Changes look good! Approved
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Show posts MenuQuote from: Bloop on March 16, 2024, 01:18:28 PM-m4: You could add the B in beat 2 in the R.H. (or in the L.H.): it sounds like it's also part of the high piano/glockenspiel like voice.
Quote from: Latios212 on March 07, 2024, 05:15:56 PMOther feedback:
- The B on beat 2 of m. 4 is still there like in m. 2, but I understand if you want to omit it for simplicity
Quote from: Bloop on March 16, 2024, 01:18:28 PM-m5: I think you can add the little countermelody in beat 4-6 too (F#-G-A, an octave higher than the original so it fits in between the B octaves)I hear this but I'm going to keep it out. The phrase continues into m6 but I don't see m6 this part working out so I think it would be weird to just have for m5
Quote from: Bloop on March 16, 2024, 01:18:28 PM]-m16: If you leave out the R.H. A on beat 2.5 (the 16th note), it's possible for the R.H. to hold the D while playing the flute line.Good point! removed the A
Quote from: Bloop on March 16, 2024, 01:18:28 PM-m17: As for the flute line, I think you can end it on the staccato F#-A dyad on beat 1, the attention will be drawn to the E once you can't hear the F#-A anymore.
Quote from: Bloop on March 16, 2024, 01:18:28 PM-m25: I'm not 100% sure, but I think I don't hear the L.H. G (but an A instead), and hear a voice going A-G#-A in beat 1-3 which you could put in the R.H.I'm still hearing this
Quote from: XiaoMigros on January 21, 2024, 02:40:15 PMSpoiler
performance note for the wrong mk8 note?
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Quote from: Latios212 on March 18, 2024, 09:43:51 AM- Wikipedia lists Marcin Przybyłowicz and Mikołaj Stroiński as composers. Is Percival an alias for the latter?Yes it is
Quote from: Bloop on March 13, 2024, 04:30:13 AMthe ladies like to chop things yes, but not wood:Oh...Spoiler
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Quote from: Bloop on March 13, 2024, 04:30:13 AMI didn't notice the higher choir voice at first, but I think I'd rather keep it as is to imitate the slow rising effect and still have time for the L.H. to jump down to the low G in m2.Got it. Is it that much to jump down for m2? Not because of an error or anything just would think since there's two beats of rests the LH shouldn't be a challenge for moving from the tremolos
Quote from: Bloop on March 13, 2024, 04:30:13 AMI think I still hear it as I currently have? But I also arranged the bass notes to imitate the percussion hits, so I'm going to call it intentional phrasing haha.I pitched up and still hearing as I had heard, but I am fine with the phrasing as is in this case.
Quote from: Bloop on March 13, 2024, 04:30:13 AMI think I'd rather keep it to fill up the beat, since it's on beat 2.5Ah good point.
Quote from: Latios212 on March 07, 2024, 05:15:56 PM- The B on beat 2 of m. 4 is still there like in m. 2, but I understand if you want to omit it for simplicityYeah for simplicity and I think it's weird to omit it and then have it sort of reappear in the second half of its phrase.
Quote from: Latios212 on March 07, 2024, 05:15:56 PM- The offbeat dyads in the second half of m. 7 could have A instead of B (Bm7 chord)Before reading this feedback, I made the change haha
Quote from: Latios212 on March 07, 2024, 05:15:56 PM- m. 19 beat 4 RH: I think A first the harmony here more than BYep agreed there! Fixed
Quote from: Latios212 on March 07, 2024, 05:15:56 PM- m. 23-24 - probably best to have the LH fill in the rest of the bar instead of having restsGood point, fixed.
Quote from: Latios212 on March 07, 2024, 05:15:56 PM- m. 23 beat 1 RH: to me, just sounds like C instead of CM7 (C instead of B on the bottom)
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMOkay yeah relistening, the Bn I have is definitely just leftover decay from the Bn in m22. Fixed
I hear CM7
Quote- When having rolled chords at the start of a bar especially when not at the start of a system (e.g. 23-24) I'd recommend adding some space to the beginning of the measure (like 0.05 in.) to pad it a bit so the wavy line isn't squishedGood point, I have added some extra space for those measures.
Quote from: Latios212 on March 07, 2024, 08:53:33 AMSomewhat related, I think it'd be helpful to indicate pedal usage for parts of the piece. (I'll come back and check the rest of the sheet sometime soon!)Formerly had some pedal marks in this originally for m21-24, took them out before submitting, but it sounds like that was not the right choice. Have added them back.
Quote from: cashwarrior1 on March 07, 2024, 08:00:19 AMAgree with Latios to hearing both, added the Bn though
- m12 LH b2 sounds like B rather than F# to me
Quote from: cashwarrior1 on March 07, 2024, 08:00:19 AMAdded this harmony, think I missed this because those instruments were sort of being represented in the LH.
- m27 RH b4-6 there's a harmony going C - B - C here
Quote from: cashwarrior1 on March 07, 2024, 08:00:19 AMOH, also you should put slurs over the melody and on b1 of the LH for m5-11, 13-15, 17, 18 as well as in the arpeggios at the end
Quote from: Latios212 on March 07, 2024, 08:53:33 AMI feel like this is up to personal preference; it's pretty apparent where the melody is and how it's phrased. I tend to omit them unless there's a specific way I want the melody to be articulated or to differentiate it from a countermelody. Totally valid though if you want!
Quote from: cashwarrior1 on March 08, 2024, 09:04:56 AMIn the RH, instead of A and C on b5, though its more that I hear the flute go up to the E then jump down to B rather than walk down.I think I can pick up what you're hearing, but it doesn't sound like an actual played pitch to me, so I'm leaving as is.
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMm8 b2 I hear a G in RH and b5 I hear a harpoid down the octave but the synth line is playing up an octave (of what is written). I think it is best to leave the RH in step wise motion.Wow I've been mishearing that note for years haha, I tend to not agree with the octaves being mentioned though, as the Bn's are resolving down from the previous measure, and I hear the harpoid (LH layer 2) in the octave I have it currently.
To notate the harpoid, I would probably write the LH as thirds, and put it as an Octave in the RH with parenthesis on the bottom B, otherwise just notate the synth up the octave.
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMStill hearing Dn and Bn, I think just the way the pitches are repeated between the two flutes it becomes a little harder to make out.
I hear m16 b4 as solo B everything else as Kricketune has it.
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMI hear an A fourth above the E m17 b1 RH as well.I've excluded this An and the fall/gliss due to it being on top of the melody
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMFor the En, I chose to represent this pitch within the RH, I hear it start on beat 1, not 2.
I also don't hear an F#, I hear a B, and an E (tied over b2 & b3)
Quote from: goldenscruff on March 08, 2024, 03:27:45 PMm25 b2, b3 I hear a G# and A a third below RH. Are these notes missed or omitted for playability?Relistening, I hear these pitches, I think I would prefer to exclude them because I think it makes the RH a bit too full, I was going for a bit of a balance between the LH being a bit more rounded out and having additional chord notes only on beats 1.0 and 2.0 in the RH. Open to majority opinion if others agree with goldenscruff on this though!
Quote from: Fernman on March 11, 2024, 07:14:25 PMRegarding the dotted eigth & sixteenth, I would rather keep it as written as I too interpret it as "play it short" instead of divide by 2.Okay, will not make any changes there.
Quote from: Fernman on March 11, 2024, 07:14:25 PMRegarding m13, I wouldn't compare it to m11 because technically both voices currently arranged overlap in the OST, so it would be separate articulations.
Not sure how to go about resolving this. I uploaded the file to Bandlab and recorded what I heard as separate articulations in the original, ptiched up, and slowed down pitched up.
https://drive.google.com/drive/folders/1VUtDaaRPLdwv9n4NVF-JryUjPz8XrKWv?usp=sharing
Musically it makes more sense to have a rearticulated note to keep the song going than a held note that keeps it less interesting.
Or we agree to disagree.
Quote from: Fernman on March 11, 2024, 07:14:25 PMOk I hear what you are pointing out on m19. I'm not trying to blend the horn and the low notes you pointed out. I don't like the low notes themselves because they are boring half notes, and the horn is mostly present in the RH, and if I include the horn in the LH it will force me to add the triplets in the LH, which makes it lots more complicated to play against those 16th notes.
Instead I want to take descending tuba heard in m3. It fits well.
If this is not acceptable I can switch back the strings which would require me switching measures 20 to be like measure 4.
Quote from: Fernman on March 11, 2024, 07:14:25 PMNo, since it is a grand march I'm thinking it can't go less than mf. Only moving between mf and f. and move deliberately in m28 than a gradual increase over many measures. I'm good with no dynamic markings.Okay! Was just an idea but it is a fairly consistent piece dynamically so not a big deal to me
Added
QuoteYou may do whatever formatting to the staccato you'd like. the staccatos don't seemed well placed in finale and if I have to drag around that dot, I'll pass.Will get to this after your response on m19. Otherwise I have nothing else to add
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