NSM Winter Update Project Thread

Started by Libera, December 12, 2018, 03:25:40 PM

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Trasdegi

#60
Quote from: Libera on December 16, 2018, 08:35:47 AMTrasdegi

Panula Cave

Accepted!  The first sheet as well.

Yay! Here's a second one in the same spirit:


"Wintown":
[PDF][MUS][MID][Original]

Libera

E. Gadd Industries

Gelato Beach

It looks nice, I've just got one small thing.  Did you move the octaves of the bass around on purpose?  I'm talking about bars 11-18; the notes look good, it's just some of the octaves are off.  Here's a picture of what I can hear:

Spoiler
You cannot view this attachment.
[close]

If you've moved them around for a particular reason, just let me know.  (Also if you do swap to what I've posted, you should put a parenthesis around the right hand Ab in bar 17.)

Latios212

Quote from: LeviR.star on December 16, 2018, 09:02:23 PM- never caught that... sounds so strange now...
- ooh, thank you (courtesy accidentals strike again!)
- sounds right
- looking at it, while I see no ledger line problems if they were to go up an octave, I sorta like the idea of the 8va indicating the next section, so if it's alright I'm going to keep it where it is

Thank you much, Latios!
No problem :P Approved.

Static - Freesia
Respaced the staves on page 1 a bit and accepted
My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

Spoiler
[close]
turtle

Khunjund

#63
OK, I want to apologize if this is really dry, but I didn't want to take too much more room than was necessary (I hope you'll understand).

Quote from: Libera on December 16, 2018, 06:38:03 AM500 posts wooo.

I'm not getting there any time soon with posts like these. ;)



E. Gadd Industries

Gelato Beach
  • "Tranquiloso" isn't a word; the proper indication is Tranquillo. Also, the metronome marking should go to the right of the character indication. Aside from that (and the octave thing I guess—it doesn't really matter to me what octave you want your bass notes), this gets my unofficial seal of approval.



Latios212

The Frostlands
  • Maybe add one note to the right hand at the chord changes in measures 13 and 17 to make them a bit more impactful, like you did in measures 15 and 19?
  • If you want to add character indications, I think "Unemotional" would suit the beginning section rather nicely. I think you could use "Warmly" come measure 23—this might be a bit trite, but that's the feeling the Db(add9) chords give me, personally.



LeviR.star

Anti-Claus's Theme
  • I don't know this game, so I don't know which version of the title is the official one, but just double-check to make sure.
  • Is there a reason you wrote this piece in Ab minor instead of the more usual G# minor? (It doesn't need to be changed, I just wanted to know.)
  • This is preference, but because it's swing, I'd write the tempo relative to a quarter note.
  • This might reuse a melodic phrase from Jingle Bells, but I don't think it's necessary to credit that. This piece definitely doesn't sound like just an "arrangement" of it
  • There's a triad in measure 6 that's misaligned. When you have a second interval between the two layers, like in measure 17, it's the bottom layer that should be off-centre to the right, even if it's "layer 1"—the stems of the notes should align.
  • The left hand has a bunch of unplayable intervals (e.g. measures 13–14)—anything larger than a ninth is too big if it's meant to be played simultaneously. You can fix this by choosing some notes to put an octave lower or higher.
  • The second repeat box should be closed on the left and open on the right.
Secret Mine
  • I believe I've said this multiple times, but I've never once seen a 15ma line used in a professional edition of a piece of music—and it's definitely not because I haven't seen many pieces that reach the extreme notes of the piano, because I have. The customary way to write this would be an octave higher and using a regular 8va line. Likewise, both hands should be written without 8va lines from measure 23 onwards. The rest seems fine to me.
Winterland (Stage 5)
  • Metronome marking should go right of the character indication.
  • The Ebs from measure 1–12 should all be D#s; see how they resolve up to En in the following measures? The harmony is I-V-I-V..., with your I chord being C major with added sixth and your V being G augmented. Same thing goes for the Abs in measures 13–24, which should be G#s (the one in measure 25 is fine—notice how it resolves "down" to G).
  • The customary way of indication that the first note is "tenuto" in this bass pattern is by slurring it to the following note—this is because the slur implies the motion which the pianist has to do to perform this articulation, whereas the tenuto does not.
Wonder of the Stars
  • Your metronome marking should be to the right of your character indication. Also, I find the latter a bit redundant.
  • You don't need a double barline every eight measures—they're generally only used when changing key signatures, at the start of a new section (i.e. when a piece is divided into "movements" that are written continuously instead of separately), or when there's a dramatic shift in tone, texture, etc. This applies to your other arrangements as well.
  • You could hide all the layer 2 half rests in measures 13–20; unless the piece is very contrapuntal, and it's important to be able to follow all the voices very clearly, it's OK to just have as many rests as are necessary for rythmic clarity.
  • Maybe lower the systems on the second page so the empty space at the top and bottom of the page is more even.



Libera

Cenwen
  • I feel like the composer and arranger names are a tad too close together.
  • I'm pretty sure the first chord of measure 2 (and 10, etc.) is G minor (in second inversion). Also, I hear the G chord in measure 4 in root position.
  • I hear a C as the top note in measure 6.
  • Maybe consider adding more chord notes to the right hand? The left hand always has such thick chords (frequently in the lower register, too) that I feel like the texture gets a bit muddy and imbalanced at times. I find this especially striking in measures 18–22. I'm not saying you should have only octaves in the left hand and all the chord notes in the right—just a better balance.
  • I don't hear the G going down to F in measure 26.
  • Personally, I'd put the C dyad in measure 29 an octave lower and strike a full C-G-C-Eb-G-C chord spanning the entire lower staff on beat 3—I believe this would sound more final. Also, you could add another measure after that and tie the low Cs over (to be held with sostenuto pedal).
Fourth Chapter — On the Ground
  • I know Wikipedia lists it with a hyphen, but using proper typography, "On the Ground" should be introduced with a colon or an em dash.
  • You know what I'd normally say here, so I'm not even going to say it.
  • For the chords stabs like in the first four measures, I'd suggest you lower the D by an octave where it's possible. You have all the notes down, but (articulation aside) your current Bbmaj7(#11) voicing gives the chord a rather mellow sound; changing the bass notes makes a big difference, and putting the D in the left hand leaves you with a stack of fourths on top, which gives a much harsher sound.
  • In measure 5, etc., I recommend adding a D to the left hand octaves. Same thing for measures 9–10.
  • Personally, I'd have used an unmeasured trill in measures 11-12.
  • In measure 13, I'd leave out the lower left-hand A. I hear a C at the start of measure 17, and I'd add an F# or something to the lower Bn just to fatten it up a bit.
  • From measure 38 until the end, I'm pretty sure all the right hand chords have an En, and the second dissonace sounds mch more to me like A-Bb than G-A. For loud chords like in measure 38, I'd voice this D-E-A-Bb-D, and I'd drop the lower D for softer chords like in measure 40. (Is there a reason you have a full two measures of loud chords before dropping?) I don't hear a change in texture as drastic as you have in measures 50–53; maybe just cut the A but keep E-Bb-D?
  • For the rolled chords in measures 38 and 46, I highly suggest putting Bb-G-D instead: personally, I don't hear an F in the chord, but even if it were there, the dominant colour is minor, so ideally you'd want a minor triad to act as your base to add chord extensions over. Also, I don't hear the follow-up sforzando E.
  • Similar to the above point, I'd voice the chord in measure 54 as Bb-G-Bb-D-E-G-D—I still don't hear an F.
  • For 56 to the end, maybe go with E-Bb-D in the right hand?
The Immortal Country
  • Maybe unslash the grace note in measure 53.
  • I don't hear the tie from measure 57 to 58, but even if it is there, it looks a bit weird considering you're asking for a mordent.
  • I'd make the first triad in measure 62 Bb-F-D for consistency.
Snow in Summer
  • Y u do this to me?
  • It's really good. I just suggest you add a C in the right hand chord in measure 63, and maybe consider adding the trombone part in measures 65–80 (I'm curious as to why you'd leave it out).



Static

Another Winter
  • The only thing really is that you have two-sixteenths-and-an-eighth tied to a dotted half note (measure 10), idem tied to a quarter note tied to a half note (measure 16), and idem tied to a quarter note tied to a quarter note (measures 12 and 14). You should choose to either show the third beat (in which case you'd need to change measure 10), use the longest note values available (in which case you'd need to change every measure except 10), or use the longest nondotted values (my personal recommendation, in which case you'd need to change every measure except for 16). Apart from that, this would get my unofficial seal of approval.
Fahr Outpost
  • These character indications, man. I swear, it's a conspiracy.
  • Just anecdotally, I don't know if you're aware of this (I only learned it recently myself), but "8vb" is a faulty abreviation that made its way into common use. The "correct" way would be either just 8va (being below the staff implies an octave lower) or writing out "8va bassa" in full before the line. In any case, personally, I'd write these notes using ledger lines here.
  • I can't say I'm 100% certain, but I hear the E and B triads in measures 7–8 as minor. Same with the A, G#, and D# triads in measure 13.
Flamesgrace, Guiding Light
  • I find your systems a bit small. Maybe tinker with that a little.
  • There's a D# in the accompaniment in measures 1 and 9; up to you if you want to include it or not. Personally, I'd have the left hand alternating between E-B-D# and E-C#-E for measures 1–4 and 9–12.
  • There's a G# in the second chord of measure 5.
  • The rehearsal mark isn't necessary.
Freesia
  • Is there a reason you didn't add a lower F to the right hand in measure 11, etc.? I feel like it'd be pretty important to hear the chord change at the start of the measure, and while I understand omitting it for playability reasons, you do a similar thing in the previous measure, so I was curious.
  • Similarly, I feel like in measure 24, you should have G and Bb instead of the A for the first two eighth notes.
  • FYI, you can use the indication "loco" to cancel an 8va line.



Th3Gavst3r

Vanilla Lake
  • Just change every note you've written with an accidental natural to its enharmonic written with a sharp (so B#, Cx, E#, etc.), and it'll be good. Unofficial seal of approval.



Yug Guy

Stage Clear
  • Just wanted to say: there are other ways of indicating swing eighths than using the default Finale tempo indication, if you want.
  • The left hand G#s should be Abs, because this is an augmented sixth chord.
  • I hear the end of measure 1 more like this (the F is sharp from earlier in the measure):
    Spoiler

    [close]
    Measure 3 would cut out the last F# and have the last G as an eighth note.
Please stop making lists using hyphens.

Static

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMStatic

Another Winter
  • The only thing really is that you have two-sixteenths-and-an-eighth tied to a dotted half note (measure 10), idem tied to a quarter note tied to a half note (measure 16), and idem tied to a quarter note tied to a quarter note (measures 12 and 14). You should choose to either show the third beat (in which case you'd need to change measure 10), use the longest not values available (in which case you'd need to change every measure except 10), or use the longest nondotted values (my personal recommendation, in which case you'd need to change every measure except for 16). Apart from that, this would get my unofficial seal of approval.
Fixed using the longest non-dotted note values.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMFahr Outpost
  • These character indications, man. I swear, it's a conspiracy.
  • Just anecdotally, I don't know if you're aware of this (I only learned it recently myself), but "8vb" is a faulty abreviation that made its way into common use. The "correct" way would be either just 8va (being below the staff implies an octave lower) or writing out "8va bassa" in full before the line. In any case, personally, I'd write these notes using ledger lines here.
  • I can't say I'm 100% certain, but I hear the E and B triads in measures 7–8 as minor. Same with the A, G#, and D# triads in measure 13.
I am aware 8va is technically correct, but because 8vb is common and pretty clear, I usually use that (especially if there's an 8va in the RH part). Also, I only hear the B and G# triads as minor. Aside from that, everything else has been edited.

I also made some additional measure/system spacing adjustments, and I think it looks much better now.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMFlamesgrace, Guiding Light
  • I find your systems a bit small. Maybe tinker with that a little.
  • There's a D# in the accompaniment in measures 1 and 9; up to you if you want to include it or not. Personally, I'd have the left hand alternating between E-B-D# and E-C#-E for measures 1–4 and 9–12.
  • There's a G# in the second chord of measure 5.
  • The rehearsal mark isn't necessary.
Everything has been fixed.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMFreesia
  • Is there a reason you didn't add a lower F to the right hand in measure 11, etc.? I feel like it'd be pretty important to hear the chord change at the start of the measure, and while I understand omitting it for playability reasons, you do a similar thing in the previous measure, so I was curious.
  • Similarly, I feel like in measure 24, you should have G and Bb instead of the A for the first two eighth notes.
  • FYI, you can use the indication "loco" to cancel an 8va line.
Fixed everything. Thanks for letting me know about loco, I'll be using that in the future, but for now I'll leave this sheet as is.



Thanks for the feedback! (The fixed files are all in the folder.)

Latios212

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMLatios212

The Frostlands
  • Maybe add one note to the right hand at the chord changes in measures 13 and 17 to make them a bit more impactful, like you did in measures 15 and 19?
  • If you want to add character indications, I think "Unemotional" would suit the beginning section rather nicely. I think you could use "Warmly" come measure 23—this might be a bit trite, but that's the feeling the Db(add9) chords give me, personally.
I don't particularly feel like adding character indications in this sheet right now, but making that change to m. 13 and 17 sounds good. I did that, thanks!

Quote from: Trasdegi on December 17, 2018, 12:12:33 PM"Wintown":
[PDF][MUS][MID][Original]
Looks pretty good; I adjusted the layout a bunch and changed some spellings before moving to checked once. (You can see the mus file here)



Also adding one last sheet. "Pokke Village":

My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

Spoiler
[close]
turtle

Libera

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMCenwen
  • I feel like the composer and arranger names are a tad too close together.
  • I'm pretty sure the first chord of measure 2 (and 10, etc.) is G minor (in second inversion). Also, I hear the G chord in measure 4 in root position.
  • I hear a C as the top note in measure 6.
  • Maybe consider adding more chord notes to the right hand? The left hand always has such thick chords (frequently in the lower register, too) that I feel like the texture gets a bit muddy and imbalanced at times. I find this especially striking in measures 18–22. I'm not saying you should have only octaves in the left hand and all the chord notes in the right—just a better balance.
  • I don't hear the G going down to F in measure 26.
  • Personally, I'd put the C dyad in measure 29 an octave lower and strike a full C-G-C-Eb-G-C chord spanning the entire lower staff on beat 3—I believe this would sound more final. Also, you could add another measure after that and tie the low Cs over (to be held with sostenuto pedal).

Whoops about that chord in bar 2.  In bar 6 yeah the C is at the top but I feel like the G really pops out of the mix to me and I'd like to emphasise it at the top.  In general this is a pretty unconventional texture, I know, but it's not unintentional.  Voicing all the chords in the lower register gives a really dark sound that I like for this piece, and also it keeps the melody really pure which is something I wanted to achieve.  For bar 26, I can hear it but it's very faint; I put it in though because I really liked the way it sound  With regards to that final bar, no offense, but I really would not want to voice it that way at all.


Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMFourth Chapter — On the Ground
  • I know Wikipedia lists it with a hyphen, but using proper typography, "On the Ground" should be introduced with a colon or an em dash.
  • You know what I'd normally say here, so I'm not even going to say it.
  • For the chords stabs like in the first four measures, I'd suggest you lower the D by an octave where it's possible. You have all the notes down, but (articulation aside) your current Bbmaj7(#11) voicing gives the chord a rather mellow sound; changing the bass notes makes a big difference, and putting the D in the left hand leaves you with a stack of fourths on top, which gives a much harsher sound.
  • In measure 5, etc., I recommend adding a D to the left hand octaves. Same thing for measures 9–10.
  • Personally, I'd have used an unmeasured trill in measures 11-12.
  • In measure 13, I'd leave out the lower left-hand A. I hear a C at the start of measure 17, and I'd add an F# or something to the lower Bn just to fatten it up a bit.
  • From measure 38 until the end, I'm pretty sure all the right hand chords have an En, and the second dissonace sounds mch more to me like A-Bb than G-A. For loud chords like in measure 38, I'd voice this D-E-A-Bb-D, and I'd drop the lower D for softer chords like in measure 40. (Is there a reason you have a full two measures of loud chords before dropping?) I don't hear a change in texture as drastic as you have in measures 50–53; maybe just cut the A but keep E-Bb-D?
  • For the rolled chords in measures 38 and 46, I highly suggest putting Bb-G-D instead: personally, I don't hear an F in the chord, but even if it were there, the dominant colour is minor, so ideally you'd want a minor triad to act as your base to add chord extensions over. Also, I don't hear the follow-up sforzando E.
  • Similar to the above point, I'd voice the chord in measure 54 as Bb-G-Bb-D-E-G-D—I still don't hear an F.
  • For 56 to the end, maybe go with E-Bb-D in the right hand?

Oof, here's the big one.  I kept the title to stay in line with all of my other Drakengard sheets, and also because that's what it is on any source I can find.  I didn't change the voicing of the main ostinato, and my reasoning was that I wanted to preserve it's sound throughout the entire piece rather than changing the voicing based on the other things going on.  For those low octaves in bar 5, I actually had it written like that originally and I can't really remember why I changed it (I've put them back in).  I kept the the semiquavers in bar 11-12 because there's loads of ways that a pianist might play it if it's just a trill rather than written out explicitly.  Whoops on that lower A in bar 13.  For the rest:
-I changed the Fs to Gs in respective chords.
-I added Ens to the right hand chords.
-I kept the En octaves in the left hand because I can hear that clearly.
-With regards to those texture changes in 50-53, those were just a mistake that I've fixed now.
That last section 38+ is a real pain but I'm actually feeling pretty happy with it now, thanks for the help.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMThe Immortal Country
  • Maybe unslash the grace note in measure 53.
  • I don't hear the tie from measure 57 to 58, but even if it is there, it looks a bit weird considering you're asking for a mordent.
  • I'd make the first triad in measure 62 Bb-F-D for consistency.

All fixed.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMSnow in Summer
  • Y u do this to me?
  • It's really good. I just suggest you add a C in the right hand chord in measure 63, and maybe consider adding the trombone part in measures 65–80 (I'm curious as to why you'd leave it out).

I added that C in.  I left out the trombone part because, sometimes, I think simplicity is the best way to go.

Big thanks for checking through those, especially that Drakengard piece.  (Hope your ears don't hurt too much.)

Static

This will be my final submission: Final Fantasy VI - The Mines of Narshe


Static

#68
Some feedback:

Latios's Snow Bowling Minigame:
  • This is good and gets my Official Static Seal of Approval™.

Latios's The Frostlands
  • I know this is really nitpicky, but preferably the key change at m39 should only cancel out 3 of the flats instead of all of them and then adding 2, if that makes sense. Change the 5-flat section to Bb minor (without changing accidentals of course) or change the 2-flat section to Bb major so that Finale changes the key "correctly". Other than that, this sheet gets my Official Static Seal of Approval™.

D3ath's Buried in Snow
  • Everything checks out. If you want, you can make the 2 pairs of 8th rests (m23 and 39) as a quarter rest, but I don't think it's necessary. This gets my Official Static Seal of Approval™.

D3ath's Esto Gaza
  • Everything here is fantastic, I love the harmonies here especially. This is getting my Official Static Seal of Approval™.

Libera's Cenwen
  • It looks like Dynamedion's specific composers are actually listed for this soundtrack on VGMdb and elsewhere: Pierre Langer and Tilman Sillescu. Up to you if you want to specifically credit them or not, but I would.
  • Some of the arpeggio markings are a bit close to barlines and accidentals in some spots.
  • Other than that, this sheet gets my Official Static Seal of Approval™.

E. Gadd's Gelato Beach
  • Koji Kondo should be the only composer listed for this piece (see here; "Momma Beach" is the Japanese name for Gelato Beach).
  • Some of the accidentals are clashing with other stuff, like in m17 and 31.
  • The bassline is off in several spots:
    • The pickup 8th note in m2 doesn't actually exist.
    • This figure (everywhere it appears):
      Spoiler
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      should actually be this:
      Spoiler
      [close]
    • The last quarter note in m10 should be 2 16ths and an 8th (D-D#-E)
    • The last 8th note in m15 should be a B (natural)
    • The last 8th note in m16 should be an A.
    • The last quarter note in m18 should be 2 16ths and an 8th (A-Bb-Bn).
    • The rhythm in the m23 section should be this:
      Spoiler
      [close]
    • Beat 4 of m30 should just be a quarter note Eb.
    • Beat 3 of m32 should have a courtesy natural sign on the F.
    [li]Make sure to address the stuff D3ath said (namely, the tempo marking).

Levi's Secret Mine
  • Everything looks great, just make sure you address the 15ma/8va stuff D3ath mentioned. This is getting my Official Static Seal of Approval™.

Libera

Quote from: Static on December 18, 2018, 02:48:26 PMLibera's Cenwen
  • It looks like Dynamedion's specific composers has actual listed for this soundtrack on VGMdb and elsewhere: Pierre Langer and Tilman Sillescu. Up to you if you want to specifically credit them or not, but I would.
  • Some of the arpeggio markings are a bit close to barlines and accidentals in some spots.
  • Other than that, this sheet gets my Official Static Seal of Approval™.

Updated.  Thanks for checking!

Yug_Guy

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMJust wanted to say: there are other ways of indicating swing eighths than using the default Finale tempo indication, if you want.
I know. I'm just lazy :P

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMThe left hand G#s should be Abs, because this is an augmented sixth chord.
Fixed.

Quote from: D3ath3657 on December 17, 2018, 03:44:05 PMI hear the end of measure 1 more like this (the F is sharp from earlier in the measure):
Spoiler

[close]
Measure 3 would cut out the last F# and have the last G as an eighth note.
Try slowing the song down, it's definitely the way I have it currently written.

Libera

Latios212

Pokke Village

Nostalgia. That is all.
-I'm not hearing the Ab in the right hand of bar 12.
-The melody Eb in bar 24 sounds like it only sustains for a quaver, rather than a minim.  (That also means you could probably write that bar entirely in one layer if you wanted to.)
-I'm hearing a D as the last note of bar 12 rather than a C.  The contour also makes more sense that way to me.
-I'm hearing an Eb as the last note of bar 22 rather than a F.
-There's a strong Gb in bar 38 that you're missing from the chord.
-Maybe I'm getting the wrong part here, but I'm hearing a standard Eb major arpeggio in bar 47 (so ending on Eb rather than D).
-Bar 52 onwards, could you have another look at the left hand part for me?  Sometimes I'm hearing as you wrote it, but at others I'm hearing something completely different (e.g. bar 52).

Libera

Yug Guy

Stage Clear

This one is a bit easier!

Quote from: Yug_Guy on December 18, 2018, 03:10:43 PMTry slowing the song down, it's definitely the way I have it currently written.
-Can confirm.

-Can we spell the G# in the right hand in bars 1 and 3 as Abs just so we're using a different scale degree?  It'll look way nicer that way.

I haven't got anything other than that.  Nice.

Yug_Guy

Quote from: Libera on December 18, 2018, 04:05:57 PM-Can we spell the G# in the right hand in bars 1 and 3 as Abs just so we're using a different scale degree?  It'll look way nicer that way.
We sure can!

Latios212

Quote from: Static on December 18, 2018, 02:48:26 PMLatios's Snow Bowling Minigame:
  • This is good and gets my Official Static Seal of Approval™.
Cool, moved to accepted

Quote from: Static on December 18, 2018, 02:48:26 PMLatios's The Frostlands
  • I know this is really nitpicky, but preferably the key change at m39 should only cancel out 3 of the flats instead of all of them and then adding 2, if that makes sense. Change the 5-flat section to Bb minor (without changing accidentals of course) or change the 2-flat section to Bb major so that Finale changes the key "correctly". Other than that, this sheet gets my Official Static Seal of Approval™.
Ooh good catch, thanks. Fixed and moved to accepted

Quote from: Static on December 18, 2018, 02:48:26 PMD3ath's Buried in Snow
  • Everything checks out. If you want, you can make the 2 pairs of 8th rests (m23 and 39) as a quarter rest, but I don't think it's necessary. This gets my Official Static Seal of Approval™.
Moving to accepted, D3ath, let us know if you do want to make this change.

Quote from: Static on December 18, 2018, 02:48:26 PMD3ath's Esto Gaza
  • Everything here is fantastic, I love the harmonies here especially. This is getting my Official Static Seal of Approval™.
Cool, moved to accepted

Quote from: Static on December 18, 2018, 02:48:26 PMLibera's Cenwen
  • It looks like Dynamedion's specific composers are actually listed for this soundtrack on VGMdb and elsewhere: Pierre Langer and Tilman Sillescu. Up to you if you want to specifically credit them or not, but I would.
  • Some of the arpeggio markings are a bit close to barlines and accidentals in some spots.
  • Other than that, this sheet gets my Official Static Seal of Approval™.
Quote from: Libera on December 18, 2018, 03:02:00 PMUpdated.  Thanks for checking!
Cool, moved to accepted
My arrangements and YouTube channel!

Quote from: Dudeman on February 22, 2016, 10:16:37 AM
who needs education when you can have WAIFUS!!!!!

Spoiler
[close]
turtle