News:

Up-to-date news?! Preposterous!

Main Menu
Menu

Show posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Show posts Menu

Messages - Libera

#1111
All looks good to me.  I think it was just 21-22 that were throwing me off for the rest of that section, it sounds good now.
#1112
Quote from: Latios212 on April 15, 2020, 05:38:56 PMGosh this past month has flown right by... sorry for the wait! Checking now.

No worries, thanks for giving it a look.

Quote from: Latios212 on April 15, 2020, 05:38:56 PM- I don't remember how to do this, but for the cresc. text in m. 18-19 I'd recommend making it so that it breaks the barline instead of intersecting it.
- Really minor thing, but you might want to consider giving m. 50/52 a bit more space at the beginning so the 8va isn't right up against the left barline.

I think the pedal markings could be aligned better in a few places but overall sheet looks great.

All this should be better fixed (I had a mess around with all of the pedal markings so hopefully they're better now.)

Quote from: Latios212 on April 15, 2020, 05:38:56 PM- Personally, I'd make bars 27-34 A minor but you don't have to by any means if you think it's better this way

Yeah I'd prefer not to swap keys for 8 bars, especially when just going straight back to the old key afterwards.

New files should be up; thanks again!
#1113
Some things:

-I think there's an F missing on beat 1 and maybe also 4 of bar 41.  You could replace the lower E with it to avoid the semitone clash if you wanted.
-The G A quavers on the final beat at the end sound a bit like triplet G A B to me, but it's a little quiet at the end so kind of hard to tell.
-The dyad harmony stuff is generally good but in 21-28 it sounds a bit off to me.  As in it doesn't sound like it's outlining the same sort of harmony that I'm hearing in the original.  Like in 21-22 I'm hearing more of a Dm9 sort of thing with the lighter harmony part sounding like it's playing Es and Cs rather than Ds and Fs.  Maybe that section would be worth having another look at.

Nice stuff anyway.
#1114
Quote from: NineLives on April 10, 2020, 07:00:03 PMThe reason why it's not a root E chord is because I want the keyboard part's chord since I feel it's pretty important chord and if I did the E chord, I would be able to to do that.

I mean it's the same chord either way just an inversion that reflects the original more closely.  If you really don't want to change it then fair enough, but I personally think it would be better in root position.

Quote from: NineLives on April 10, 2020, 07:00:03 PMI put the bottom G# from the chord you're wanting at the bottom because that's playable. I'm also wondering how the B on beat 3.5 would be played if beat 3 also had the G# attached to it unless we're saying it only plays for that half of a beat.

Pedal use is always an option.  But if you'd prefer to keep it simpler and leave out the G# then fair enough.

Quote from: NineLives on April 10, 2020, 07:00:03 PMWell, I did some digging and got a look at the original midi file from the creator's website, and found that what I was hearing was the E and bottom A for beat 2.5 and that the second and third chord in 32 are how I wrote them and not Bsus4. For the end of bar 32, would you be wanting more of the bass line in there if possible?

Mostly I'd like it to sound a bit more like the original.  The chords are one part of that, but another part is the rhythms and the last two full bars in the arrangement miss out a lot of it, particularly in the bass.  So yes, more bass would be good.  You could move the harmony to sit underneath the melody and follow the bass probably verbatim in the left hand.  (In fact, I think that pretty much the whole arrangement (barring bars 7-14) would benefit by using a similar schema.)
#1115
Quote from: LeviR.star on April 10, 2020, 01:05:46 PMLooks like the updaters are split on this one.

I'm not sure we are?  I remember this being brought up in a conversation we (the updaters) were having and all of us agreed (for once) on a simple time signature.  Although I haven't posted in here, my opinion after listening to it a few times was that although its ambiguous until the percussion comes in, after that I always immediately snap to thinking in 3/4 even if I'm trying to think in 6/8.  Latios' suggestion of 6/4 wasn't a bad one because it allows you make the ambiguity of stresses of the quavers clearer (although you could also just beam all of them together in 3/4 also).

Quote from: LeviR.star on February 18, 2020, 08:19:38 AMIf I'm being honest, I don't see any reason to beam them like 6/8 if the whole song's going to be in simple meter. That'd be way too confusing for a performer to read, and a little pointless.

Just to say that beaming in 6/8 in a 3/4 time signature is not all that uncommon and comes up every now and again.  Obviously it's up to you to do that (personally I'd be more in favour of beaming them in sets of six like I said above).
#1116
I thought that was what was going on when I looked at it originally; it looked fine to me then and still does.  I've also fixed the articulations now so unless you want more opinions then I can accept.
#1117
Quote from: mastersuperfan on March 29, 2020, 10:45:45 PM- It might be worth moving the Layer 1 eighth note on beat 1 of m6 a few pixels to the left. Not enough to de-align them significantly, but just so it's visibly clearer which note belongs to which layer.

Sure.

Quote from: mastersuperfan on March 29, 2020, 10:45:45 PM- I'm not super fond of the major second on beat 1 of m31 RH. You might consider inverting the G down an octave, but that would result in a bigger chord that pianists without big hands would have to roll. Your call.

I'm not sure I really see the issue with this, and as you say it's easier to play this way, so I didn't change this.

Thanks again, and new files are up.
#1119
If you're adding slurs, I'd say a nice place for one is that final run in the last bar.  But yeah this sheet looks good to me.
#1120
Quote from: Libera on March 26, 2020, 08:15:47 AM-Is there any reason not to make the first E chord in bars 1,3 etc be in root position?  The bass part is playing an E there so I think that would make the most sense.

^ This still.  In fact, I also noticed that there should probably be a G# below the B in the chord on beat 3 as well.

Quote from: NineLives on March 28, 2020, 08:41:23 PMOn measures 31 and 32, those are the chords I hear, though, to be honest, I might just be hearing them wrong, but listening to the section from both the source and the playback sound very much the same to me.

I had another listen.  Honestly I don't hear anything like what you've written in for the left hand there at all.  The chord doesn't sound like it changes in bar 31 and there's a lot more going on towards the end of bar 32 that you're arrangement is missing completely.  Sounds more like some Bsus4 thing going on in bar 32 than any C#m or A chords to me.  It's probably more useful to try and follow the bass line in that section which might help to get it sounding more accurate.
#1121
Sweet.

Quote from: Static on April 02, 2020, 09:38:36 PM- I lessened the amount of grace notes overall so the rhythm would be more clear when performing. I think grace notes have kind of a different feel on a piano compared to a wind instrument, or at least it seems that way to me sometimes. If you think I should add the extra notes anyway, I wouldn't be against it.

Yeah that's probably a good call.  I just wanted to check what your thought process was.
#1124
Bump for arranger.
#1125
Awesome.  I'll fix the articulations after/just before it's accepted.