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Fourth, moving the chord there to the second layer and keeping the bass in the first, such as this:

This, but like this.

The link is ded.

I personally don't like the beaming because it's essentially not working together, I hear. It's just a rhythmic pulse deal.

I dunno, it's a like, a consistency thing for me as well. Like, if you have cells of two notes doing the same thing over and over again, and have the first beamed a certain way and another beamed another way, it creates a consistent way it looks. It may look a little janky at first but once the beaming reflects that it starts to make sense.

Then again, I'm talking from a writer's perspective, and both could technically work either way.

Anyone, any additional opinions??

I will!

Tomorrow!

...

I thought I could do it tonight but I'm just way too tired to think straight.

Till next time.

Same goes for the & of 4 in the same measure, and continuing rhythms like it.

You forgot this part.

If the top brass was giving you muck for the same thing then we'll leave it as is.

I hate articulations for piano. They make absolutely no sense ever.

I'll work on a possible solution for a workable meter.

Okay.

What I wanna do is make a version that almost mimics it in almost every aspect. This is to ensure that we agree what's going on in timbre and intonation. It's gonna be rough, and probably redundant, but almost all piano versions of everything I do starts with an ensemble version first, then I condense it down to a piano reduction.

Extraneous, probably. But worth it if you really, really wanna develop your ear.

Think about it.

So I listened to it a couple of times, and read it a couple more times.

I have one question in particular. Are you going for accuracy like, in terms of keeping everything intact in the recording as best as you can, or are you interpreting what's best for the piano and "absolute" accuracy is a thing that is second?

While there are definitely lines that could be approved upon, I think it we should focus on what the piano can for sure handle.

The harmonic stuff is there, the groundwork for a visually accurate sheet is there, but there could be things that can approve upon. So I'm not going to do anything until we decide as to what kind of arrangement this is going to be.

F***in impressive work, tho.

[[NDS] Ace Attorney Investigations: Miles Edgeworth 2]

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Thanks again, and I'll see you all next time, lovelies.

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Two, maybe three minor things that you could change that would def get the green from me.

The first 8 bars don't look bad as far as implementation, but the RH could possibly moved back behind the repeat. I'm not sure what the parenthesis note on the & of 3 is for; maybe as an optional note to hit those bass octave B's??? I would just leave it out if that was the case. A lot of stuff going on there so if you feel like dropping a note or two for the performer's sake, I wouldn't hound you for it. Now that I think of it, whenever you have a middle staff like you do, it's usually up to the performer to see how they could handle that section. Just some food for though.

In bar 10, you have this syncopation going on from the & of 1 to the downbeat of 2. Those eighths probs be disconnected. Finale likes to connect them because of the 44 meter, but since you're doing some intricate stuff, it would be easier, in my mind, if you kept them apart. Same goes for the & of 4 in the same measure, and continuing rhythms like it.

Half notes are pretty long themselves already so I think tenuto marks are redundant.

That's all I got for now, let me know if I can help you with anything I suggested.

[This gets a green.]

So we talked about it, examples were shown, words were said, and we have came to a conclusion.

If Chopin can do it, so can we.

This gets a green.

[Nice work!]

Cool, I got no problems with it.

Nice work!

The only thing I can think of with that same section is like, in the first measure. How you plan on having the performer hold down the D while hitting the 12th above as a detached note? It's different when you can get away with a pedal, but if you can't utilize the pedal, then is that entirely possible with how you have it written?

I see that's not always the case, but with moments like in the first measure.

[Seal of approval!]

We're done here, boys.

Seal of approval!

Looks good, but

I'm not a big fan of having the rit. on the top of the staff. I've seen it that way if there's no room at the bottom or if there's additional text taking up space at the bottom.

Probs just a preference, but I dun like it. If no one has any complaints about it, then I'll give it the ol' thumb.