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Messages - Libera

#2402
So I might just be going crazy but in NASU game it doesn't sound like it's quite 4/4 to me (it seems a little longer).  Maybe consider putting a little pause sign at the end of each bar?
#2403
I've already done the ultimate chapter music so here's the penultimate chapter music!  (Yes I know Far Away is the penultimate chapter for Birthright but ehhh I'll get round to that at some point... maybe).  This is also my 30th Fire Emblem arrangement woo.

Glory/Ruin: [Musx] [Pdf] [Midi] [Mus]


Edit: I just realised that it's also exactly 3 months since I started this thread, and also this is my 40th arrangement.  Funny that it lined up like that...
#2404
Yeah, sorry, E#.
#2405
In terms of notes the only thing I can see is the second crotchet in bar 16 sounds like an Fn rather than an En to me.

Another thing is that everywhere you have slurs with accents they're colliding.  Just move the slurs so that they're not touching the accents.

Looks good otherwise.
#2406
Is there any particular reason (other than that they all have NASU in the title) to put all of these sheets together?  (I'm not familiar with Yume Nikki as you might have guessed.)

Also the fourth minim in NASU title screen in the left hand should be an F not an E.
#2407
Notes look good.  I'd suggest putting this into 3/8 though personally.
#2408
If that's your thinking then that's fine by me.

Looks good!
#2409
I'm back.  A few things:

-Move the f in bar 1 to the left of the top chord; it's all squished in at the moment.
-I'm not feeling the way you've done the chimes at the moment.  I'm assuming you've tried to put the other harmony in with them and that's why they're chords rather than what sound like single tones to me.  Those thick chords really high up don't give the same feel that I think you're trying to emulate here.  I think you could drop the 8vas (it'd still be significantly higher than the surrounding notes) and also consider dropping the extra harmony.

Also:
Quote from: AwesomeYears on September 18, 2018, 05:25:17 AMI was thinking of adding likewise stuff in bars 15 and 17 in between the rests, but I'm not entirely sure how to put it in.
Any progress on this?
#2410
Quote from: Latios212 on October 07, 2018, 03:30:57 PMI think rolling large chords isn't uncommon in classical stuff, either.
Sure, from a pianistic stand point rolling big chords is fine.  I'm just thinking of the best way to emulate the fast strums of the guitar.  Anyway....

Looks good!
#2411
Quote from: Latios212 on October 07, 2018, 02:57:16 PMThough I suppose m. 4 could use the lower B if you really think so. 
Quote from: Latios212 on October 07, 2018, 02:57:16 PMAs for the last measure, the low E is very subdued compared to the ones before it and similarly I would like to omit it to focus instead on the strummed chord above.
For these two places I personally think it's important to get the correct inversion.  I'd definitely add in the B and the E in these two places.  I understand where you're coming from with the final chord in that the E is much quieter, but perhaps you could notate that in? (perhaps a smaller note-head or a dynamic?)  Ending on a third inversion chord really embodies the character of the piece at the end and is something I noticed immediately when listening to the original.
Quote from: Latios212 on October 07, 2018, 02:57:16 PMThe intro's chords are fine to roll with one hand; it's just my personal preference to split them up as such and I leave that choice up to the performer what to do with it. Conversely in m. 8 and 12 the notes are not rolled, and as such I more strongly impose the suggestion that the middle notes be picked up by the right hand to avoid tenths (and augmented tenths).
Are they really fine to roll with one hand?  When I looked at it the only thing I could think of was taking the top note in my right hand like you do in your video.  Still if that's your choice, fair enough.
Quote from: Latios212 on October 07, 2018, 02:57:16 PMI don't think this is particularly important, but sure I can put it back :P
I mean it's not particularly important, but I'd still suggest putting it back in.  It's not like you're cramped for space there.
#2412
I believe he's talking about in bars 17-24, which is also what msf and I were talking about.  You said you'd prefer not to have them as you don't like how they look.  Ultimately, it's your decision.
#2413
This is a fun piece.  Checking notes and everything else now.

-So for the bassline at 13-17 I can see we seem to have split opinions on the exact rhythms.  My personal feeling is that more often than not it is actually quaver-semiquaver-semiquaver.  (There are a few places where I'm hearing four semiquavers though.)  However, my suggestion would to actually replace everything with the quaver-semiquaver-semiquaver rhythm.  One reason is that I actually think that's what it sounds like it's doing in most places, but secondly because it'd be far easier to play.  If you'd prefer to have a more exact transcription, I can have a really careful comb through the bassline and try and work out exactly what the rhythms are but ... I'm not sure the sheet gains much from it (in my personal opinion).
-Echo comments from msf that that the chord in bar 1 and the final bar doesn't sound like it has an E in it and the D# sounds an octave lower to me, but if you've made that the decision to make it work on piano better I'll respect that.
-Since bar 1 is identical to the final bar, wouldn't it make more sense to just have a standard repeat back to the start rather than a D.S. and just cut the final bar?  Perhaps I'm missing something here though.
-In bars 14 and 16 you've written a group of four semiquavers all with tenutos.  I think it'd look more natural to write that as a slur instead.  I'd also write the final semiquaver group in bars 5, 7 and 9 slurred.
-If you're doing different dynamics for each staff, one should be above the whole thing and the other should be below the whole thing (rather than one being below and one being in the middle.)
-With regards to the percussion, I actually think it's fine the way it is.  These are piano arrangements which will be played by pianists, not percussionists.  You could try for a more accurate transcription of the rhythms, but in my opinion they'd overcomplicate those sections.  Still if you'd like to try to make them more accurate you can do that too.
-With regards to the 13-17 section.  I agree with trasdegi that the semibreves are C# -> G# -> D# -> B (below) and then on the second pass C# -> G# -> F# -> B (above).  Also there is the noticeable difference in the bass-line at bar 13 that msf pointed out (also I think there a few minor differences in the bass-line but as I've said before, I think that it should be simplified so from my point of view those don't matter.)  You could get around the semibreve issue (which I think is the most important one) by making your first and second time bars actually two bars long each, which would only add one bar to your arrangement which you could probably add without having to go to a third page.

That probably seems like a lot, but they're all minor things.  You've done a good job so far!
#2414
Good to see you back!  And no worries.  Looking back through the archives: this sheet sure has had a workout!  Hopefully we can get this finished pretty quickly (I think this sheet deserves it!).  Just some few minor things from me really:

Quote from: Brassman388 on August 18, 2018, 08:49:07 PMIf you want to stay consistent with the the notes that are resounded, like in the first measure with the B, then the F-sharp in measure 4, and in measure 7.
What Brassman means is that you use parentheses on the first B in the right hand and then later on when the notes overlap you don't use parentheses (such as the F# in bar 4).

Treble clef for the left hand in bars 10-13 seems unnecessary to me.  For most pianists it's easier to read bass clef for the left hand than treble and the difference in ledger lines is very small.

Other than those the notes look good.  I see that there was a big discussion on time signatures in the previous thread, so I'll go with the conclusion you reached from that I think.