.
  • The LH in m27-28 and 33-34 sounds like it's just the lower octave, but I'm fine keeping it in octaves for some extra punch.
  • For those changing tempo markings, you do not need to include the "quarter/half = 102" thing since the first part "quarter=half/half=quarter" already tells the reader this information. No matter what note you switch to, the pulse will always be 102bpm since that's what you set at the beginning of the piece.
  • This really nitpicky but usually in jazz I see dotted quarter notes on beat 1.5/3.5 instead of tied notes like you have in m31 and 37.
#1152
I don't really have much to say here, looks really good
  • The fermatas in m6 should be lined up - so you should write the RH as two tied dotted quarters, the second one having a fermata.
  • The rolled chord marking in m10 would look better if it was a tiny bit closer to the note rather than the barline, and the one in m32 should have some more space around it.
  • If you have multiple tempo/style directions on the same system, it would be nice if they were lined up, provided there's space (like in m2-4 and m13-14).
  • I'd be fine writing some of those tied LH rhythms as dotted 8th notes (I'm referring to spots like m18-20), since you use a similar beaming pattern in places like m11 and 15-17. Maybe it's just me but I don't really like the look of having ties in beamed notes, but it's up to you.
  • The small fermata in m46 looks like it should be moved just a hair to the right so it's centered over the notehead.
#1153
Here...

is a bump for you
#1154
Here's another bump. You still around?
#1155
Here is another bump for you.