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Messages - Code_Name_Geek

#46
Quote from: Latios212 on January 30, 2023, 09:15:50 AMAwesome, changes look great! Just one thing, don't forget to flip the top tie in m. 15 up. Will approve ^^
Done!
#47
Quote from: Latios212 on January 29, 2023, 03:08:11 PMI like this piece a lot too and will definitely be playing it after we finish reviewing ^^ good job on this one!
Thank you!! :)

Quote from: Latios212 on January 29, 2023, 03:08:11 PM- I definitely suggest a pedal indication for this piece!
Oh yeah, I think I meant to add con pedale at the beginning and forgot. Done now!

Quote from: Latios212 on January 29, 2023, 03:08:11 PM- I'd recommend placing the rubato text direction all the way at the beginning of the piece either in the tempo marking or somewhere around the pickup to denote it applies to the whole piece. It's alright where it is right now, but a bit ambiguous if it could just apply to the first full measure or some section of indeterminate length starting there.
That makes sense. I like the idea of putting it in the tempo marking so that's what I did.

Quote from: Latios212 on January 29, 2023, 03:08:11 PM- The G# in m. 7 should be an A
- The right hand in measure 9 and 20 would be better in two layers to keep the guitar melody visibly separate from the high strings that come in.
Both of these are fixed.

Quote from: Latios212 on January 29, 2023, 03:08:11 PM- Getting this for m. 14-15, different LH for 14 and some different harmonies for this part:
  - Besides the note changes, note that the chord in the second half of m. 15 should stem down
That sounds good to me so done.

Quote from: Latios212 on January 29, 2023, 03:08:11 PM- m. 16 sounds like it could just stay in 4/4 with the half notes being written as dotted half notes instead?
- The A's in m. 20 beat 3.5/4.5 should be C instead of A.
-Yeah I think you're right. Did that and also took out the rit./a tempo since changing that makes it in time.
-Also fixed.

That should be it! Thanks for taking a look :)
#48
Quote from: LeviR.star on January 23, 2023, 03:04:01 PMDragon Quest games always have really nice village themes, good job with this arrangement!
Thank you!! :)
#49
Dragon Quest IX: Sentinels of the Starry Skies - The Sun Gathering Village
[MUSX] [MUS] [PDF] [MIDI]

First arrangement of 2023! I actually started this last year and did the bulk of the work then, but I finally finished it up now. I remember watching the Nintendo Week segments on this game when I was a kid and eagerly anticipating the release, and I greatly enjoyed playing it when it came out. The OST is also really beautifully orchestrated, and hearing this song again I had to arrange it.

#50
Quote from: Libera on January 21, 2023, 02:01:02 PMI guess I'm thinking about the guitar strumming in terms of rolls, and the one in bar 10 just stood out to me most of all.  Like beat 3 bar 2, beat 1 of bars 3, 4, 5 etc.  As I said, I don't really mind that much but including them is probably what I would have done.
Oh yeah, I see what you mean. I actually like the rolls in those spots, it makes beat 1 feel less heavy than not having them, so I added them in.

Quote from: Libera on January 21, 2023, 02:01:02 PMMaybe this?  This is a little neater maybe since it has no rests, but I don't think what you have now is that big of an issue.

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That option gave me the idea to try something that's a little more representative of the two lines in that bar, which I think is my favourite solution so far? If it's more readable the old way I can change it back though.

Thanks again!
#51
Piano Arrangements / Re: Arrangement Highlights of 2022
January 21, 2023, 11:28:37 AM
Super late to reply to this, but here goes. I only did 8 arrangements last year, so I'm going to do a top 3 instead of a top 5.

#3
Climb the Sky - Fire Emblem Heroes
Sheet | Original

This was my "challenge" arrangement for the year. It was a bit out of my comfort zone, but I wouldn't even have known where to start with it just a few years ago so I'm proud that I was able to actually finish it. (Special thanks to Libera, who helped a lot during the submission phase, and anyone else who gave feedback on it since it was a big one.)
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#2
Obsidian Mansion - Rune Factory 4S (Collaboration with Samusthedude)
Sheet | Original

I find collaboration arrangements to be particularly memorable, and this one is no exception. Working with someone lets me tackle things that would be a challenge on my own, like hearing more complicated chords and inner parts. I'm especially happy with how the waltz section in this one turned out.
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#1
Letter - Tomodachi Life
Submission thread | Original

This is kind of a surprise hit since I did it on a whim after seeing it on the requests board, but I really enjoyed it. Transcribing the arpeggios in the guitar went a lot more smoothly than similar parts have gone in the past, so it's also partly a marker of progress. But mostly I find this one is the most fun to actually play, so that's why I've chosen it for my favourite.
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That's it! Hope everyone is enjoying a productive start to 2023, and looking forward to seeing what everyone makes in the future! :)
#53
Quote from: Libera on January 07, 2023, 08:55:35 AM-I don't hear this low An in bar 2 beat 3.
Yeah I'm not sure about the pitch there. I'm definitely hearing some bass note there but it's hard to tell what it is, maybe a G natural? That's what I put for now.

Quote from: Libera on January 07, 2023, 08:55:35 AM-The octaves in 3-5 etc. might be a little overkill compared to the way you've written the rest of the piece.  Otherwise I feel the harmony gets a little lopsided (E is tripled and then one of each B D# F# etc.)
-Pretty much everywhere you have this low B-D# dyad (bar 6, 12 etc.) I think it would sound stronger/more balanced as B-F#.
Agreed with both of these, the second one especially makes it sound a lot better. Good suggestion!

Quote from: Libera on January 07, 2023, 08:55:35 AM-I think the end of bar 10 should be an octave lower in the left hand, running into the E on beat 1 of bar 11 being an octave lower also, like in bar 15.
This is the one thing I don't fully agree with. I'm hearing the bass jump down an octave in bar 11, but stay on the same pitch in bar 15. The bass is an octave lower than where I have it written, but I think taking it down would be too low on piano.

Quote from: Libera on January 07, 2023, 08:55:35 AM-Maybe more of the chords could be rolled, like in 10, but I don't mind that much.
Is that on beat 1? I'm not hearing an obvious roll, but maybe there's a really subtle roll in the mallet instrument. I wouldn't be opposed to adding some more rolls, just not sure exactly where to put them.

Quote from: Libera on January 07, 2023, 08:55:35 AM-Could we have the second layer offset to the left slightly in bars 11-12, 15 etc. where it's directly on top of the first layer.  It would look a lot neater that way.
-I'm not sure there's too much purpose to the second layer in bar 14.  You could get rid of the rest by merging the layers there.
Fixed both of these.

Quote from: Libera on January 07, 2023, 08:55:35 AM-The voicing gets a little confusing in the final bar because the bass has been put up the octave.  The bass sounds like it's playing an A# on beat 3 (and then descends as a Bmaj7 chord, so the En should be a D# I think) but the Gn from the upper parts now crosses underneath that note.  I don't think it would be that big of a deal to put at least from beat 2.5 back down the octave to avoid this voicing confusion.  Maybe there's another solution as well.
That makes sense. I think I followed all the suggestions here, plus moving the G natural into the right hand.

The only other question I have is whether there's a neater way to write m10, especially with the two rests? But it's probably fine the way it is too, just wondering.

Thanks so much for the feedback!
#54
Quote from: Kricketune54 on October 31, 2022, 08:57:45 AMFormating
- The tempo and dynamic could move down a little bit and a little to the right (mp dynamic so that it is a bit more centered between staffs)
- m13, 17, and 18 RH top layer rests could come down within the staff (pictured m17-18 idea)
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Done.

Quote from: Kricketune54 on October 31, 2022, 08:57:45 AM- m2 LH overall hearing this go a bit differently. I separated the melody strings from the lower notes but feel free to mix some of the notes into the RH from what I transcribed
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Oh yeah, I hear what you're saying. I kept everything in the LH except the B.

Quote from: Kricketune54 on October 31, 2022, 08:57:45 AM- m3 and m5 RH and a few other spots there should be an F# at the top of this chord just like m4. Basically anytime this chord with Bn-D#-En appears there is an F# on top
- m3, 4, 5, 7, and 8 LH I hear the same note an octave above what is currently present, though
-Added.
-Just to clarify, did you mean adding octaves on top of the bass notes? Originally I left those out to keep it lighter, but looking again I think it balances out the chord more to keep them in.

Quote from: Kricketune54 on October 31, 2022, 08:57:45 AM- m12 and m16 LH beat 1 I hear a D# above the B
- m14 RH beat 1 there's an F# under the current notes
- m17 RH lower layer I don't hear the two 16ths at the end of the measure but that the C# is an 8th note.
Fixed all of these. I also added a roll on beat 1 of m14 in the RH since the string instrument strums that chord there.

Quote from: Kricketune54 on October 31, 2022, 08:57:45 AM- m18 RH The harp strings play a D# on beat 1, as well as the G# which is actually a quarter note. The notes then move down to C#-F#
- m18 LH beat 3.0 to 3.75: the notes should be Gn, F#, D#, B. Technically this whole measure is down an octave but maybe it's easier to transition after the repeat as is.
- Overall this is how I hear m18 going (tho keeping current octave on LH beat 3). To keep the lower RH layer playable perhaps move to LH
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Got it, and yeah the LH is intentionally up an octave here to make the transition on the repeat smoother.

Quote from: Kricketune54 on October 31, 2022, 08:57:45 AMm11-m18 this section needs a bit of a look for the RH part. The two layers' notes should spell out two different parts (harp and that key instrument) and currently there's a sort of mixture that isn't quite as representative as it could be
This part has given me a lot of trouble formatting-wise. Keeping the layers consistent the whole way through makes it near-unreadable, so currently what I have is this:
m.11-12 - Key instrument in layer 1, string instrument in layer 2
m. 13 - String instrument in layer 1, key instrument in layer 2
Since the two parts cross over each other in terms of range, switching the layers between m. 12 and 13 seemed to produce the best balance of readability and accuracy. That said, if anyone has other suggestions for formatting the layers here I'm all ears.

Thank you for the feedback and note corrections, it's much appreciated! And sorry for the late reply, it's been busy lately.
#55
Quote from: Libera on October 25, 2022, 12:15:06 PMYou might want to offset the eighth note on beat 3 of bar 7 to make that a little clear, like in my picture.
Got it.

Quote from: Libera on October 25, 2022, 12:15:06 PMAlso, it'd be a pain but it might be worth fixing the repeats so that the midi plays back correctly.
I couldn't figure out how to do that at first, but I think I got it.

Quote from: Static on October 26, 2022, 03:46:13 PM
  • Maybe put staccatos in the melody on beat 2.5 of m26/28/34/36.
Great suggestion, added.

Quote from: Static on October 26, 2022, 03:46:13 PM
  • Have you considering moving the bottom system of page 1 to the top of page 2 for easier readability with the repeats? You have extra space on page 3 to move things over.
Also done, I think the 3 systems looks a little odd but it's better playability-wise so sure.

Thanks!
#56
Quote from: Libera on October 22, 2022, 05:29:35 AMI think they really are just sixths, so the Bb in bar 17 should be an An.
Fixed.

Quote from: Libera on October 22, 2022, 05:29:35 AMYeah this part is pretty hard to hear.  I'm not 100% on this, but this is roughly the moving harmony that I can hear:
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Obviously don't write that in as it would be pretty awkward to play.  One thing you could do is combine the top part of that with the low bass for something like this:
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Be aware that the engraving in that picture is pretty fiddly, with a lot of edits.  That's not the only way to write it out, but it's a suggestion.
Ok, I see what's going on in that section now. We're fine with that suggestion so going with that.

Quote from: Libera on October 22, 2022, 05:29:35 AMThe only other suggestion I have is that maybe 26 etc. could do with a different direction?  It's not really very malevolent anymore.
Yeah we discussed it and think malevolent mostly suits the intro, so it's been changed to "playful" at measure 15.

Also, the first page was looking pretty cramped so I moved one system to the next page.

Thanks again for the help!
#57
Quote from: Libera on October 14, 2022, 01:00:06 PMYep, a collaboration is totally fine for this!
Awesome, thanks!!

Quote from: Libera on October 14, 2022, 01:00:06 PM-The copyright/url is the wrong size.
Oops, there was a weird issue where random characters were showing up in the copyright so I had to delete and re-enter it and must have gotten the size wrong. Fixed.

Quote from: Libera on October 14, 2022, 01:00:06 PM-I'd have another look at the left hand notes in 5-7.  I don't know if there's some sort of key-sig or clef error there, but the notes are not very accurate at all.  In general I think it should be outlining a C#dim7 chord, whereas we have G#s, Ds, Fs etc.
This part has both of us pretty stumped, but we went over it again it and definitely noticed some different notes so hopefully it's closer at least?

Quote from: Libera on October 14, 2022, 01:00:06 PM-I feel like the rit actually starts on the third beat of bar 13 rather than at the start of bar 14.
Yeah you're right, done.

Quote from: Libera on October 14, 2022, 01:00:06 PM-You're missing some harmony notes in the RH of bars 15+, that pretty much just sits below the melody in 6ths.
-The way bars 15-18 is written out is pretty confusing, and it's not very clear where the various voices actually are.  The middle voice is awkwardly acting as if it is in both the top and bottom voices at the same time and at a glance it looks like there are beats missing, or too many beats in the bar etc.  I would try to be really clear about what is happening to avoid this sort of confusion.  Here's one possibility that condenses layers while still be readable:
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but you could also do something like properly treat the middle voice as a second layer in the right hand (although the stemming might get a little inefficient space-wise).
-Those harmony notes are hard to pick out, but I think we got them?
-Yeah, I see what you mean about the missing beats. Decided to follow your suggestion and move that whole part to the left hand.

Quote from: Libera on October 14, 2022, 01:00:06 PM-Why does the left hand change from octaves in bar 19?  I don't really hear any particular change like that in the original.
The reason for that change is that the top octave in the first 4 bars is the harpsichord part, which moves up to the right hand in the second 4 bars. We don't think the bass is actually in octaves in this section, but we're open to changing it if preferred.

Quote from: Libera on October 14, 2022, 01:00:06 PM-In bar 20, the mordent only applies to the second layer but that isn't apparent in the sheet.  One solution would be to just write it out explicitly with grace notes, kind of like in bar 22.  Maybe there is some other solution.
Before adding the second note in the first layer it was clear by the positioning, but now I agree that it's too ambiguous. Fixed, including in the second ending for consistency.

Quote from: Libera on October 14, 2022, 01:00:06 PM-I feel like bar 25 should look the same as bar 45, or maybe you could have an extra low D in bar 45 on beat 1 to differentiate them.  At any rate, it still seems like there's a distinct hit on beat 1 in bar 25.
Sound good, fixed.

Quote from: Libera on October 14, 2022, 01:00:06 PM-Generally in bars 26-45/46-64 I think the bass needs to be bigger (and lower) to really get across this bombastic sort of style.  I'd suggest making the bass into octaves, and having the LH move off of the chords when it moves outside of beat 1 (since I think a movement in the bass is more important than a restatement of a chord already played).  Maybe something like this?
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-I feel like the bass goes back up to a Bb in bar 33/53.  It also moves down to a F on beat 3 in the same bar.
-Similarly in bar 40/60, the bass plays an F on beat 3.
-Great suggestion, it sounds a lot more grandiose this way.
-Oh yeah, the bass does go back to a Bb there. The accordion stays on the F, however, which is what we heard, so did a 5th for this bar instead of an octave.
-Right again, and in listening to this measure again we're pretty sure the bass also plays an A on beat 1 instead of an F (but the accordion still plays an F) so I also changed that.

Quote from: Libera on October 14, 2022, 01:00:06 PMI hope that helps!
That does, thanks from both of us!!
#58
Quote from: XiaoMigros on October 13, 2022, 03:45:11 AM
  • The footer seems a bit oversized
  • m11-12: This sounds like a copy/paste error, I hear this figure starting on D5 and D3.
Fixed.

Quote from: XiaoMigros on October 13, 2022, 03:45:11 AM
  • m15-25: The notes here sound good, but I think the presentation could use some work. For m15-18, the D-G figure in the RH would look better cross-staffed coming from the LH. Additionally, keeping some of these notes in the LH would allow the notes RH upper layer to be sustained longer (in the track they are held until the next note). m19 and m23 are identical yet written under both voltas.
Added the cross-staff notation as well as writing the upper layer to be sustained longer. Also moved the first ending to start on m20 instead of 19.

Quote from: XiaoMigros on October 13, 2022, 03:45:11 AM
  • m27-44: The melody could use some more articulation
Talked this over with Samusthedude and we added a couple of articulations, but we think that the rest of the trumpet melody is tongued notes that are held the full value so it doesn't need much in the way of articulations.

Quote from: XiaoMigros on October 13, 2022, 03:45:11 AM
  • m46-56: Adding a D.S. al Coda marking here could save writing out the same section twice.
  • m58-end RH: for the harmonising voice between the main melody it would make more sense to either use a separate layer when needed or to write the whole hand in one layer, instead of the mix that it is currently.
Yeah that all makes sense. Since there was only one measure with two layers I just made it all one layer.

Thanks for taking a look!
#59
Request / Re: [3DS] Tomodachi life - "Letter"
October 05, 2022, 03:08:41 PM
Managed to do it fairly quickly after all! There might be some wonky formatting and time signature stuff still, but I think I got most of the notes down. This was a great request, I'm also a huge fan of this game so I enjoyed doing it. Hope you enjoy!

Files:
[MUSX] [MUS] [PDF] [MIDI]
#60
Rune Factory 4 - Obsidian Mansion
[MUSX] [MUS] [PDF] [MIDI]
(Collaboration with Samusthedude)

The Rune Factory series originally started as a Harvest Moon spin-off with the subtitle "A Fantasy Harvest Moon". It combines the farming and social sim elements of Harvest Moon with a fantasy RPG world and story. My friend Samusthedude and I have both been playing Rune Factory 4S, so we decided to arrange this track from the haunted house dungeon for this year's Halloween project.



Tomodachi Life - Letter
[MUSX] [MUS] [PDF] [MIDI]

Tomodachi Life is the second-most played game on my 3DS, and it holds a very special place in my heart. I used to play it a ton in high school and I still pull it out occasionally to see how my Miis are doing. I saw a request for this lovely track and ended up arranging it. Hope you enjoy!