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Messages - Brassman388

#106
I'll give it a go later today and see if you's guys like those changes.
#107
I didn't know we could do stuff with a voice staff. That's pretty cool.

And it's a cool tune as well, easily able to get stuck in your head.

But as always, a couple more things.

The direction for swing could be as simple as . Then when the straight section comes in at m. 36, then you can have just the text "straight." No need for the eighth note at the end of it. Then same thing at m. 52 when going back into swing. When you're layering expressive text or metronome text, always have them side to side, not stacked on top of each other like you have it in the first measure.

Also, when you're dealing with an accompaniment part for piano, you want to reduce the soloist line by at least an additional 25%. This is only for the accompaniment part, which is what we're looking at. The soloist gets a part with just her staff on it.

Also, since you're not dealing with just one performer, rehearsal markings are kinda nice. Those do stack on top of everything else, so make sure you have enough room between each system.

One last thing. Go though once more and check for small things like this:








Notice how there are missing rests? One last check wouldn't hurt.

That's all I got so far. I'll go though once more when you update the files.
#108
A sad, sad song for sure.

More small things;

Like the margins and the placement of the title within those margins. Along with the spacing of the systems in the first page.

I'm all fine with the pedal markings since everything is slured anyway, I'm guessing they're they're for performance rather than direction.

Quote from: Libera on September 15, 2018, 02:31:46 AM- The G in bar 32 sounds like a trilled semibreve to me.

Yeah, I don't hear it quitting anytime soon, either.

Other than those things, it looks fine and sound fine.
#109
These newer video game soundtracks are pretty cool.

Man, there was no way to incorporate that little twangy thing in the beginning, huh?

Margins are all weird, but not unsightly. Probably a very conscious choice. However, the title and copyright should probably be inside of the page margins. I feel that's why it looks a little squished both on top and bottom.

The 8vb in the first measure could probably be moved more to the bottom of the staff. Looks a little janky sticking out like that.

Some of the placement of the dynamic markings are a little off and could be centered more. Like the fortissimo in m. 53 that's colliding with the double bar line. The mezzo forte in m. 38 is problematic since you would have to split open the staves which I do not recommend. It's fine as is.

To give more room to move things around, I would go through each system and see if there's any space you could get rid of. Using the staff tool you can move each staff on each page without moving other staves on the same page. Unless you select the whole staff by clicking left of the staff. To avoid this, just use the handles themselves and reduce the space inbetween each system.

Let me know if that works, and if it helps.
#110
Haha, I like it.

A few things.

All the notes are short except that dotted quarter in measure 2. Best give all the eighth notes staccatos and reduce the quarter notes into eighth notes.

Secondly, there's harmony going on in measure 2 on that same dotted quarter note. I believe it's a fourth above from just listening to it and humming it, so I could be wrong.

Something small; maybe you don't need to have the indent on the first system since it's the only line of music? I'm looking at it, and I feel it looks lopsided. Additional opinions may be needed.
#111
I would guess it's for visual consistency, I which case I would agree with that choice.

Also, don't forget to move that pesky quarter rest back a little.
#112




First measure is correct, the second is incorrect.
#113
Quote from: Latios212 on September 05, 2018, 05:03:21 PMFlip the slur back and move the quarter rest back in the second half of m. 12.



   



I didn't move the rest back, tho.
#114
I mean, that's fine and all. I have a thing for making sure that both hands are active most of the time. Also, this piece is really short, so there's no implying of anything. Unless they play it forever which is just weird. They read the notes, they play the notes. Simple as that. I'm just making sure that it looks, sounds, and feels balanced.
#115
Up-up-updater bumb!
#116
Yeah, never heard it but I like it.

Two things; This piece could definitely benefit from 4-part harmony, and there are grace notes in the beginning and ending of the piece.

That's pretty much about it, and it looks good from what I see.
#117
I'm not touching these until they're updated.
#119
Cool.

Just remember, if you're going to write it in 12/8 you need to divide up all those notes like half notes into dotted quarter notes tied into eight notes, staccato'd quarter notes into an eighth note followed by an eighth rest, along with the rests as well. Be consistent.

Also, check that sax solo in the last section, there are some subdivisions that are missing.

You're almost there, keep it up.
#120
I love me a good jazz piece.

While I don't hear anything weird tonally, I feel like some of those triplet counter melodies are interfering with the main melody. maybe move them around to the other hand, change octaves? There's other things going on besides those triplet interjections that I think could serve the piece better.

Keep on with the keep on.