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Messages - PokeMaestro

Quote from: Latios212 on July 10, 2021, 04:21:30 PMAnyway...

- For the composer/arranger text, I would suggest the following instead of "Edited by":
QuoteComposition by Franz Joseph Haydn
Arrangement by Hajime Wakai
Piano arrangement by PokeMaestro
- URL missing a / at the end
- You can just use a tenuto mark (horizontal line) instead of "ten." in the first system
- For the "surprise" chord in m. 16 the ff doesn't have enough room - it's colliding with the stem of the LH part. You could either widen the space between the LH/RH staves or flip the LH octave down.
- Also about the chord, I would suggest adding accents and the fifth (D) to give it some more punch.
- The left hand in m. 23-24 and 31-32 should be an octave lower.
- Extra mf mark in m. 25 is not needed
- I don't think you need the (pp) in m. 9, it's not really any different from the beginning is it?
- I would suggest reducing the space between systems a little bit so you have room to put the footer within the page margins. See this topic:

Wait, I'm confused. Was there already a feedback or did you just put it in a quote?
Is that a defect? The title shows components of a source code...

However, here's the original. I wasn't sure if G minor is the right key because the piece almost only consists of diminished chords... Let's see.

updated  :P

I'm glad we've finished that sheet after over a year. Thank you, Mastersuperfan and Latios for supporting this. I got a lot of experience.
I'm sorry for late replying. Updated now.
Help! / Re: Conversion to .mus?
January 25, 2021, 09:19:21 AM

  • 1. Open your arranged mscz file via MuseScore.
  • 2. Go to "File" -> "Export". Here you save your file as an mxl.
  • 3. Now download Finale Notepad 2012 (if you haven't it yet). It is free of charge.
  • 4. In Finale NP 2012, select "File" -> "MusicXML" -> "Import..." again and select your arrangement converted to mxl.
  • 5. Now go to "File"->"Save" again. Now you have your .mus file.

Alright, you will see that the .mus-file is very unstructured. It is very time-consuming to adjust everything by hand, as Dekka said. Especially if you don't know Finale yet. I had the same problem at the beginning. I'll write you a PM with some tips.
Rest was updated

QuoteI'd be happy to take care of these last few things for you. Just let me know
Oh, I'm sorry I didn't get back to those points. I thought the pdf was fixed. Anyway, if it wasn't fixed already, I would be happy too if you can could do that, you as longtime Finale user probaly get this better than I do ;D

chatted over Discord and updated
QuoteI don't think there should be a key signature change in this one, though. Two flats (Bb key signature) makes sense throughout and I would recommend writing it like that.
You're right, I'm removing the F minor. Although I love key changes so much :'( But I would leave the double barline.

Quote- m. 24 would look more natural if the half notes in the LH were written as quarter notes in one layer, or if the Bb on beat 3 was written in the right hand instead
I intentionally constructed this so that the performer can decide for himself whether to play it with his left or right hand. For the sake of clarity I have extended the stem of the note to the top.

Quote- We should have courtesy naturals on the Dn in m. 6/8/14/16/38 since they immediately follow a Db

Quote- The first chord in m. 17 should have an F on top

Quote- I don't think m. 31 needs an 8va, that octave sounds like it should be at the staff height it's written.
Alright, I've accented this octave instead.

Quote- Second chord in m. 31 should be inverted up (C on top instead of bottom).

Quote- As Latios said, all of this should be in swing, with the dotted eighth - sixteenth patterns as swung eighths
I think that the rhythmic points are already emphasized enough here so that a swing is not necessary. Besides, I'm not a big fan of jazz, so please don't be angry with me if I don't transfer it in swing  :-[

Quote- In the melody, it might be helpful to put two-note slurs on patterns where a held note is followed by a staccato note (e.g. m1, m2 after you change beat 1 to a half note, m5, etc.). That would make the phrasing easier to see.
please don't

Quote- In m3-4, I don't hear a Dn in the LH chord, just the other three notes.
- In m8, the LH chord should be Gb-Bb-Dn, not F-Ab-Dn.
- I don't hear Cb's in the m14 LH chord.
- m16 LH would be better represented as a dotted quarter than a quarter, IMO. (You could also write it as a quarter tied to an eighth, if you prefer.) Or, you could just write a half note to keep it simple. Either way, it should be held for longer than one beat.
- In m21-22 LH, the top of the triad sounds like a Dn rather than a Cb.
- In m30 LH, the Bb's in the chord should be Ab's instead.
- In m36, I would remove (or at least parenthesize) the top note of the chord from LH beat 3 since the RH is playing the same note non-staccato.
- In m2-15, I feel that you often cut off the melody note too early and leave too many rests in the phrases as a result, compared to the original (in particular: m2, m3, m8-10, and m15). I would hold those notes out longer, up until the next note in the melody.
All done and updated! And happy Halloween you all!
I've updated the files  :)
QuoteRH - m7 b1 - I hear an Eb here instead of the rest.
Really? Not me, sorry

Quoteb3 - I hear an Ab harmony below the C here.
Ah, y'are right, thanks.

QuoteThere's no reason why b4 of m19/27 has to be in the LH. It's perfectly playable in the RH and I would argue it's also much easier to play because you don't need to jump back down with the LH afterwards
Mh, I agree. Originally I constructed this like right now because then interrupts the 4-2-4 game in the left hand.

Quotem20 RH b1 looks like this: (also in m28

Quotem24 RH b1 - there's an En below that chord. Perfectly playable.
what? I've taked a closer look and I noticed this passage was incorrect: Instead of the previous I've added an arpeggio between d' and b♭'. click to look But I didn't know what you meant, sorry.

QuoteUp to you, but I'd give the Bb in m24 b3 to the LH instead.
Makes sense, I've constructed it so now that the pianist can choose the hand there.

Quotem32 RH b1 - there's a F below the chord. It also sounds rolled.
alright, corrected

QuotePut the simile below the barline? It would be cleaner that way and that's where the accidentals are anyway.
Well, is not a must for me but okay

QuoteI'm unsure what purpose the ties to nothing serve. I'm not sure how you would let those ring without ped, which would be a simpler marking by far...
alright, added pedal markings

Quotem9, 25, 29, and 33 - make those pairs of quarter rests a half rest.
Yep. I think you include m1 and m21 too.

Quotem12 - align the pp and mf to be in the same line. It looks weird the way it is.

QuoteSpeaking of looking weird, all the a tempos seem to be aligned funky.

QuoteMove the rolled chord marking away from the barline in the final measure. If you need to, move the whole notes further inward.
Fixed. Fortunately it wasn't required to move the notes further inward.

Quoteno forte and/or cresc in m21? It is certainly louder and sounds like it gets louder after that point.
I've added a forte in m25

Thank you for the detailed feedback  :)