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Yay!  Thanks to everyone who submitted sheets for this!

Seriously, what are y'all talking about? It's an awesome piece. The only thing that ever bothered me was measure 37, because for some reason the sound only came out from my headphones' right speaker, which gave me the impression that my head was in a vacuum.

I agree it's a great piece, but that being said there is a reason it was the last sheet to be checked and accepted.

The Eighth Day

Kainé (Escape): [Musx] [Pdf] [Midi] [Mus]

[Fourth Chapter - On the Ground]

Fourth Chapter - On the Ground

Please, never again...

- The chord needs more space in m. 54. You can manually nudge it to the right to give it and the wavy line more space; there's ample room for it.
- DC should be aligned with the end barlines
- Put an even 5 systems on each page instead of 6-5-4.

All done.  Thanks for checking it, and apologies for submitting such horrible sheets for this.

[E. Gadd Industries]

E. Gadd Industries

Gelato Beach

Accepted!  (Unless you have a problem with Latios' edits.)

[Static]

Static

Fahr Outpost

Looks great!

[Trasdegi]

Trasdegi

Wintown

Accepted!

[Static]

Static

Fahr Outpost

Weiiiird piece.  Can't really complain though knowing my track record.

The only thing that I'm seeing is the chords in bars 7-8 and 13-14.  They just sound like single notes to me in the original and the major triads give a sound that doesn't really sound anything like the original.  Everything else looks good to me.

Everything's been updated on Gelato Beach with the exception of one thing. Static, when I listen back to the original (Bass-Boosted^TM), I'm not hearing the last 8th in m16 LH as an A, but as an E (as it is in Libera's suggested fixes). I'm still willing to fix it even now, but I want to point it out and give others the chance to weigh in with their thoughts.

So I put it through some wizardry and I can confirm that it is an A 100%.

Also, in the bar directly after that, there's something funny going on with the parenthesis.  Is this just your finale being strange again?  If so I'm happy to fix it for you.

Either myself or one of the other updaters will get to that sheet when we have the time.  In the meantime I'm going to delete this submission.  Feel free to sub something else afterwards.

[Edit:]

Could you please elaborate? I'm confused by what you're asking here.

Sure.  So your right hand in this section is a mixture of the chords in the background and the melody.  I'm suggesting that to better preserve the contour of the melody, I would cut all of the backing chords that you have included.  For example:

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I've highlighted the backing chords in red.  Notice that in bar 51 you have written it how I'm suggesting you to do it (you haven't included the backing chords on beats 1 and 4 there.)

Do you mean m56 by chance? I'm not seeing any Eb notes in m55 at all in RH.

Oops yes you're right I meant bar 56.  My mistake.

Do you think I should keep the double barlines at each place where the key change occurs to signify a change in the piece?

I don't think double barlines are necessary any more since we don't have the key changes.  Also when you removed those key changes all of the accidentals have got messed up.  I still think those sections should be written exactly as they were before, just with accidentals instead of key signatures.  Here's a picture of bar 38-39 to use as an example:

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Before I change anything here, should I keep the current indentation for the "Goal" system, or bring it back to the normal indentation? Also, would the tempo marking just be <tempo> and then "Goal!" would be its own object on the sheet?

I'd keep the indentation for "Goal!", I think it helps to separate it out and also means that the bars are less stretched.  And yes I'd suggest putting the titles separately to the tempo marking, similarly to the sheet I linked.

I fixed this, but now something doesn't seem right about the ending chord, although I can't quite identify what that would be.

Ahhh oops sorry I meant bar 2.  I guess I was thinking of bar 1 as a pickup so I said the wrong thing.  That lower voice in bar 1 is definitely there, so removing that note will explain why that chord sounds weird.

I definitely hear this for some of them, but I'm also still hearing 7ths on the chords I left alone. I'm probably crazy (and those chords are hard to pick up on, even at really low speeds), but I just want to verify that all except the first offbeat chord are F and not 7ths. Is this correct?

You are correct, it does go back up to an Eb on that last chord.  My mistake.

What are you meaning by consistency issues? I'm sure there's an error or three somewhere, but I'm not sure I get what type. Are you saying that some of the chords are the same in the original and not portrayed as such in the sheet or vice versa?

Sorry for not being clear, what I meant is, as you say, some of the chords sound the same in the original but are written differently here.


Hope that clears things up, if it doesn't feel free to ask again!

Edit:  While I'm here, I just realised that the simile in bar 5 is mispositioned, so fix that. :P

The Seventh Day

The Dark Colossus Destroys All: [Musx] [Pdf] [Midi] [Mus]

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This is the only sheet that I'd already started prior to deciding on this project.  I had a go at arranging it a few months ago and got completely stuck, so it was nice going back to it and completing it fully.

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Uuuhh... I listened again to both in parallel, and I heard what I'd written.

Yeah I checked again and I can hear what you've written, don't mind me.

About that chord in bar 4 that Insig mentioned, perhaps it's got an Ab in it as well?  Have a look at it yourself and see what you think.  Edit: On more listening to the chord, I think what you've written is right.  I think it's just the voicing is a little confusing, but how you've written it makes sense for keeping in line with the rest of the chords.  Probably worth getting someone else in to check though.

Fourth Chapter ~ On the Ground - Some of your dynamics have weird placing (or maybe my Finale's messing it up), m.37's 8va appears to be clashing with repeat, m.36 LH's last dyad might be able to use ties extending to the repeat, would rewrite m.38 in a way that allows for that D to be accentuated and ring out y'know

All good points;  I've updated the files.  Thanks!

Edit: Oh yeah apart from the collision with the 8va and the repeat; I checked the pdf export and it looks fine there.  I guess it's caused by me using v25, but I'm not exactly clear on how that would result in such a discrepancy.

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The Immortal Country - Hearing a mordent on m.53 instead of just a grace note, not really hearing the m.56 ornamentation though. Was wondering about the bass part in m.37, I'm guessing you've done that so the LH can play the lower voice in the top staff, right?

Changed the grace to a mordent.  But I do still hear the ornament in bar 56 clearly.  And yeah that's the intention in the section starting at bar 37.

Snow in Summer - Even though I can tell why some of the harmony was left out from m.65 to 80, that still makes me sad Kinda hard to follow after m.81 but I'm hearing an F in m.85 as the main note that comes out (giving the top line a contour that goes like Bb Gb F Eb)

I changed the Eb to an F, I think I was being distracted by the bass note.  Sorry to make you sad, but yeah I do really want to differentiate those sections.

[Static]

Static

The Mires of Narshe

Looks good.

Libera

Snow in Summer

Wait.

Libera - Snow in Summer
Looks great. Just a few comments:
- Double barline at the segno in m. 49?
- Strongly suggest flats in m. 78 LH.
- I know you're consistently writing 3 voices here, but m. 23 and 39 sound pretty empty without the C to emphasize the suspension.
- I second D3ath's suggestion of adding in more in the RH of m. 65-80, but up to you.

-I put a double barline 8 bars previously for the drums, and I don't want to overuse them really.
-I put these in, since for some reason when I wrote this I decided to put courtesy accidentals everywhere else. Am I going ... soft?
-Yeah I missed that C since I was thinking very horizontally when I did this, and I must've assumed it was three parts throughout.  I guess one part splits there; added in.
-To differentiate this section from the previous section, I opted for a light texture and that's why I've kept the trombones out and I think I'd like to keep it that way.

Thanks for going through that one, it's quite the lengthy piece.