Messages

In m. 19 the 16th notes still need to be flipped.

Done (I think you meant m9).

As for m. 15 I checked again and I am still quite certain that voice goes C-Bb-C. Is one of us getting confused by another part?

I definitely hear the Ab still, it sounds like its played by a French horn.

Regarding bar 15, on listening again I think there might be a C -> Bb, C -> Ab and an Ab -> F (along with the obvious Eb -> Dn).  I don't think it terribly matters what voicing you go for in the end, as long as it's something reasonable (obviously).

I don't hear this line, but maybe I'm just not listening for the right instruments? Either way, I think I would rather just keep the main melody (in octaves) and the horn part, since I don't need m15-16 to be that thick in terms of notes. I would rather save that for later when the energy/tension builds up more.

I'm not sure about the offbeat bass in the final bar still, but the other edits look good to me.  I think it'd make more sense to just have the bass come in on beats 1, 3 and 4 rather than 0.5, 3 and 4 but maybe there's something I'm missing.

Yeah, that was just a mistake on my part, I forgot to change it. It's fixed now.

I fixed m9, 24, and 52 (also I removed the clashing B in 49 too; I thought these clashes sounded cool, but they're also inaccurate compared to the original, so they're better off removed).

For the melody in m49, yes, it does end on a G, but I wanted to emphasize the pickup to m50 with the piano octaves (starting on beat 3 of 49 on a D). I could extend the slur from m49 b2 to the 2nd layer, but I think this would look cluttered.

For m15, I definitely hear an Ab, not a Bb.

I fixed all the things. I didn't add the Eb though since I don't think it makes sense to add on beat 3 of just m26 (or of any measure like it). I only want there to be multiple notes on the hits (beats 1, 2.5, 4, and 5), to better contrast them from the moving line.

- Would suggest a double barline at m. 3
- I don't think the lower slurs in the LH beat 4 of m. 20 really help anything. I'd recommend flipping them so they follow the contour of the grace notes.

Fixed.

- I think the melody in m. 27+ (the accented C's/B flats that are sustained in the original) gets visually kind of lost even with the accents in the right hand, but I don't have any specific suggestions to alleviate this

I moved the Bbs to the 2nd layer instead. It's still a pretty busy section, but I think it clarifies things a bit.

- m. 29 missing a slur?

Yep, fixed.

- Courtesy Gn's in LH of 33? (Maybe 29 too)

I added them at 33, but not at 29 since it's already at the beginning of the system right by the keysig.

Thanks for looking it over!

-Last bass note in bar 4 sounds like it should be a C rather than an A.  (Might want to drop the E for that note as well.)

It is, but I think it's easier if i just leave everything on the same notes there. The rest of the arrangement doesn't often use exact transcriptions of the actual bass part anyway, and I wasn't intending to unless I felt like it would be needed or would sound better. In this case, I don't think it's necessary since the chord doesn't change in this measure.

-In bar 11 the bass actually jumps up an octave for the last beat so at the moment the way you've written is kind of the wrong way round.  Not sure if/how you want to resolve that, but I thought I'd mention it.

I just wrote it like that cuz I thought it sounded neater than moving it up (or even staying at the same octave). I'll leave it for now, but if you think it might sound better at a higher octave I'd be fine changing it.

-Not hearing the extra A semiquaver in bars 17 and 18 and I think it'd be simpler anyway with it left out (and make it easier to accent the right notes).

I stole that note from the drum part because I thought some extra rhythm in that section would sound cool. I think I want to keep it, but I'm going to remove the upper D and E after it to make it easier to play, and so you don't to move your hand around as much.

-The Gs actually start on beat 3 rather than 3.5 in bar 20 in the left hand, but maybe you've omitted that one for emphasis.  Worth pointing out anyway in case it was just a mistake.
-An Ab rather than a Bb on the second note in bar 15.  I get that makes a tritone, but it sounds like what the part you're following there does.

Fixed.

-For the general pattern that starts in bar 1 and then gets repeated a lot, it sounds like the the G at the start and end should be As.  This actually matches how you wrote the similar passage in bars 38-39 and 46-47.

The lowest voice here actually does start and end on a G, it's easiest to hear at the very beginning (it sounds like a horn rather than a violin).

-The contour of bar 46 sounds the same as 38 to me.  In other words the top G should be an E and the G placed beneath.

I definitely hear m46 going up to a G there rather than an E. But while checking I noticed m39 and 47 should have the same contour, so I changed m39 to match.

-I'm not really sure what's going on with the left hand in bars 48-53.  It feels quite specific but I can't tell what part is being followed as the bass has a lot weirder motion in that section.  Maybe take another look at it, or just let me know what your thinking is regarding that section.

I mostly tried to make it a buildup (like m25-30), but with little bits of the original bassline in m49-50. While not very consistent with everything else, I think it makes this section sound more interesting than it would otherwise, and helps to differentiate it from m25-30. The C should not be there on beat 4.5 of m49 though, so I removed it.

-Any reason the tempo marking is size 18 font rather than the standard 14?

No, fixed.

Thanks for the feedback!

I tried playing this on my electronic musical instrument keyboard thing, and I found that there's some easier ways to get the same effect from the bassline without having it be exact. Anywhere that looks like m5, make either the top or bottom 16th notes an 8th note instead (or both). Personally, I would go with only the bottom notes being 8th notes. Anyway, onto other stuff:

• Instead of starting at forte, it might be better to start softer and build up to m5, since that's what the music is doing basically.
• Most of the RH feels fine to play, but beats 3-4 of m10 RH are pretty demanding at tempo. It might be worth getting rid of some of the lower notes, maybe something like this:
  
  Spoiler

  

  [close]
• m13 RH beat 4.5: This 8th note could probably use a staccato.
• m17 RH: If you want, you can hide the half rest and flip layer 1 down since nothing is playing on beats 1-2 in Layer 2.
• m31 RH beat 2.5: This 8th note could also probably use a staccato.

That's all I got! Nice sheet.

Some things I fixed for you/for you to think about:

• The key should be E minor.
• Adjust the spacing and measure distribution to make everything look more even.
• Measure numbers are missing.
• Some of the beaming (like in m3-4) is off; each beat should be beamed across.
• m6 beat 3.5 RH: The D# here would be more easily read/understood as a staccato 8th note rather than a 16th note.
• There are many spots where you technically should be using Bbs or Ebs rather than A#s or E#s (use the flat note for descending lines), but I personally think that in a sheet like this, where there are a lot of chromatic ascensions and descensions, it's easier to stick to just one accidental. So, just keep it as is.
• m8 RH: There are some missing harmonies here, but it's up to you whether you want to add them or not.

Here's the updated files so you can take a look before you edit the submission with them.

[[NS] Octopath Traveler - "The Riverlands"]

[NS] Octopath Traveler - "The Riverlands"
[MID] [MUS] [MUSX] [PDF] [Original]

[PC] Natsukumo Yururu - "moonlight's solitude"
[MID] [MUS] [MUSX] [PDF] [Original]

[ARCADE] Street Fighter III: Third Strike: Fight for the Future - "Alex & Ken Stage ~ Jazzy NYC '99"
[MID] [MUS] [MUSX] [PDF] [Original]

A neat little bunch of new sheets. More Street Fighter will come in the future maybe...

Always glad to see more Super Paper Mario! Nice sheet.

Some stuff:

• The "LH" at the beginning is unnecessary since you already have that F moved down. If you want to keep the marking for extra clarity, I would move it down a bit more so its closer to the bottom staff.
• m2, 6 beats 1-4 RH: Since layer 2 is hidden here, the staccatos should all be flipped, as well as beat 4.5 of both measures.
• m13 beat 1.5 RH: I think you meant to put a slur here.
• m15 beats 5-6 LH: I hear this line moving downward more like beats 5-6 of m18.
• There's some extra room at the bottom of page 1 that you can use so the top title/composer info isn't so cramped.

[[PS1] Xenogears - "Stage of Death"]

[PS1] Xenogears - "Stage of Death"
[MID] [MUS] [MUSX] [PDF] [Original]

A pretty cool little theme.

The only normal battle theme that isn't on-site yet...

When I first looked at this I thought I was going to have more to say, but on a second listen I think in general it's actually a pretty good job getting it down onto one piano.

Thanks!

-Not so important, but the tempo is currently set at crotchet = 48 rather than dotted crotchet = 48 so the playback and midi will be too slow.

Oops, this must've happened when I edited the marking earlier. It should be good now though.

-I know I have a tendency to do this myself sometimes, but perhaps there's a better way to write out the third layer in bar 16 that's less cluttered.  I'm not sure we need to see the exact voice leading on that particular inner part here for any clarity in the performance.  Maybe just putting it in the right hand with a similar marking to the previous bar would be less visually 'busy'.

Done. Looks far better now I think.

-The large arpeggio in bar 31 kinda comes out of nowhere and feels a bit weird to me next to the rest of the accompaniment (and I don't think it sticks out particularly in the original either) so personally I'd dial that down a bit to something more closely resembling the accompaniment pattern you've been using elsewhere.

Though I really like the sound of that flourish there, good point. I would rather keep the chorale-like feel of that section than keep the arpeggio, and there even is a cello part that could've been there instead, so I changed it.

-The lower second A in the right hand of bar 40 sounds like it should be a B to me.  It would fit the pattern better as well.

Yeah, this is what I had before. Listening again, I think it sounds fine, so I changed it back.

I see where you're coming from with the 6/8 3/4 thing.  Sometimes with those pieces they drift between the two and I don't think the way you've written it is really a problem, even if it's not how I would have done it myself.  (In other words, I'm fine with it being in 6/8.)

It's actually in 11/4 but with 6-tuplets, obviously.

[accepted]

Thanks, I spent absolutely ages on this sheet so I'm glad I got something of good quality out at the end.

You're welcome! Yeah, it certainly is really good.

My thinking was in phase 1 where it was slower and the melody was a single line (or just a single harmony note beneath) it was important to get in all the flourishes and stuff.  But in phase 2 where often the right hand is playing big chords at a faster tempo and louder dynamic, the graces were only going to detract from the overall impact of the melodic lines.  You're definitely right though in that there is a lot of subtle stuff going on in those bars.

Yeah, that's kind of what I figured. It's better to give the actual melody more focus in these kinds of big expansive sections.

Hmm it's a good point.  I just went and tried playing it like that but the sudden loss of sound is a bit more stark on piano than it is in the original and so it sounds a little odd.  I think for consistency in that ending it's probably best kept as is but it's definitely good to think about these things.

Yeah, that makes sense. You can't really sustain notes at a constant volume on piano lol

Thanks for checking; I know it's a big piece!

Big pieces are fun to check sometimes! This is one of those fun ones I think.

EDIT: I forgot to mention, but this is officially accepted!