Libera's Halloween Sheet

[Libera]

Dropbox Link

Enjoy.

[Maelstrom]

This sheet is liable to give nightmares to anyone who looks at it, excellent pick.

m3 and similar - I hear this:


-m8 b3.5 - I hear this 8th as 2 16ths - a D followed by an A. Same notes, just not at the same time.
-I had a nightmare with the chords in m11+ LH, as I'm sure you did as well. the thing is, there's a few things I'm sure of and I'd like to know what you think:
I think a D instead of the C# on the first beat produces a better chord.
I think the drumbeat on b1.5 really should be included as it's a big part of the rhythm here. As for what note it should be, I'm less sure. Maybe a B?
I can't tell what that repeated chord is for the life of me but what you have sounds slightly too melodic for the tone it's going for here. Maybe move the E to a D#? Not confident at all about this though.
I hear very different RH notes in m35+ but take this with a metric ton of salt because it's melting my brain


..... that's all I've got. This song is migraine inducing and absolute genius

[Libera]

Firstly, thanks for checking this monstrosity.

m3 and similar - I hear this:

Ok so when I originally listened to this piece I thought that this section was just a single moving voice over the top of the repeated chords down below, but there's actually two/three voices here.  I thought that it would make more sense to condense it down to a single note each semiquaver (apart from the more striking D+E every so often) and would be easier to play.  One of the voices is just kind of hammering an A most of the time, so I used that to fill in for whenever nothing else was happening and otherwise left it out since the we get A's from the left hand anyway and I think it creates a more interesting line that way.  That was my thought process for this section, anyway.

-m8 b3.5 - I hear this 8th as 2 16ths - a D followed by an A. Same notes, just not at the same time.

I honestly don't really know what this means.  The RH sounds like it repeats every two bars to me.

I think a D instead of the C# on the first beat produces a better chord.

I'm not sure if you mean a D# or a Dn here, but in either case I'm not so sure.  The C# is taken from the repeated chords just to give the octave more power, whereas I'm not sure where the D# or Dn comes from...  It sounds weird to me anyway.

I think the drumbeat on b1.5 really should be included as it's a big part of the rhythm here. As for what note it should be, I'm less sure. Maybe a B?

That's a good idea to include that rhythm.  I put it as a G# just as a repetition of the beat 1 hit (but only the lower octave).  This introduced a bunch of spacing issues which I've hopefully fixed by a combination of manual spacing adjustments and taking the staff size down to 0.6cm.

I can't tell what that repeated chord is for the life of me but what you have sounds slightly too melodic for the tone it's going for here. Maybe move the E to a D#? Not confident at all about this though.

I'm (reasonably) confident in the pitches for the repeated chord and that's what I wrote in.  Regardless of accuracy, with the D# you get Badd2/C# which sounds kind of inappropriate to me.

I hear very different RH notes in m35+ but take this with a metric ton of salt because it's melting my brain

Yeah this is easily the most difficult part of the piece to follow and I've listened to this specific section more times than I think anyone should ever have to.  My thinking here is actually kind of similar to my thinking for the opening section: there's a top voice which blasts out a Gn semi-constantly (which I think is where you're getting your top note from) and then some more interesting movement underneath, so I inverted the more interesting stuff to be at the top whilst keeping the Gn for harmony pretty much all the time.  While I was checking this though I did look through the whole thing again and noticed some inaccuracies so I've fixed those now.

Another thing you might notice when checking that section is that I've homogenised some of the rhythm so that the parts all move together, rather than writing it out with lots of layers and different rhythms which would be really annoying to read and there wouldn't be much benefit for doing so.

Still happy to talk about pitch discrepancies in this section but I thought it'd be good idea to explain how I was writing that section out first.


Files updated with the changes above.  Thanks again!

[Maelstrom]

m3 drone - I understand your thought process, but I still hear those As, especially on b1.25/1.5 as strong enough to include instead. Maybe the next updater could weigh in on it.

ok it took me a bit but my m8 comment was supposed to be for m10. The fact that it took me a while to figure out what I was saying is embarrassing.

Not liking my m11 changes is perfectly fine. That part is tricky and I'll trust the person who spent far too long agonizing over this, especially because I'm not that confident.

The chaos section looks better now and I'm fine giving it a thumbs up as it is now.

very close to approval

[Libera]

m3 drone - I understand your thought process, but I still hear those As, especially on b1.25/1.5 as strong enough to include instead. Maybe the next updater could weigh in on it.

I tried it out and you've convinced me to change b1.25 and b1.5 to A's.  I think it works better like this since those two are prominent and the lower voice is just sitting on two E's there so it's not super interesting anyway.

ok it took me a bit but my m8 comment was supposed to be for m10. The fact that it took me a while to figure out what I was saying is embarrassing.

Ok now I understand what you meant and I've fixed it.

Thanks again!  I've put the updated file up.

[Maelstrom]

Alright, sounds fantastic.

Approved, and I'm satisfied with the result of m3.

[Static]

With the exception of m35-50, this piece sounds really mesmerizing on piano - almost relaxing but in a weird uncanny way. The original though...

• In m17-18 and 25-26 RH, consider using some crescendos/decrescendos to kind of mimic the panning of the string part. Up to you, but I think it sounds cooler than just a string of normal 8th notes.
• Any reason you didn't include that other voice in m18 RH? You have it in m26.
• In m35-50 RH, it kind sounds like there should be grace notes before certain notes, like beat 3 of 35, beat 1 of m36, beat 3 of m37, beat 1 of m38, and more. It's kind of hard to hear since everything blends in but the rhythm doesn't sound quite like how you wrote it, at least to me.
• Edit: I read what you said about how you picked the rhythms out for this section, and I'm pretty OK with it, but I'd still consider at least adding a few of these extra weird notes in... I mean the piece is already pretty weird, it wouldn't hurt to go a bit further lol
• Some of the beaming is kind of hard to read, like m41 and some similar spots, but I think it makes sense overall... That is to say, I'm fine with it.
• Any particular reason you chose F#m as the key signature? I can't really pick out a key myself, I'm just wondering what you were thinking here.

[Libera]

Thanks for checking!  I've put the new file up.

In m17-18 and 25-26 RH, consider using some crescendos/decrescendos to kind of mimic the panning of the string part. Up to you, but I think it sounds cooler than just a string of normal 8th notes.

Good idea!  Added.

Any reason you didn't include that other voice in m18 RH? You have it in m26.

Nope, just a whoopsie.

Some of the beaming is kind of hard to read, like m41 and some similar spots, but I think it makes sense overall... That is to say, I'm fine with it.

Yeah in some places it is, but it's intended to visually separate the 'overwritten' Ab7add6.  Anyway you say it makes sense so I guess I don't have to justify it too much.

In m35-50 RH, it kind sounds like there should be grace notes before certain notes, like beat 3 of 35, beat 1 of m36, beat 3 of m37, beat 1 of m38, and more. It's kind of hard to hear since everything blends in but the rhythm doesn't sound quite like how you wrote it, at least to me.
Edit: I read what you said about how you picked the rhythms out for this section, and I'm pretty OK with it, but I'd still consider at least adding a few of these extra weird notes in... I mean the piece is already pretty weird, it wouldn't hurt to go a bit further lol

I tried this out and alongside not finding a way to add these in consistently that didn't clutter the RH, I also feel like this section is already awkward enough for the performer as is.  So yeah I think I'm leaning towards leaving them out.

Any particular reason you chose F#m as the key signature? I can't really pick out a key myself, I'm just wondering what you were thinking here.

We had a bit of a chat about this over discord and as we said there I think it'd be best to leave this in F#m if only for simplicity of reading.

[Static]

After some discussion, I can confidently say that I accept this particular sheet. Looks great!