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Debate topic for next Tuesday: Are cannons truly valid instruments for an orchestra? Or should they be replaced with something safer, like Tesla coils?

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 11 
 on: Today at 04:35:37 AM 
Started by Latios212 - Last post by Latios212
Memories

-m16-17: I think the note distribution here is a bit different than you have it:

The bottom notes of the R.H. dyads in beats 2 and 4 are the same as the notes you had in the L.H., and I hear a C as well on beat 2 of m17 that made me realize how this two bar accompaniment worked.
Actually, if you compare m15-19 to m6-9 now, you might think that m6-9 should be notated like this:


Ah yeah I totally agree with your suggestions here! What I wrote previously was partially based on proximity to what was closer to the upper or lower register but this definitely makes more sense to look at, and is still sensible to play.

The A and G on beats 2 and 4 of m7 are a bit softer than the other notes, which made me believe that they're the accompaniment and not the melody. Maybe you really hear the melody differently though, which is fine too, but it's worth thinking about at least!
This is actually demonstrable because much of the melody of this piece is reused elsewhere in the soundtrack! :P Most notably, the original original version of this piece is here and it's pretty clear that those melody notes are held at 0:11. (I will probably keep m. 5 as is just for ease of playing, though.)

I got the other things too, thanks! Solo piano pieces definitely have their own pitfalls...



Utsugi Detective Agency

Why not put this in 12/8 (or 12/16)? I hear that dotted 8th pulse a lot more strongly than the longer 6/8 pulse, but maybe that's just me.
I... yeah wasn't initially feeling it that way but it makes sense especially given the original version is much more explicit about it. I've heavily edited the sheet into 12/8 - it retains the same form but a bunch of small little things needed editing.

m15 LH is missing an Eb between the low Eb and the Gb after it. It's all 16th notes through that measure too, no 8th note. It's also pretty faint but I think it's there.
dang I'm not sure why I didn't pick up on that before but I'm really glad you said that because I wanted it to be there anyway lol

Files updated, thanks!

 12 
 on: Today at 03:00:11 AM 
Started by cacabish - Last post by Latios212
Awesome! The changes look good! I don't have any more feedback so I will accept. You're all set for Halloween :D

 13 
 on: Today at 02:35:30 AM 
Started by Zeila - Last post by Zeila
oh is this the one Lena helped out on?

Only thing I notice is in measure 42, the second layer rh note on beat 2 has a Bb who's flat symbol runs into the first layer note. Maybe moving that first layer note back would help.
It is! Alongside Marcy Nabors who apparently composed for Homestuck. Anyways, thanks for looking it over! I fixed that and also decided to get rid of the glissando in measure 18

Also these accidentals hurt my brain (there are chords that have both flats and sharps in them and are spelt correct o.O)
They hurt my brain too

 14 
 on: Today at 02:07:54 AM 
Started by NineLives - Last post by Static
For m53 beat 1.25, I think I hear the E under the G now, though it's a bit hard to tell. The G is definitely the more prominent note but I also don't hear a note above it, so that would make it part of the upper voice anyway.
Sorry if I was unclear, I meant you could keep the E as you had before. But it's fine with the G too.

Either way, I'll approve this one, nice work

 15 
 on: Today at 02:07:09 AM 
Started by Jake_Luigi - Last post by Zeila
m18/19 RH it sounds like there are extra G's playing at the same time as the low G's in the LH, as well as one on beat 4.75 of m18
I think you have the voices a bit confused here. The left hand shouldn't be playing octaves - you have 4 notes at a time when this is a NES track with up to 3 voices. The lower octaves shouldn't be present when the left hand is playing the upper G's while the RH is playing dyads. Also, the last G 16th note in m. 18 is supposed to be one octave higher, in the right hand.
Sorry I should've been more clear, I meant that the upper G's that the RH were playing also seemed to play without the middle voice at the same time as the low G's of the LH (so every other sixteenth group of two). And yes I was referring to the right hand with the last G too. This is what I hear (with the first half of m19 the same):

Of course I could still be wrong though, but hopefully this makes more sense

 16 
 on: Today at 02:01:49 AM 
Started by Kricketune54 - Last post by Kricketune54
Quote
- Having a slur between the F# and G in m. 6 RH beats 3-4 could help to show that the F# is held while the G is tapped quickly. Conversely, I think the slur over m. 24 is confusing due to the staccato in the middle of the measure and I'd recommend taking that slur out.

Slur added m. 6, taken out as instructed for m. 24


 
Quote
- Not sure I hear the upper octave C#s in the right hand of m. 9, and I'm not sure it belongs as the rest of the melody is just single notes

Yeah I think I thought this because the bells sound different here compared to other parts.  Playing with audacity didn't here a second layer so took off the top notes

Quote
- About m. 16, I don't think the accents being on beat 4 is right. It sounds to me like accents should divide the second half of the measure into three, just like the first half of the measure. That'd also be consistent with the bass moving to C on beat three and two thirds.


Fixed

Quote
- Accordingly, I think it might be better for the left hand of m. 16 to be quarter note triplets.

I'm assuming you just meant the first two beats of the LH, fixed

Quote
- You should have courtesy naturals on the left hand D's in m. 22-24 because they alternate with the D#s. (Would recommend non-parenthesized)

Added, non-parenthesized

 
Quote
- I forgot if I mentioned this somewhere else in Discord, but I don't think between the staves next to the rest is the best place for the text note. It should be next to the part it is supposed to relate to. There's not a lot of room on the top, but I think it would look better up there - maybe shifted left a bit because of the DS.

I don't think I saw that if it was said... or maybe I misinterpreted it lol.  I have moved it above the notes, and also moved the D.S up 3 up arrows

Quote
- Pedal release marking is higher than the pedal marking in the last measure.


Fixed

Quote
Beat one and two thirds? This is still an F instead of an E#. (Also F# major scale here, not C# major?)

Fixed this forgorten part, are there any implications to the scale being F#?  I.e. changing accidentals

Quote
"Grandmother's" doesn't need to be capitalized.
Shhhh it's a formality respect your elders fixed

Quote
And I'm not sure if a toy piano would work, because I think toy pianos generally have a pretty small range - you need the high tinkly notes as well as the low bass octaves, so I don't think using a toy piano as a suggestion makes a lot of sense.

Okay, took that part out.  I was trying to illustrate that you want this to sound somewhat goofy but it did cross my mind it probably wasn't feasible

Quote
And lastly the main thing I want to mention about this one is that it could be respaced a bit. The third system in particular is pretty cramped. You've got a lot of empty space on page 2 that you can use for an extra system, so I'd suggest shifting a few measures downwards. See what looks good to you.

Arrrggh I knew it I resisted though for the lack of wanting to fix the things that inevitably get shuffled.  Fixed

 17 
 on: Today at 01:44:57 AM 
Started by cacabish - Last post by cacabish
oh hi
Spoiler
Hi
[close]

Yeah, about this - I agree with Bloop. There's two main reasons for that:
1 - Writing the trilled note without the tie implies that you have a separate melody note being struck, instead of starting to "modify" the existing one.
2 - As Bloop mentioned, writing it with the tie implies that you start alternating with the note above instead of re-striking the written note. (Similar to how if you had a woodwind instrument, you'd use one breath for the whole measure and just use your fingers to alternate the notes)
Right, and I figured that was the rationale; it's very logical. However, it's one of those "corner cases" that I've never run into (likely won't run into it again for a long time either) and was unsure about and Gould never mentioned anything explicit, which didn't help. Nevertheless, when I look at it and pretend that I have never seen it before, I feel like I would know what to do and what was intended -- it's pretty clear overall, which is a good sign that this is good. :D

- Is it just me or is the molto legato really close to the slur in m. 29?
Barring the slur being invisible (which we talked about in the Discord), it's a bit close, yeah. I never quite know where to put directional markings, so I was bound to have it be too close to something or misaligned or somethin'. :P Anyway, I've bumped it up a smidge. If it needs some more, let me know.

- To me when listening to the original, the RH in the last measure sounds like it might be more fitting an octave lower
Fair point. I was primarily going for a flourish at the end where the octave was different than that the D that you just finished holding (going for the whole "over-the-top, emotional pianist" vibe here), but the octave down is more accurate, for sure. Adjusted!


All that said, Horror Land has been updated! If there are more fixes, please let me know! :)

 18 
 on: Today at 01:43:14 AM 
Started by Jake_Luigi - Last post by Latios212
Made formatting fixes to the file!

Glissando: Appears as a straight line.
I've changed this to a wavy line but think about how you want this to actually be played on a piano. A dyad-to-dyad glissando is not friendly, especially when it involves both black and white notes.

Other stuff (these changes are small so I can just edit them in real quick if you like) -
- Would recommend a staccato quarter note instead of 16th + 16th rest in m. 12 beat 2.5, so that beat 3 isn't somewhat obscured between two 16th rests
- You could use a dotted half note in m. 13 instead of quarter tied to half. Same for 16
m18/19 RH it sounds like there are extra G's playing at the same time as the low G's in the LH, as well as one on beat 4.75 of m18
I think you have the voices a bit confused here. The left hand shouldn't be playing octaves - you have 4 notes at a time when this is a NES track with up to 3 voices. The lower octaves shouldn't be present when the left hand is playing the upper G's while the RH is playing dyads. Also, the last G 16th note in m. 18 is supposed to be one octave higher, in the right hand.

 19 
 on: Today at 01:04:06 AM 
Started by Kricketune54 - Last post by Latios212
Here we go! Second check!

- Having a slur between the F# and G in m. 6 RH beats 3-4 could help to show that the F# is held while the G is tapped quickly. Conversely, I think the slur over m. 24 is confusing due to the staccato in the middle of the measure and I'd recommend taking that slur out.
- Not sure I hear the upper octave C#s in the right hand of m. 9, and I'm not sure it belongs as the rest of the melody is just single notes
- About m. 16, I don't think the accents being on beat 4 is right. It sounds to me like accents should divide the second half of the measure into three, just like the first half of the measure. That'd also be consistent with the bass moving to C on beat three and two thirds.
- Accordingly, I think it might be better for the left hand of m. 16 to be quarter note triplets.
- You should have courtesy naturals on the left hand D's in m. 22-24 because they alternate with the D#s. (Would recommend non-parenthesized)
- I forgot if I mentioned this somewhere else in Discord, but I don't think between the staves next to the rest is the best place for the text note. It should be next to the part it is supposed to relate to. There's not a lot of room on the top, but I think it would look better up there - maybe shifted left a bit because of the DS.
- Pedal release marking is higher than the pedal marking in the last measure.

-m11: The F on beat 1.333 in the R.H. should be an E# (third in C# major scale). Also, I think the L.H. could either use portato markings (tenuto + staccato), or just be written as 8th + 8th rests. It's not really staccato short.
Beat one and two thirds? This is still an F instead of an E#. (Also F# major scale here, not C# major?)

About the performance note at the end, I like it haha. A couple of things about that, though. "Grandmother's" doesn't need to be capitalized. And I'm not sure if a toy piano would work, because I think toy pianos generally have a pretty small range - you need the high tinkly notes as well as the low bass octaves, so I don't think using a toy piano as a suggestion makes a lot of sense.

And lastly the main thing I want to mention about this one is that it could be respaced a bit. The third system in particular is pretty cramped. You've got a lot of empty space on page 2 that you can use for an extra system, so I'd suggest shifting a few measures downwards. See what looks good to you.

 20 
 on: Today at 12:58:43 AM 
Started by Programmer06 - Last post by Programmer06
This such is a beautiful, tranquil, and yet intense theme. Please arrange this.

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