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Author Topic: [NES] Castlevania II: Simon's Quest - "The Silence of Daylight" (Replacement) by LeviR.star  (Read 174 times)

Zeta

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Submission Information:

Series: Castlevania
Game: Castlevania II: Simon's Quest
Console: Nintendo Entertainment System
Title: The Silence of Daylight
Instrumentation Solo Piano
Arranger: LeviR.star


Replacement Information:

Links to Existing Sheet: MUS | MIDI | PDF
Replacement Type: Challenge (new arranger)
« Last Edit: September 04, 2019, 01:25:30 AM by LeviR.star »
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LeviR.star

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A sheet I'm replacing that needs to be burned with fire. Like, now.


The on-site title is incorrect; this sheet should be called, "The Silence of Daylight".
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Latios212

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A sheet I'm replacing that needs to be burned with fire. Like, now.
oof

Title fixed.

(Haha m. 9-12 is that thing that sounds like something from Twilight Princess)
« Last Edit: August 31, 2019, 03:11:14 AM by Latios212 »
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Latios212

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Anyway, feedback time:
- The parallel thirds at the end of m. 1 aren't really hard to play, and certainly easier than some other figures written in this sheet. I'd suggest writing them in, but up to you
- m. 5/7 are a bit tight between staves on beat 4. You could flip the LH part to accommodate if you want.
- The B flat in m. 9 beat 3 would be better off pointing downwards to make it obvious it's a continuation of the lower layer
- m. 10 beats 3-4 should have layers flipped even though they'd be opposing on beat 4 - its difficult to tell where each layer is going right now since they swap in the middle of the measure
- The tritone at the beginning of m. 11 is interesting. It follows an A so I can see why you'd want to write it as a G# but given that part is playing a G chord maybe it'd make more sense as an Ab. Not totally sure though
- m. 16 beat 1 is flipped
- m. 16 beats 1-2 is really awkward to play, with most of the left hand notes coinciding with the right hand and jumping above it in between. Consider doing something like dropping the LH part an octave to make this easier to play as well as the parts easier to differentiate.
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LeviR.star

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- m. 5/7 are a bit tight between staves on beat 4. You could flip the LH part to accommodate if you want.
- The B flat in m. 9 beat 3 would be better off pointing downwards to make it obvious it's a continuation of the lower layer
- m. 10 beats 3-4 should have layers flipped even though they'd be opposing on beat 4 - its difficult to tell where each layer is going right now since they swap in the middle of the measure
- The tritone at the beginning of m. 11 is interesting. It follows an A so I can see why you'd want to write it as a G# but given that part is playing a G chord maybe it'd make more sense as an Ab. Not totally sure though
- m. 16 beat 1 is flipped
- m. 16 beats 1-2 is really awkward to play, with most of the left hand notes coinciding with the right hand and jumping above it in between. Consider doing something like dropping the LH part an octave to make this easier to play as well as the parts easier to differentiate.

All fixed, thanks for the attention to detail.

- The parallel thirds at the end of m. 1 aren't really hard to play, and certainly easier than some other figures written in this sheet. I'd suggest writing them in, but up to you

I wondered about these myself, and thought about whether or not I'd have to do the same for the thirds behind them in m. 3. For now, I've taken care of the identical pairs of thirds in m. 1 & 3, but I didn't know if you wanted all the thirds to be played in the latter bar. What do you think?

Files updated with everything so far, by the way.
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I wondered about these myself, and thought about whether or not I'd have to do the same for the thirds behind them in m. 3. For now, I've taken care of the identical pairs of thirds in m. 1 & 3, but I didn't know if you wanted all the thirds to be played in the latter bar. What do you think?
Up to you. But since bar 3 is a run of four 16th notes it's much harder to play the dyads there (especially since the C is repeated) and as such I'd leave them out in m. 3. I don't think the lack of parallelism would be a big deal since we're adjusting for playability, but it's your call.

Approved pending your decision.
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LeviR.star

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Up to you. But since bar 3 is a run of four 16th notes it's much harder to play the dyads there (especially since the C is repeated) and as such I'd leave them out in m. 3. I don't think the lack of parallelism would be a big deal since we're adjusting for playability, but it's your call.

I see where you're coming from; thirds removed from m. 3. Thanks!
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No problem :)
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Everything checks out to me here.  Accepting!

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This submission has been accepted by Libera.

~Zeta, your friendly NSM-Bot
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