Messages

Fantastic job by everyone putting this together. The layout and background transitions are top notch!!! Love the added sheet counter touch

Well looky here I'm the last person to use this in 3 years time

As of Evening of April 8th I will be away until April 26th or so. I may pop in on Discord for a few messages on the 20th anniversary but there won't be much activity from me during this time period.

This is mainly a heads up to anyone's submission I have commented on recently, unfortunately I do not have Finale or Audacity access during this time, so I will not be doing approvals until my return. I will try to read pdfs, leave comments occasionally but my abilities will be otherwise limited. Thank you for understanding in advance

Yeah, something similar happened with Micro-Row and Micro-Row 2 (except I didn't have them submitted at the same time), and it's bother me ever since that there's a disconnect.
Yeah, that's the site I was talking about. It used to specify, but they seem to have changed it.

I hear Cn in the instances I pointed out for Screwbot 2 but they sound like Bn's here. In my opinion they should be Cn's in Screwbot 2 because they are literally audible as such and here I understand the reasoning for making them Bn's.

[accept]

Perfect! I shall accept

[Diaccepted]

(moved this to the updater discord for now)

I've been applying this comment to a lot of people about fixing fonts to the current templates, but we talked as updaters... turns out this was not a consistent understanding. Can ignore this comment.
 

Huh, it seems you're right yeah, the E is a bit harder to hear but I can definitely hear that the B# is not there. I wonder why they've decided on that.

Not sure either, but it seems like it's similar to how m3 or m24 start off with a singular different note that is not repeated in the phrase (Cn in that case).

Nothing else for me, Diababa is now Diaccepted!

Thank you Atcero as well! Things are a biiiiit stretched for the 1st system of page 2 but otherwise things seem to have converted pretty well. Just starting with a bit of a skim of first half or so but wanted to leave some feedback:

• m1 RH 4.5 hearing an F# 8th note (same octave as 3.5)
• m12 RH 1.5-3.0 I understand the reasoning for putting these up an octave, I'd suggest just staying at the original octave though. I don't think restriking the F# on 3.5 is a big enough reason to move this part all the way up.
• m13 RH not hearing a second layer, Gn on 1.0 is same length as the Bn above it, and there is a Dn at bottom of this grouping. On 2.5, the Bn and Dn are restruck (underneath the Bn). On 3.0 I hear a En below current notes. On 4.0, I hear Dn below the Bn, and an En below the A# on 4.5
• m14 RH Dn underneath the Bn
• m21 4.5 RH not hearing this separate Dn, sounds like Fn is held for whole note length.

• Old tempo marking font for BPM value and notehead
• m2 LH 4.0 you probably could make the An the F# like in the original?
• m4 RH 3.0 I hear this separated enough between the grace note sliding up to the En that the En starts as a separate 16th length En on beat 2.75, and that the Dn on current 2.5 is a 16th note as well (keeping beat's 3-4 the same). I think you could keep the grace note D# but apply to new 2.75?
• m18 non melody notes 3.0 hearing this rolled as well

Pretty minor stuff though, solid sheet

I don't think they are? They are Finale's standard music and text font, EngraverTextT 12 regular.

I thought MaestroTimes was the notefont for the tempo marking, and Times New Roman for BPM value?

Did you mean m35? There's no En in m36's L.H. on 3.5. In m35, that's an Eb, which is part of the low string accents (like in m34)

Yes sorry, meant m35 and I see/hear now how that makes up the low strings.


• m5, m26 RH I hear an En on 1.0 only. I don't think the B# is actually present on 1.0 here as well, the horn seems to go from Eb's in m3-4 for example to an En on m5 1.0, and then B# as you have it for 2.0 and so on. Let me know if you can hear the same or if further explanation would help.
• m73 RH 2nd layer I think Fn would work slightly better instead of Eb, given this chord is F minor?

Think that's going to be all from me

[approve]

Technically it could be yeah, but harmonically the chord in m35 is an E augmented (or I guess C+/E) chord, that you'd expect to resolve back to Am (G# as leading tone to A). But m36-37, like m1-2, is a C augmented (or Ab+/C) chord that resolves back to Fm instead (En as leading tone to F, Ab being a note in the key of Fm). It did feel weird to have both Ab and G# in these 3 measures, but G# made more sense in m35 (mostly because of the thirds in beat 2 r.h. and beat 4 l.h.), and Ab more sense in m36-37 (resolving back to Fm, also the melody going C-Bb-Ab in m37).

Appreciate the explanation here. I thought it had something to do with the E sounding chord of m35, and that the key is Cn for this section .

Will approve this one (which I have enjoyed listening to a bit more over past few days, neat track), do you have any thoughts on adding a courtesy key change indication for F major at the end of m37? For when the performer goes back to m3. Maybe that's overkill considering the key is listed just a bit to the left when the performer repeats, but a closing thought.

[accept]

Typically jazz pieces like this are written in 4/4 and given tempos in quarters, even if they can be felt in halves. I've seen charts with tempos of 300 or greater lol. It's more of a stylistic choice than a musical one, but I'd prefer to keep it in this sheet.

I think you may have had this exact point before - I was thinking either or works in this situation so good to stay as is.

I hear that too, but this is a really weird case. That Gn is actually not being played in the keyboard part, it plays over the bass channel. It's essentially a weird overtone/distortion thing that's there because of how the sample was compressed. If you listen to the PS1 version here, which is 99% the same MIDI sequence, you can see how it's "supposed" to sound. Or you can check the SPC file here. I don't think it's necessary to include.

Weird case indeed! I Listening to the PS1 version I hear what you mean.

Nothing else from me, so I will now accept

I've already tried a bunch of different pitches for that section, and (in my opinion) G was the only one that actually sounded good and cohesive.

Hmm yeah relistening I have to agree.

• Pickup measure you could make this bar 1/8 in length, remove the need to have any rests before the fall.
• m3 RH 4.0 hearing Db again
• m5 the simile could be a bit smaller - I would use the default expressive text simile found in the expression selection tool in Finale. Easier to move around as well.
• m7 RH 4.0 this staccato is still too close
• m16, 20 RH 3.0 I would recommend using Cn instead of Ab, the Cn I hear a bit more prominently but it's also a bit easier to play than Ab.
• prior to m20 RH there's a very cool strings 16th run up at the end of m19. You could add this, or just add like an Fn grace note to m20 RH 1.0.

• m21 LH 3.0 hearing this Fn down an octave like m18
• m22 RH 3.0 hearing an Ab 16th grace note ahead of current Bn one - so both should be 16th length
• m22 LH hearing this no different as m17 or m18 LH.
• m23 LH I hear for the .5 value of every note, a 16th length restrike of the first pitch (ex. on beat 1.5 hearing Gn, 2.5 hearing G#)
• m28 LH hearing this a bit differently (see screenshot)
• m34 RH 1st layer 3.75 is slightly forward of the Db above it. Can reset position.
• m36 LH I think this starts on a Db and goes down to a Dn
• m37 RH 2.75 the En should be a Dn, and the Cn a Bb

• m39 RH the ties on 1.75 need a bit of flipping - also hearing Ab instead of Gn and no En. On 2.5 only hear 3 pitches top to bottom - Dn-An-En
• m42 4.75 this staccato is still too close
• m44 RH 4.0 hearing Db just like m3.

Okay! I have gone with your suggestion, thanks for adding the screenshot

Ah yeah, and apparently G and Bb before that too instead of Ab and C, fixed!

Good catch

I actually hear both, the Eb/En is the next note in the voice that starts in the L.H. (the F-Ab-C one). I think I might've left it out so that R.H. voice stays the top voice, but I think it's fine to put them in too. Looking back at this I also switched some voices around/made some of them optional in the R.H., as I've found them to be a bit too awkward to play with the R.H.

Gotcha - I would do the top note for these parts if you were to only have one pitch instead of two because I think it would be better to have an additional different pitch (considering LH is playing Cn for example already at m9), and it also is slightly easier if you were trying to hold an upper layer note.

Huh yeah, I didn't notice at first. I added a performance note about the small notes (as well as the new ones I added)!

Yeah it is kind of a weird detail I noticed when listening repeatedly. If someone has played this game and has heard to the contrary in game, def speak up haha


• m18 LH 3.0 and 3.5 hearing this as Bn followed by Dn
• m35 Would the G#'s not be Ab as well like m36?

The m3-m6 part kinda reminds me of some of Bernard Hermann's music from Psycho

• Note font and tempo marking seem to be from an older template
• m16 and 18 RH 1.5 - you could add a Bn grace to the Cn, I hear a very subtle one taking place here but will leave it up to you
• m27 LH you could have same percussive roll like m6 4.5 and 4.75
• m36 3.5 LH not hearing an En here?
• m49 RH 3.0 hearing Bb instead of Db in this cluster
• m50-51, m54-55, m57-59 RH hearing this a bit different - Dn instead of F# (1.0, 2.0, 3.5)
• m60-61 RH also hearing this different - For every 8th note I hear Fn and Gb, but for 1.0, 2.0, and 3.5 I hear Bb (above Fn and Gb).  And if I'm not mistaken, those beats are the only pitches in m61 (no notes on 1.5, 2.5 and so on)?
• m74 LH 3.0 I hear this up an octave

-In every measure, it's okay to beam the first three 8th note beats into one beam, instead of dividing every 8th note. In 6/8 there are two beats of a dotted quarter note, and it's alright to beam anything with 16th notes inbetween into one beam.

Good point! I guess the separations are a bit consistent as is.

-For the L.H., the percussion hits seem to be more tuned towards F. However, with every chord strike on beat 1 there's a note doubled in the bass, which you could use for the percussion hits instead? (for example m1 has a (high) Bb, m2 a G, m3 an Eb, and m4 a (low) Bb

I do hear what you mean with the Fn. I did try your suggestion, but I didn't like how high the Fn was, and when the Gn and Eb were close in pitch. I know it is a bit repetitive, but did add the Fn below the Bb's I had - I feel like the Bb's are necessary to include but that the F's add something as well. In my first comment I mentioned that I added the Bb-G-Eb-Bb progression into the RH clusters.

Files updated, thank you for the suggestions!