it is very spoopy
[NES] - Castlevania III: Dracula's Curse
MUS
Please let me know if some of the chromatic runs need to be fixed accidental-wise
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Show posts MenuQuoteYou could add the upper guitar voice on beat 3.5 of m2/6 if you want:While it's correct in the song, it sounds pretty jarring on playback (at least in Finale). If I can, I kinda want to keep it just Fs here.
QuoteStaccato in m4/8 should be flipped (staccatos should always be on the notehead side unless there's multiple layers present)With like 30 minutes of trial and error, I finally managed to get those darned beams correct lol
- Break the beam in m14 LH and m20/24 RH to match the other spots in the sheet
- I hear the power chord in m9/13 restruck on beat 2, like this:
QuoteThe chord in m11/15 RH comes in on the downbeat of those measures, not on beat 4.5 of the previous measures. You can put this in a separate layer, then hide the half rest on beat 3:I'm unable to get the layers unfortunately, but I got the notes in the right spot so we just gotta flip the top note and layer the others.
Quotem10/11 beat 3.5 sound like they have a grace note beforeI'm honestly about to buy Finale at this point, because, yes, you guessed it, I cannot do grace notes
Quotem17 RH should be beamed across. Adding grace notes to groups of four 8th notes in Finale breaks the beam for some reason.lol finale and lol im dumb in that order, fixed both
- m18-24: Why no marcatos in the RH? It's part of the same guitar part as the LH
Quotem26-33: Instead of writing those long crescendos (some of which are intersecting stems), consider hiding them (and hiding the forte in the middle) and putting poco a poco cresc. right after the mezzoforte. This is useful for long stretches of slow, but constant crescendo-ing.Deleted the creschendos, but I am unable to put in the poco a poco cresc. I just kinda wrote in where I figured it went, so that'll have to be added by a full finale user
- m32 RH beats 5-6 (in terms of quarter notes): The melody here actually goes Eb-F-Db-Bb, only in this measure. You could keep the extra F's on the downbeats to match m30, or pick different notes to avoid repeated Fs, up to you.
Quotem1/4/5/8 RH I think the first quarter notes should be staccato'd or written as eighth notes + eighth rests (not beat 4 in measures 4 orOh that's a good catch. Used staccatos (but now that I've exported everything, I'm wondering if I shoulda done the eighth note + eighth rest...).
QuoteAre there no slurs on the grace notes because of the way they're played, or should they be added in?They probably should be added in... so I... uh... added them in just now.
Quotem18-24 how do you feel about adding accents on the power chords?I think that is a splendid idea, adds power
Quotem26+ in the original the dynamics are pretty static, but I think it would be nice to mix it up anyways and emphasize the buildup by putting mf at 26, f at 30, and ff at the very last note, with crescendos in betweenThat sounds great. Only thing I'm wondering is that if it repeats, the player would be going from ff to f real heckin' fast. Added, but wondering if I should change that to mf to f throughout the last section.
Quoteit sounds pretty strange to me now with it removedGlad I wasn't the only one that thought so, re-added
QuoteI also still think the top notes of the strings are GsOkay, changed to Gs
QuoteEven if both the Bb and D are present, I think you should only include one of them.Truuueeee, chose the D
QuoteFor the extra guitars, the only way I can think to try and stop these voices getting muddled up is to try and put the extra guitar notes on top of the stringsChanged this section in the way you suggested. At first I thought the lower Gs sounded weird, but it's grown on me.
QuoteThe margins are currently extremely wide. Can you fix this? I recommend 0.5 for the top, bottom and RH margins, with ~0.65 for the LH margin. The character indication/tempo marking is really close to the staff, and the composer and arranger info are too close together. The staff size is also rather large, ~0.71cm. I recommend around 0.65cm.I delved into the code, but the lines in Cacabish's presentation didn't exist in this specific file (for what reason? I... don't know. It was in PowerField version C...). There is a section to change it manually in the top row of options, but the boxes are grayed out and won't allow me to input the margins you specified. Moved the composer upwards a little bit, but bricked a file when trying to move the character indication within the code (since I cannot do it within the file).
I forget how much of this stuff was discussed in cacabish's presentation, but I think all of it should have been.
QuoteI will see tomorrow if the first eighth needs to be there.Yeah... I'm not hearing that first eighth from the same guitar. Removed from the first four measures before the other guitar comes in. It kinda looks... off now though. Maybe that's just because I'm used to seeing all 12 eighths there, but let me know if I can keep those in.
QuoteIt actually sounds like maybe the first high note (excluding the one that may not exist) is an F... but the other in the same measure is a G?? I will test this tomorrow for sure.I think this is true.
QuoteThat might be what's happening there. I do hear something off.This one was a bit tricky, but I figured out what happened. I do hear both a Bb and a D, so that has been corrected (it took a few repeats on 0.25x to hear it, but it is there). However, I also found the reasoning I used in the initial submission. I used a remastered track to help with the ending (since there was less cronch, but that version is indeed slightly off in the 3/2 section, instead doing a Bb then alternating with a Bb D chord as the eighth eighth.
QuoteI might switch it again and see what happens since that was before a lot of changes.Switched, but it looks quite messy now. Thoughts?
Quote- The left hand looks fine to me. Looks accurate and playable, and gets the texture across well. The eighth note to power chord jump in the last four bars could be a bit awkward but definitely doable.Thank goodness.
QuoteI'm not sure if the first note in each measure is even there prominently.
QuoteEach of the upper G's I'm hearing as an FThis isn't the first time the high note has been questioned. It was originally submitted as an F, but was changed after Libera's first round of feedback. The GBA is super cronchy. I slowed that bit down to like 0.44x speed (thank you YouTube update) and I'm pretty sure it's a high F.
QuoteThere's a couple other pitches that I'm having a hard time picking out, notably the 8th eighth note in alternating measures is written differently as Bb vs. D but I kinda hear both.That might be what's happening there. I do hear something off.
QuoteI share Libera's confusion for the RH of the last four bars, where are the extra tones coming from? In the original it sounds largely the same as the previous four bars to me.I absolutely promise you there is indeed another guitar added in at timestamp 0:52. I believe it is the same instrument that has the Ds Libera told me to add in last post. So it goes (on eighths 1, 4, 7, 9, 11) D, D, D, F F / D, D, D, C C. The problem is, it goes up to a F, F, F, G G for the very last measure, but I had to move those notes down an octave so it didn't clash too harshly with the G on eighths 1 and 4... but I might switch it again and see what happens since that was before a lot of changes.
QuoteI think this is fine as is. The 3+3 is syncopation if we're writing this in 3/2 and the beaming is correct for a 3/2 measure.Coolio.
QuoteWhat are the rules on 'hiding' rests? Right now I just have them so they're not inside the notes.Olimar helped me with this (and also simplified some tied eighths).
QuoteAdded the Ds, but about the Gs... I don't hear the GsI was being dumb, I thought you meant Gs in a chord. I added them in. Since the sheet's in 3/2, if I'm correctly understanding the explanation you gave, then the beaming in the LH is wrong (and, you guessed it, MuseScore doesn't fix beamings which royally stinks).
QuoteBy height I meant literally making them lower pitch (dropping an octave/inverting) but a separate layer is fine. It looks a bit messy now with all the rests, but you can fix this by moving the second layer rests down below the staff (so they're not inside the notes anymore) and hiding them when appropriate (particularly the rest in bar 11/16 could be easily hidden, as well as probably the first one in both 10 and 14). Also, the first layer rests in bar 9 and 13 shouldn't be dotted: write them as a quarter + eighth.Oh. What are the rules on 'hiding' rests? Right now I just have them so they're not inside the notes.
QuoteThere are still some Gs in the left hand right at the end. Also you might consider adding in the Ds as well on beats 1, 2.5 and 4 of these last four bars.Added the Ds, but about the Gs... I don't hear the Gs, so I'm not quite sure where they can go. Can you please give me a timestamp for the ending bit you mean (ie the 3/2 section in its entirety or just the last four measures)?
QuoteThis is probably not possible for you so I can add it in afterwards with the other stuff.Yeah... that is correct.
QuoteFormatting:I spent an hour delving into the code but I couldn't find everything. I used the final version of MMX3 Opening Stage to copy/paste, so if it's wrong, please let me know since that kind of messes up a lot of checks for future reference. Here's what I did find though:
-No bar numbers. Forgive me if any of my bar numberings are off at all as I was doing them in my head.
-Composer and arranger info are too close together.
-Direction and tempo marking are overlapping, would be better in a single expression.
-Copyright/url is misaligned and the font is the wrong size (should be size 12).
-Title and game title are misaligned.
-Margins are very uneven and the systems aren't aligned to the left margin. I recommend 0.5 for the top right and bottom margins.
-No page numbers or mini titles on subsequent pages.
-Staff separation is oddly set to 0.88", I recommend 1".
-I recommend not using a page resize and instead resizing the staff size to 0.65cm.
QuoteArrangement comments:- I can't believe I messed up the key. I think I got confused because of places like measure 9, but other bits (especially the 6/4 part) should've given that away
-Should be in Gm (two flats). You can tell because G is the tonal centre of the piece.
-Highly recommend dropping the left hand piano notes in 26/28/30/32. I don't think they really fit very well, especially in the first three bars where the guitar solo is taking centre stage. They also don't really follow the drum patterns at all and so I think they're out of place. I'd suggest dropping it completely in the first three bars and writing in the drum fill in bar 32 with x noteheads. Like in this picture:
-For some reason a lot of the accidentals don't seem to be appearing in the sheet. They play back correctly so I'm not sure what's wrong. Try deleting the notes and adding them back in.
-It's not really clear where the melody is in bars 9-32 with the chords written in the same layer and at the same height. You could try moving the chords lower when they play on their own, or writing them in a separate layer.
-I'm not sure the way you're written out the final section (33+) is really the best way to go about it. This way you lose out the addition of the high guitar part in 37+ and it kind of just sounds the same throughout the whole eight bars. Something you could try is keeping the bass in the left hand but incorporating the guitar hits around the string line in the right hand. (If you were to keep it as is, then it would be better to add in the octaves at 37 rather than at 35.)
-The sheet could benefit from a lot more ornaments in the right hand for the guitar bends. It sounds a bit flat without them.
-There are no articulations in the entire sheet. You don't have to go overboard on them, but surely the sheet could benefit from at least a few in places.
-Similarly you could also add in more dynamics, but admittedly there isn't that much dynamic contrast in the original so I don't mind if you want to leave them out.
QuoteRight hand:- Removed
-I don't hear the lower notes in the first three beats of bar 3 (or bar 7). They sound very odd to me.
-The rhythm in bar 4 should match up with the left hand (i.e. the chord should come in on beat 1.5).
-I hear power chords (tonic and fifth) for the chords in 4 and 8 (plus the final chord in 3 and 7) rather than triads. In other words, I think you should get rid of the thirds (the Gs and the As). You can always double the tonic to get some more force if you want.
-Bar 25 beat 3.5 the C and the next four notes should all be a step lower. Same for bar 29.
-Bar 28 beat 1.5 the C should be a G (bended up to from an F).
-The string line in 33+ should look like this:
QuoteLeft hand:- Not going to lie, I screwed up here. No excuse for me missing that many notes and I apologize for that.
-Bar 1 beat 4 should be a G.
-Bar 5 beat 3.5 should be a Bb.
-Bar 5 beat 4 should be a C.
-Bar 8 beat 4 and 4.5 should be F and F#.
-Bar 9 beat 4 should be a G. Same for bar 13.
-Bar 11 beat 4 should be a G. Same for bar 15.
-Bar 12 the first three notes should be Bb G F.
-Bar 16 there should be an F# on beat 4.5.
-All the same note changes for 17-24, although the bass does go up to a C on beat 4.5 of 24 rather than an F#. You could use a repeat with a first and second time if you wanted to here, which may save you a page on the whole sheet.
-Other than that last note, I think 16 and 24 should be consistent.
-The left hand should be beamed like in bar 34 for the whole of 33+.
QuoteCool piece. Regarding the sheet, I think this one needs a bit more love and care than it currently has. I don't know if this was an ambitious arrangement for you, but I think it needs a fair amount of more work before it can be accepted.I'm glad you think the original piece is cool. I do want to say though, this wasn't intended to be an ambitious arrangement (I thought Strago's Theme was much more difficult starting out). Sorry for putting you through this one.
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