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Author Topic: [MUL] Celeste - "Celestial Resort (Good Karma Mix) (Two Pianos)" by Greg  (Read 560 times)

Zeta

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Submission Information:

Series: Other
Game: Celeste
Console: Multiplatform
Title: Celestial Resort (Good Karma Mix)
Instrumentation Two Pianos
Arranger: Greg
« Last Edit: July 05, 2019, 09:54:53 PM by Greg »
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Greg

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Static

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Cool arrangement here, I think it was a good choice to make this a two-pianos sheet.

Some stuff:
  • Make sure to label each of the two pianos (Piano I & II or Piano 1 & 2, and label every succeeding system with just I & II or 1 & 2).
  • Generally, any time you have two notes tied together within a beat, make them one longer note. To get a clearer idea of what I mean, here's some pictures of parts of your sheet:
    Spoiler

    Measures 51-53


    Measures 84-86
    [close]

    For 8th notes, generally you only need to tie across beats 2-3. For 16th notes, tie across each beat. There are exceptions to this, though.
  • Make sure to put double barlines where your keychanges are (m33 and 49).
  • m41 RH Piano I: You can make beats 3.5-4 just a dotted quarter, I think it would be clearer and easier to read.

Greg

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Gotcha. (Looks like my template needs updating...)

Latios212

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A bit confused - what does the B-Sides of the Original Soundtrack refer to?

Just skimming for now, here are a few things I noticed:
- Not everyone agrees, but I always recommend slurring grace notes into the notes they follow.
- It's probably be nice for piano 1's LH to help out with the RH part in m. 37-38.
- There are some places you might want courtesy accidentals. I'm looking at a Cn follows a C# in the chord progression in 78-79 and other places in the latter half of the track. This occurs in other places earlier in the song too like m. 14-15, but they're distanced enough to not need it.
- Watch the inner ties in dense chords like in m. 46-47 - Finale tends to not handle those well. You can try Ctrl+F on the inner notes to flip the inner ties, and that should clear it up mostly.

Gotcha. (Looks like my template needs updating...)
Check out this guide I wrote. The main things to note here aside from the duet-specific staff labeling (in the formatting guidelines) is that the text is currently outside the page margins, and the left margin needs to be increased to allow space for the staff braces and names. You might need to decrease the space between staves/systems in this sheet but otherwise the formatting looks good. Just needs those adjustments.

Anyway, sorry for the long wait on this one. It's tough to check (as I'm sure you're aware lol) but I'll see if we can divvy it up among the staff or I can at least take a stab at one section of it soon.
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who needs education when you can have WAIFUS!!!!!

Spoiler
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Greg

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The B-sides are just remixes of the original soundtrack, used for more difficult variants of the associated levels.

And don't worry about the wait, I am indeed well aware of how much of a pain it'll be for you guys to check this... I'll fix the stuff you mentioned tomorrow hopefully.

Libera

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I'm struggling to find the exact track that this is a remix of.  Certainly compared to the other B-sides it's much less directly taking elements of the A-side level tracks.  However, Lena Raine says on the youtube description of this video that this track is a remix and as such I think we should give her composer credits as well.
« Last Edit: May 05, 2019, 06:54:24 PM by Libera »
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Greg

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I'm struggling to find the exact track that this is a remix of.  Certainly compared to the other B-sides it's much less directly taking elements of the A-side level tracks.  However, Lena Raine says on the youtube description of the this video that this track is a remix and as such I think we should give her composer credits as well.
Sounds reasonable to me!

the text is currently outside the page margins, and the left margin needs to be increased to allow space for the staff braces and names
So the problem I've found with putting all the text inside the margins is that it mucks with the "Space Systems Evenly" tool (it makes the music go to the margin and overlap the text). I've resolved that in the past by just using larger top and bottom margins (I arbitrarily chose 0.7 here). If that's an issue I'm fine with changing it, and I'm curious to hear how you normally deal with this.

I made the other changes (except for slurring grace notes cause I'm lazy haha).

Libera

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Sorry for the wait on this, but as you said yourself this one takes quite a while to check.

-Em chord in bar 35/36 sounds like a sus4 to me (i.e. change E -> F#).
-Sometimes your dynamic placement is a little ambiguous and I'd try to place dynamics between the staffs of a single piano wherever possible.  (Notably bar 1 I'd move up but have a look through the whole thing.)
-Something else to say about the dynamics is that often you use subtly different dynamics in the left and right hand of parts and my advice would be to try and avoid this.  Unless it's extremely dramatic the difference is going to be hard to realise on the piano and generally speaking not worth the effort or the space on the page.  You can often get around it with articulations or directions instead and I think that generally works better.  See what you think, anyway.
-The A sounds like it's on top of the chord on beat 3 of bar 36 (Piano II).
-I feel like something funny is going on in bar 41/42 with the voicings of the same instrument being split across staves and pianos and I think it'd be a good idea to look at those two bars again and try and make it more consistent with the other material in the arrangement (or at least nearby).
-Something I'm not exactly sure about, but do we need repeated bar numbers in the piano II part?
-The crescendo in bar 32 should start on a note rather than between two notes.  Also if you could align it with the subsequent ff that'd be great.
-I'd replace the 15ma at the end with 8va and ledger lines to better preserve the contour from the previous section.
-Generally speaking I'd move all of the starts of the 8vas a bit more to the left to better cover the starting notes.  Finale has a tendency to start them in a funny place.
-Also not 100% sure on this, but maybe move the first semiquaver rest in the left hand of piano I bar 88 up in line with the subsequent ones in that bar.
-The last three semiquavers in piano II bar 72 sound an octave lower to me (the same then goes for bar 76 etc.)
-From bar 93 onwards I'm not sure on the piano II right hand part.  I can't seem to pick it out in the original and it mostly seems to double the chords in piano I so maybe it'd be better replaced with something more interesting?  Then again I'm not really sure what that might be, but probably worth thinking about.
-In bar 94 in the left hand of piano II the A# should be a Bb to match that phrase everywhere else.
-Also in bar 94 (and 98 82 etc.) the last note should be an Eb rather than an F I think.
-I'm also struggling to quite make out the bass movement in the last few pages from listening to it but are we certain that it just repeats the same four bars over and over again?

Greg

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No problem, thanks for taking the time to look it over!
  • Done.
  • Sure, I think there's only one dynamic left outside the middle of a staff at m.69.
  • Yeah, I did away with all the smaller differences: they're pretty obvious implicitly anyway, I think, mostly just made playback sound better.
  • Done.
  • I think I did a better job, although it's admittedly difficult for me to distinguish the different instruments here...
  • Done. (Wow, now that I see the misalignment it's really ugly, oof.)
  • The most recent two piano arrangement onsite does have repeated bar numbers: personally I don't really care that much.
  • Sure, that's fine by me.
  • Done.
  • Makes sense to me.
  • What I actually hear for those 3 sixteenths is the D an octave lower, then the other two as I wrote them: that doesn't really sound right on piano, though, hence why I grouped them together. I think I prefer it the way it's written now to transposing them down, since it keeps that part within a narrower range (transposed down, they kind of sound like they're doing their own thing).
  • I mean, there's definitely something happening there starting at m.101 (similar to piano I m.69), but I gave up on actually figuring out what's happening since it's really hard to separate. Maybe I'll take another crack at it but no promises, and I'm not sure what else would go there really.
  • oops how did that happen
  • Nice catch.
  • I listened to it again and did find some stuff: m.96 is different (it's similar to the ones before it) and I had a few wrong notes in m.100+4n which I took care of. Pretty sure it's mostly repeating the same thing, though.

Libera

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Yeah, I did away with all the smaller differences: they're pretty obvious implicitly anyway, I think, mostly just made playback sound better.

The one in bar 69 though?  As I said before, you can use accents if need be for the right hand.

The most recent two piano arrangement onsite does have repeated bar numbers: personally I don't really care that much.

That's fair, I just thought it looked a little cumbersome but I'm fine either way really.

What I actually hear for those 3 sixteenths is the D an octave lower, then the other two as I wrote them: that doesn't really sound right on piano, though, hence why I grouped them together. I think I prefer it the way it's written now to transposing them down, since it keeps that part within a narrower range (transposed down, they kind of sound like they're doing their own thing).

That's fair enough, I'm happy for it to stay that way then.

I think I did a better job, although it's admittedly difficult for me to distinguish the different instruments here...

Same, although I think what's there now is certainly an improvement.


I mean, there's definitely something happening there starting at m.101 (similar to piano I m.69), but I gave up on actually figuring out what's happening since it's really hard to separate. Maybe I'll take another crack at it but no promises, and I'm not sure what else would go there really.

I think that the part you've written in is playing chords in the rest of those bars rather than just sitting doing nothing, and I think it'd be nicer for the performer to have a bit more to do there so if you wouldn't mind having another crack at it that'd be great.  If you get really stuck I can try and find an mp3 and see if I can nail anything down but that might take a while for me to find the time.

I listened to it again and did find some stuff: m.96 is different (it's similar to the ones before it) and I had a few wrong notes in m.100+4n which I took care of. Pretty sure it's mostly repeating the same thing, though.

Cool, I think that looks good to me.

Another thing I noticed is that the forte in bar 41 is just slightly too close to the barline so you might want to adjust that.

All of the other edits look good I think (though it is 13 pages long so hopefully I haven't missed anything haha.)

Greg

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Upon another listen I think I caught the chords you're referring to. Also removed the m.69 dynamic below the staff.

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hi just wanted to stop by, but from what I remembered regarding b sides:

lena composed the base themes for the A sides, and had other VGM composers to make their own remixes of her base themes to their own discretion. I would argue that these remixes should credit Lena secondary, as some remixes differ extremely to the source material (3-B & 4-B especially).

So maybe something like "Composed by X, Based on Y" or something along those lines.
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Libera

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Upon another listen I think I caught the chords you're referring to.

Nice, looks good to me.  As I suspected it kinda just doubles the chords already in I's left hand, but I think that actually word quite well for the texture on second thought.

Also removed the m.69 dynamic below the staff.

Sweet.

hi just wanted to stop by, but from what I remembered regarding b sides:

lena composed the base themes for the A sides, and had other VGM composers to make their own remixes of her base themes to their own discretion. I would argue that these remixes should credit Lena secondary, as some remixes differ extremely to the source material (3-B & 4-B especially).

So maybe something like "Composed by X, Based on Y" or something along those lines.

Personally I don't mind either way, although in my own sheets I prefer to favour simplicity in the composer credits so as not to take up too much space.  I'm pretty easy about this whatever you want to do, but I do understand the sentiment, PlayfulPiano.



That was a fun one, but alas I think I am done here.  Approved.

Static

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It's looking good, I just have a few more comments:

  • m64: That high A sounds like its held throughout the next measure.
  • Any grace notes should have slurs leading to the main note.

Once you make these changes, I'll can accept.
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