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Messages - Libera

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Submissions / Re: [3DS] Fire Emblem Fates - "A Dark Fall" by Libera
« on: October 25, 2020, 11:31:15 PM »
All fair points. I guess it might be technically correct to keep it as is in m20, but I feel like I almost always just see beats 3-4 flipped up when I come across cases like these because it's just easier to read. m31/35 is probably more up in the air and I think either way is fine; it's just that I personally prefer how it looks to flip them up.

Another argument in favour of keeping bar 20 as it is currently is then it matches with bar 18.

The only other thing I have to say is that the dynamic in m45 is positioned a little low.

Ok.  I adjusted it very slightly.

New files up.  Thanks again.

Submissions / Re: [3DS] Fire Emblem Fates - "A Dark Fall" by Libera
« on: October 25, 2020, 10:51:30 PM »
New files up.  Thanks for having a look.

- I'm not sure I'm a huge fan of the LH in m1-16 being portato. I get that that part is like that in the original, but when not all the parts transfer over to piano, I feel like having the LH be portato just makes the sheet sound empty every time the LH releases. I would recommend removing them in m1-16 (or at the least, in m9-16). I think they're fine in m53-60 since the "feel" of that section is very different, though (that said, does it make any difference if each beat is pedaled anyway?).

I feel like we've had a similar conversation before.  When I've tried this on the piano, playing it this way feels very natural and not empty at all.  Not sure what else to say on this really.  Also, regarding the pedal markings, they're a) hidden so it doesn't matter, and b) that's the most natural pedaling I could come up with precisely for the purposes of keeping the slightly detached nature of the left hand in that section.

- Did you try fitting the bagpipe line in m9-16 in somehow, maybe in the LH? I don't know if that would work well at all; if it doesn't, then it's unfortunate that it doesn't fit... but maybe to distinguish m9-16 from m1-8 somehow, you might consider making the RH notes held longer instead of having eighth rests between chords? Again, not exactly how it is in the original, but I think that would help make it feel "fuller" there.

Yes, I tried a bunch of different things and decided they didn't work and it was better to just cut my losses and remove it entirely.  Generally speaking,  the things I tried made it much more difficult/awkward to play and it didn't sound particularly great anyway.  I'm not sure altering the articulation of the current RH really fills in for the missing part, and seems like it'd just be making it different for the purposes of making it sound different.

- I'm not sure how necessary it is to tie the RH notes in m17 and m19 over to m18 and m20. The player already has to hold the pedal down to keep the LH note sustained throughout both measures, so I feel like tying the RH notes over is just adding unnecessary clutter (that tie in m19 looks particularly awkward).

It's just there to keep the melody visually clear and distinct.  It's definitely necessary in bars 17-18 and it'd feel disingenuous to not include it in 19-20.  I don't think the tie inhibits reading that much; it's just not something you see very often so it sticks out.  It's certainly not the most colliding set of ties I've ever put in a sheet.

- In m17 and m19, maybe cross-staff the B on beat 2.5 from the LH over into the RH?


- m20 beats 3-4 should be flipped upward.

Should they?  There's still the layer one semibreve in that bar so I thought that layer should still be flipped down.

- For m21-36, is there any particular reason why the LH rhythm always has a rest on beat 3? I don't like how jarring the abrupt silence there feels; I would rather it be tied over to another sixteenth note.

I guess I can change it, but I'm not sure it matters that much either way.

- Layers 1 and 2 are misaligned on m30 and m34 RH beat 4.


- I think m31 and m35 RH Layer 2 might look better flipped upward (aside from the B on m35 beat 4).

For similar reasons to above I'm not sure they should be flipped upwards.

- Maybe a crescendo in m39-40 to lead up to the mf?

This change in dynamics feels more sudden to me.  There's no build up to it in the original so I don't really want to put one in here.

Sorry for the delay in my checking.  I've gone through it now and have my feedback.  If there are any edits that you need more / another updater to do, let me know.

-Everywhere except the opening three bars should have the left hand an octave lower.
-With the left hand figure in bars 8-11 and 16-19, the second and fourth notes should be a C and a Dn, respectively.
-The Dbs in in the RH of bars 16 and 18 should be Dns.
-The F at the start of the RH in bar 4 actually only plays the first time round, I'd suggesting bracketing it with a 'first time only' note.
-The middle voice is seemingly left out of this arrangement entirely which is a shame.  You can include it verbatim in bars 16-19 and also pretty easily (with some octave fudging) in bars 12-15.  Including it in bars 8-11 is more tricky, and whilst you could probably make some sort of hybrid left hand by combining it with the bass, it's probably quite difficult and I'm fine if you want to keep it simple there.

Other formatting comments:

-Missing opening dynamic.
-Copyright text /url should be size 10 rather than 12.
-Your top margin is really deep and I'd recommend using 0.5/0.5/0.5 for top, right hand side and bottom margins to give the sheet a more uniform look.  I'm guessing you didn't set these margins yourself and are probably just hanging over from some weird import or default setting.

Submissions / Re: [3DS] Fire Emblem Fates - "A Dark Fall" by Libera
« on: October 24, 2020, 11:55:47 PM »
Unsure if the 16th you wrote in for m18 b3.5 is a restrike or just the note from b3 still resonating. I am inclined to belive the latter. I think it's a pure restrike in m20 though.
m43 - RH b1 - I hear a G# here. There might be one in m41 but it's nearly inaudible,

Hmm yeah I see what you mean.  I kind of feel though that it might just be a mistake that the note wasn't picked up in recording or whatever since those two phrases are identical otherwise so it really feels like the note should be there.  If you're really against it I can take it out.

Going through the repeated chord section and the end and I think most of the errors I  was hearing was simply a different choice of inversion. I assume you did so because you wanted the constant string note on top. There is, however, a different chord I'm hearing. In m47 and similar, I hear an inversion of an EM chord instead of a CM chord

Actually the inversions were all chosen to keep the top vocal part on top of the chord, but yes the inversions have been messed with to achieve that.  And yes you're correct about that wrong chord and I've fixed it now.

Thanks for checking!

-m9 b4 - I hear an Ab here instead of the Cb

You're hearing the lower string part here rather than the piano I think.

-m19 - It's faint, but I hear a Cb on b4 instead of the Gb

Yeah it is quiet but I think you're right.  And it makes a nicer phrase than the repeated Gb so I'll go with that.

And that's it. Fantastic job with this. I actually want to print this out and play it but unfortunately don't own a printer yet...

Thanks!  And thanks for checking too!  That's a shame that you can't print out the sheet but hopefully you get a printer soon...

Project Archive / Re: Libera's Halloween Sheet
« on: October 24, 2020, 05:17:42 PM »
Thanks for checking!  I've put the new file up.

In m17-18 and 25-26 RH, consider using some crescendos/decrescendos to kind of mimic the panning of the string part. Up to you, but I think it sounds cooler than just a string of normal 8th notes.

Good idea!  Added.

Any reason you didn't include that other voice in m18 RH? You have it in m26.

Nope, just a whoopsie.

Some of the beaming is kind of hard to read, like m41 and some similar spots, but I think it makes sense overall... That is to say, I'm fine with it.

Yeah in some places it is, but it's intended to visually separate the 'overwritten' Ab7add6.  Anyway you say it makes sense so I guess I don't have to justify it too much.

In m35-50 RH, it kind sounds like there should be grace notes before certain notes, like beat 3 of 35, beat 1 of m36, beat 3 of m37, beat 1 of m38, and more. It's kind of hard to hear since everything blends in but the rhythm doesn't sound quite like how you wrote it, at least to me.
Edit: I read what you said about how you picked the rhythms out for this section, and I'm pretty OK with it, but I'd still consider at least adding a few of these extra weird notes in... I mean the piece is already pretty weird, it wouldn't hurt to go a bit further lol

I tried this out and alongside not finding a way to add these in consistently that didn't clutter the RH, I also feel like this section is already awkward enough for the performer as is.  So yeah I think I'm leaning towards leaving them out.

Any particular reason you chose F#m as the key signature? I can't really pick out a key myself, I'm just wondering what you were thinking here.

We had a bit of a chat about this over discord and as we said there I think it'd be best to leave this in F#m if only for simplicity of reading.

I am 110% positive it's not here. Having it on the offbeat is the default for this kind of song, and the fact that it's never on the downbeat makes m36 stand out more when it hits 3 times. Maybe if another updater could listen?

Maelstrom asked me to check and I do hear the chord on beat 3 of bar 36.

While I'm here though and looking at the sheet, there's one particular thing I'd like to comment on.  I'm not sure the way you combine the chord and the bass in the left hand of bars 12-27 is really the best way to go about it.  The left hand forms this sort of homogeneous texture which sits low on the piano and doesn't really sound much the like the original.  I think it'd be much better if you brought the chords on beats 2-3 up an octave (perhaps with some inversions necessary) and kept the bass on beats 1 and 4 only.  That sort of pattern would be much more natural on the piano and would sound a lot better and accurate to the original.

- I hear all those notes, but those are mostly echo notes. I wanted the rising D#-A#-B figure to be the most prominent, since that's what sounds the most prominent in the original (and are technically the only notes that are really played). The only echo notes I included were the D#s, which I felt were the least intrusive notes and help add to the texture without having every single note be present, and without disrupting the pattern.
- The harp voice at m21 is the same as at the beginning, but an octave higher. Is that what you're referring to? It's just one part playing but it has an echo effect. (btw I also tied some of the upper layer LH notes because m22/24/26/30 were impossible to play as written)

Yeah I think I was getting confused with what I was hearing.  I can see how it makes sense now and it looks good to me.

- I hear a An in m4, 24, and 28 but every similar spot after that I hear the F# in m8 and 12 and have changed those measures accordingly.
Edit: For m8 and 12 RH, I actually hear a G# instead of F# there.

Yes that looks good.

- Did you mean 32/36? Fixed

Yes, whoops.

- Some of those chords simply have varying amounts of notes. All I can really say is, I went by what notes I heard and just added them - there's plenty of spots where different instruments are doubling pitches (sometimes at different octaves) but then divide and then double again later. m48 beat 3 only has that one A, but I added an A to m53 beat 3 since that's there too. It sounds kind of monotone in the original, but there the parts do kind of weave around more than it seems.
- It sounds different (I was confused by this when I arranged this as well), but no matter how closely I listen to it, the chords are actually the same. The sound kind of blends with the previous chord because of the reverb, though. Also, m50 beat 4.5 should have a Dn in the middle instead of C so I fixed that.

Sure I guess this makes sense I was just curious if there was something I was missing.  The thick texture makes it kind of difficult to make exactly what's going on but I think what you have is fine.  And yeah I couldn't actually work out what was different about those chords either; maybe it's just the articulation makes it sound like something more complicated is going on.

Anything not mentioned looks good.  I suppose I'll approve now, nice.

Checking time!  Generally it looks pretty good.

-I hear something quite different for this main right hand figure that's all over the first two pages.
I don't think it's doing the same thing here as it does later on at 21.  At 21 it sounds like there's two layers, one which matches the stuff previously and another which I think is the rhythm you're writing out.
-I think the RH figure moves to an F# rather than an An towards the end of bar 4 (and similar places).  (As in, B F# D# rather than B An D#.)
-Bar 20 RH beats 2.5 and 4 sounds like they should be lower.  Maybe invert the one on beat 2.5 down once and bring beat 4 down an octave?  Also, I think there should be a Dn along with the G on beat 4.
-Bars 32/34 LH the second to last note should be an octave lower.  For some reason it's a slightly different pattern than in 30/32.
-Any reason for omitting the G# pedal along in bars 37-40?
-I'm not really sure how you're deciding which notes should be one two or three notes in bars 45-52 as it seems kind of arbitrary compared to the original. 
-In bars 46 and 50 I hear a change between beat 3.5 and beat 4 whereas you have both chords the same in both instances.

oh man I love this track ;-;

Nice job making it fit! There parts don't overlap in the easiest way...

Thanks!  Yeah I wasn't really sure if it'd work at all when I started it but I got there in the end.

Haven't done a Xenoblade 2 sheet in a while.

Garfont Mercenaries: [Musx] [Pdf] [Midi] [Mus]

Project Archive / Re: Yug Guy's Spoopy Halloween Arrangement
« on: October 23, 2020, 03:22:20 PM »

Project Archive / Re: Libera's Halloween Sheet
« on: October 23, 2020, 02:04:14 PM »
m3 drone - I understand your thought process, but I still hear those As, especially on b1.25/1.5 as strong enough to include instead. Maybe the next updater could weigh in on it.

I tried it out and you've convinced me to change b1.25 and b1.5 to A's.  I think it works better like this since those two are prominent and the lower voice is just sitting on two E's there so it's not super interesting anyway.

ok it took me a bit but my m8 comment was supposed to be for m10. The fact that it took me a while to figure out what I was saying is embarrassing.

Ok now I understand what you meant and I've fixed it.

Thanks again!  I've put the updated file up.

Great, sorry about the back and forth but I shall approve now.

Also neutralized the chords the LH was making where you indicated.

F is still in bar 70 if you missed it.

I'm 100% positive that there's not a chord on b2.5 of m13. There is, however, most certainly one in m23

Yeah the melody voice definitely doesn't move there but I think I was hearing the lower voices move.  Either way I agree that it probably makes sense to keep it how you have it.

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