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We talked about stuffs and whatnot thru the discrod.

Once I see the final thing, I'll give it the good to go.

You're lucky I'm a merciful god.

https://www.dropbox.com/s/jv9qw5efak9ecds/Teehee%20Valley%20Piano%20edit1.mus?dl=0

Jk, hope this helps.

Not that I know of, unless my colleagues have other things they spot.

I'll give this the official thumbs up after your changes. For real this time.

Alright. Imma give you how to sheet music 101 right here, right now. So, pay attention, and take notes.

Here. We. Go.

So, first and foremost, let's talk about page margins.

A decent sheet will have all sides of the page evened out. I go for about 0.5625 in for all my page margin needs. 0.5 also works, but going any smaller would probably not be good for the sheet.

This is yours:

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This is after with even margins:

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Hopefully, you can see the notes open up with new life. Having space that wasn't there before, making the manuscript more readable than ever.



This next part requires the use of google, if you're used to the standard system of the US like I am.

Bes gave me this neat table describing the different widths of each type of staves for piano music, choral music, etc. Today, we're focusing solely on the piano side of things.

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Imma go for a solid 6.5 millimeter on this sheet. I tried 6.0 millimeters and that looked a little too small for our work here.







We'll use that number in inches and plug it in into the resize tool into Finale.

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Before with the new size plugged in.

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Resize after with 0.255906 in resize. It should affect the whole system. This should leave all the text-based stuff like expressions etc the same, but I'm not sure as I just learned it a couple of days myself.



After that, we apply some space on the bottom system, about 1.0 in then "space systems evenly" in the documents dropdown menu.

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After all that tedious work, you should be left with this beauty.

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I hope this has been helpful. And don't be afraid to ask for help regarding improving your spacing or whatnot. We hope to strive to a better looking sheet to read. Margins, spacing, percentages, etc, are just the start of being able to take real control of your notation program.

Carry on!

Eeeeeeeeeeeh, I don't like those two hairpins are placed, but that could just be me.

Any possible solutions???

I didn't know either, but I haven't found a case where that to be true either.

Best keep your standard practices and whatnot.

The only other nitpick thing is if the triplet-eights in measure 4 are connect like that then there should be a 6 above it and not a pair of 3's.

The decres. hairpin after the forte in the same measure should be closer maybe or the forte centered in between both hairpins. Both work, whichever you choose.

No other things, after of which I will give this a huuuge thumbs up.

Yes.

You should just have the dynamics doing that for you, not the hairpin itself.

Additional comments about this are welcome.

Not quite what I meant with the articulations, still. I can show you if you want.


edit: Like this, bro.

[Looks good to me!]

Looks good to me!

I see you made changes, but instead of having those middle 16th's tenuto'd, make those tail-end 8ths tenuto'd since they're the one's previously articulated.

Edit: So I see what everyone else is saying. My deal is that while staccatos can be inherently changed depending on the performer, composer, director, etc etc. Finale itself has also understood this and allowed the change the length of the staccatos. However, if the change cannot support the rest of the doc itself then I wouldn't advise doing that.

Lat makes a hard case with the note lengths and how they should be represented. And doing a little reading isn't that difficult for musicians, especially if they know the tune in the first place. Alls I'm sayin' is that while it may look unsightly, which I agree, it's a far more accurate depiction of what's going on without the questionability of the staccato, as I mentioned before.

Carry on. 

[Looks good to me!]

Looks good to me!

Excellent work!

The only thing I could see was that if the half note equals 30bpm, then your time sig may need to reflect that. It's a pretty free form song so even opting for a 4/2 wouldn't be bad.

Also, if you have hairpins with a lot of space inbetween each cresc, and decresc. consider putting an additional dynamic in those spaces to get real dynamic clarity.

That's all I got.

When it comes to margin space, the top margin usually gets 2 in, and the bottom between 1.0 in - 0.5 in.

That should fix any wonkiness you got.

I don't feel it's the staccato's in their present form that's causing problems, but where they're placed.

That rhythm is a standard syncopated pop rhythm.

There should be enough space between the whole note in the second layer where the staccato's will fit with no trouble.

edit: on a side note, if you plan on keeping the staccato's, then you may want to have additional articulations, i.e. tenutos, in the next section that same rhythm changes to be longer and more connected.

Coolio, just a few more things.

The first ending marking on measure 7 can be moved up just a tad.

Rehearsal markings arent necessary since this is a solo piece, along with the double bar preceding them.

There are moments where the staves are really squished together, and you can't fit any dynamics or anything between them. I'm looking at m. 1, and 24. I don't feel you need to move the staves, but the dynamics to make it a little prettier.

Crescendo hairpins spanning more than a measure can opt for a "cresc." expression. Just a preference since hairpins are awful to place and line up, in my opinion. 

That's all I got for formatting.

It's looking good, kid.