I think it is more accurate to have the beginning phrases last 4 measures each instead of 3 measures. I know that it's more loosely interpreted but when using a metronome it's consistently a closer match to 4 measures as opposed to 3 (also, when I'm pointing out specific measure numbers I'm referencing what you currently have)
Yeah this is a tricky one. I tried a few different barrings while preparing this before settling on three bars per phrase. Although you're right that in tempo its closer to four bars than three, he never really sings in tempo so I found that the phrasing didn't really make as much sense when I stretched it to four bars. That being said, if you've got more concrete suggestions about how to write it out then I'm happy to hear them as it's not a straightforward place to write down at all.
You should change all the quarter + eighth rests to dotted quarter rests. You could allow dotted rests in the midi/audio -> quantization settings and then retranscribe the selected region to automatically change them, but then that would also mess with formatting
If you look at any of my other sheets in compound time signatures you'll see the same thing. It's how I'm used to doing rests in compound time although I know many here prefer dotted rests. It's also not totally unorthodox and (I believe?) is the more traditional way of doing things (you can easily find examples of it on imslp if you want to.)
m6 you're missing a short syllable at the very end of that phrase
I heard it more as the end of the word being enunciated which is why I left it out. Some of these calls would be easier to make if we access to the lyrics, which unfortunately will probably never will.
m17/19/etc. RH it sounds more like the first beat is G nat - D (lower) - G nat instead of F# - D (higher) - G nat
This one's is quite tricky for me to tell, but I think it's clearer that it starts on an F# if you listen to it at the end of the loop. Admittedly though it is still pretty unclear in the recording so I'm not 100% confident but I've left it as it was for now.
m32 RH I think you should have harmonies playing on beat 3 too
It's true that I restrike the harmony along with the melody in some other places nearby this one, but they usually have a good reason to be restruck (prominent movement in harmony part, first strike not being able to have all the harmony etc.) and 32 didn't really feel like it needed it to me. Might have another think about it though later.
m50 RH last quarter note sounds more like 2 eighth notes
This is another tricky one that would be helped by having lyrics, but I decided to change it in this case.
m133 why not Eb minor here?
I thought harmonically it made more sense as D#m due to how it transitions into F#m in 140. You could probably get away with it in Ebm also but this just made more sense to me.
m133-136 RH the original rhythm sounds more like consistent half notes; the current rhythm is a little jarring
Yep, the rhythm is really jarring haha. But I think you'll have to blame the composer because I'm pretty confident that this is what's going on here. I tried counting along with it again slowed down and it really doesn't seem to match up with 4+4+4. The rhythm sounds jarring in the original to me so I don't think it's a bad thing anyway.
At this point you might be thinking I'm going to disagree with nearly everything you say, but all of this:
- m69/70 RH I think the second chords should be accented
- m71 beat 3 RH sounds like D instead of B
- m72 RH I think it would be better to write out the trumpet part (which goes F#-E-D-C#) as that is more distinct
- m76 RH just personal preference but I think it is worth adding the eighth note run on beats 3 and 4 to lead into m77
- m97 beat 2 RH sounds like D instead of B
- m105-108 RH I think you should add the vocal harmonies
- m106 beat 2 RH should be F instead of D
- m123/124 LH bass note sounds more like C instead of G
- m140 you could also add a B natural and B# to the last two chords either in the RH or LH
- m153 RH first note in melody is actually A and should be tied to a quarter note, then it's followed by a G# quarter note (with A at the end like you already have)
- m156 RH the piano part (layer 1) sounds like the A should be a half note, and then the last quarter note octave you have sounds like an E instead of F#
- m157/158 RH the first two notes rhythm should be half note - quarter note instead of two dotted quarters
^ Has been changed. These are all good catches or nice suggestions. I wasn't entirely sure what you meant for 105-108 but hopefully I did what you wanted. Also for 76 I only added them on beat 4 because I thought they were more prominent there and it helped to keep the previously running melody more intact. Thanks particularly for checking some of the vocal lines pitches because it's often really hard to hear actually what pitch he's singing due to the vibrato and rich accompaniment.
Thanks again for giving it a look; it's greatly appreciated!
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Topic: Libera's Arrangements (The Twelfth Day (Of Christmas)) (Read 17552 times)