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Th3Gavst3r's Halloween Sheet
Th3Gavst3r:
The scariest song you've ever heard
[MUL] Mamorukun Curse!
Bless you! boy (Prologue 1)[musx]
Static:
For those unfamiliar with the game, this may not appear to be an appropriate Halloween sheet, but I think there's enough spooky scenery and mythology stuff going on to make this one fit.
Anyway, I'll start with the note stuff, and then we can get into some formatting details later.
* You can go ahead and unhide all the chord markings. They're actually pretty helpful for people wanting to use your arrangement and score it for a band, or just improvise over it. You already put in the work naming all of them, so don't let it go to waste.
However, a lot of them are incorrectly labelled. I'd be happy to go over them with you, but if you want to get to them yourself, here's my analysis:
If you don't want to fix and add in the chord labels, still check this list for some enharmonic spellings you should change, as well as guides for some of your RH harmonies. Most of your notes are already correct (just the chord labels themselves are wrong), but below I'll go over some things you could change.
Spoiler
* m3/11 beat 4.5: C7b9 (respell Fb as En)
* m4/12 beat 4.5: Fm9
* m5 beat 4.5: Bb7b9 (respell Bn as Cb)
* m6 beat 4.5: Cmaj9
* m7 beat 4.5: Fmaj9
* m8 beat 3: Bb9
* m13 beat 4.5: Bbsus4
* m14 beat 3: Bb (not currently labelled with anything)
* m14 beat 4.5: Cbmaj7 (To get Finale to show the correct enharmonic spelling, choose the Chord Tool, go to the Chord drop-down menu at the top, and uncheck Simplify Spelling.)
* m21 beat 1: Fm9
* m23 beat 4.5: Bb9sus4
* m27 beat 1: G7b9 (respell Cb as Bn)
* m27 beat 4.5: Cm7
* m28 beat 3: This is still part of the previous Cm7 chord, so you don't need to label it separately.
* m29 beat 1: Fm9
* m29 beat 4.5: Gm7b13
* m30 beat 3: Cm7
* m31 beat 1: Fm9
* m31 beat 4.5: Bbsus4
* m32 beat 3: Bb (not currently labelled with anything)
* m33 beat 1: G#m9
* m33 beat 4.5: C#7b9
* m35 beat 1: F#maj9
* m35 beat 4.5: D#7b9 (respell Gn as Fx)
* m37 beat 1: G#m11
* m37 beat 4.5: C#7b9
* m39 beat 1: D#sus4
* m39 beat 2.5: D#7b9 (respell Gn as Fx)
* m41 beat 1: G#m11
* m41 beat 4.5: A#m7b9
* m43 beat 1: D#m11
* m43 beat 4.5: B#m7
* m44 beat 3: Fxm7 (respell Gn and Dn as Fx and Cx, respectively)
* m45 beat 1: B#m11/E# (respell Fn as E#)
* m45 beat 4.5: Fxm7 (respell Gn as Fx)
* m46 beat 3: B#m9 (respell Cn as B#)
* m47 beat 1: Bmaj7
* I can explain these in more detail if you want, but in short it's just because of how these chords resolve. Lots of circle-of-5ths progressions in this piece.[close]
* For that chord tied into m1/9, I think the Eb is a D there, but you can leave it if you want.
* m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.
* m7 LH beat 3.5: Bn should be Cn.
* m8 RH beats 3-4: Since the melody takes over at beat 3.5, you might want to consider making beat 4 just Eb instead (since it's the same as the pickup measure).
* m13/31 beat 4.5: This chord is actually a Bbsus at first, resolving to Bb on beat 3 of m14/32. There's no D in the accompaniment before beat 3.
* m21 RH: I would move the F to G instead, since it's actually an Fm9 chord and the F is doubled in the bass.
* m25 RH beat 4.5: Wouldn't it make more sense to use the Gn grace note here since that's the top voice?
* m33: This chord is missing a B (G#m9 chord).
* m34 beat 3: This chord on beat 3 adds an Dn, creating a C#7b9 sound.
* m37/41 beat 1: This chord is also missing a B (G#m11). I probably would go with B-C#-F#-A#, bottom to top. You don't need to double the 9th (A#), and the 5th (D#) isn't required.
* m37 beat 4.5: This C#7b9 chord is missing the Dn. The Dn plays throughout m38.
* m41 beat 4.5 RH: The flat 9th (B) is pretty prominent in this chord, so if you want you can move the bottom C# to a B (either up or down).
* m45 beat 1 RH: This chord is B#m11, so you can include the 9th (Cx) if you want.
* m47 LH beats 3-4: I hear the bass going B-F#-B-C# here instead of B-G#-A#-C#.
* m48 LH beat 3.5: The bass restrickes on C# here, so it's a 3-note pickup back to m1.
* m33-end: This might work better in Gb major, not only since it keeps everything in flats, but also because of how it resolves back to Eb major. In m45-48, you'll notice it has roughly the same progression as m13-16, which is written with flats there. Writing it in Gb will remove a lot of those double sharps.Let me know if you have any questions
Th3Gavst3r:
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---You already put in the work naming all of them
--- End quote ---
Renamed those 37 chords ;)
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---For that chord tied into m1/9, I think the Eb is a D there, but you can leave it if you want.
--- End quote ---
Oh yeah you're right about that. I feel like I had D there at some point but changed it for unknown reasons
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.
--- End quote ---
Yup I missed that one
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m7 LH beat 3.5: Bn should be Cn.
--- End quote ---
Yeah that does sound right
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m8 RH beats 3-4: Since the melody takes over at beat 3.5, you might want to consider making beat 4 just Eb instead (since it's the same as the pickup measure).
--- End quote ---
The voice leading sounds a little weird to me with that one. With an Eb, the downward slope leads your ear into the D instead of the melody's Bb. I think I'm gonna leave it be
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m13/31 beat 4.5: This chord is actually a Bbsus at first, resolving to Bb on beat 3 of m14/32. There's no D in the accompaniment before beat 3.
--- End quote ---
There's actually a D in the saw through those four beats, but judging from the progression at m31 I think they were going for a Bbsus there so I changed it
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m21 RH: I would move the F to G instead, since it's actually an Fm9 chord and the F is doubled in the bass.
--- End quote ---
Yeah I think that sounds good
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m25 RH beat 4.5: Wouldn't it make more sense to use the Gn grace note here since that's the top voice?
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When I tried playing it I found it really difficult to roll 4 into 3+5 with 4 on white and 5 raised on a black key. It's a lot harder to move 4 and 5 independently, so using the index finger for the grace note and rolling upwards into the dyad was much easier for me
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m33: This chord is missing a B (G#m9 chord).
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I can't hear a B here no matter how hard I try. I can maybe hear something very subtle in the register above the melody, but it could easily just be overtones or something. That said, G#m9 does make the most sense over any chord options which omit the B, but I don't think it fits well with the particular voicing here. Putting a B on the bottom is a pretty large and awkward stretch, and putting it on the top next to the Bb causes a cluster of dissonance near the melody. I think it's best to leave it out even if the chord symbol doesn't quite match
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m34 beat 3: This chord on beat 3 adds an Dn, creating a C#7b9 sound.
--- End quote ---
I do think I can hear this one. Added it with an additional chord symbol
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m37/41 beat 1: This chord is also missing a B (G#m11). I probably would go with B-C#-F#-A#, bottom to top. You don't need to double the 9th (A#), and the 5th (D#) isn't required.
--- End quote ---
Again, I maxed out my deductive tools here and I can just barely make out a B in m37 with some frequency isolation. At the very least the C#-F#-A# completely dominate the sound, so including the B in any available inversion adds a lot of extra tension that I don't hear myself. I'm going to leave it out like in the other places
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m37 beat 4.5: This C#7b9 chord is missing the Dn. The Dn plays throughout m38.
--- End quote ---
Oh yeah, this fills a bit of a gap I was hearing between the B and F. That said, I moved beat 2 to a C# instead of continuing the D because of the accompaniment that plays higher than the melody normally. I moved it down to make the main melody line stand out
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m41 beat 4.5 RH: The flat 9th (B) is pretty prominent in this chord, so if you want you can move the bottom C# to a B (either up or down).
--- End quote ---
I originally took the B out because the low B was a big stretch, but I don't think it sounds too bad up an octave. Added the higher one
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m45 beat 1 RH: This chord is B#m11, so you can include the 9th (Cx) if you want.
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I left that pitch out because the fingering makes a weird claw shape that's kind of awkward to form coming out of the eighths in the measure before
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m47 LH beats 3-4: I hear the bass going B-F#-B-C# here instead of B-G#-A#-C#.
--- End quote ---
Oh yeah I dropped that part into the bass from a run that happens in the upper register because I felt like the normal bass fifths sounded thin with only the F#-A# dyad in the RH. I think I just left too much out of the RH chord though, so I added a D# to the RH and swapped in the normal bass line
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m48 LH beat 3.5: The bass restrickes on C# here, so it's a 3-note pickup back to m1.
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I originally had a 3 note pickup there, but the main bass either doesn't restrike or plays extremely legato. That said, the snare hits clearly signal 3 notes so I think it still works to add in the extra note. On top of that, listening back from this comment made me realize there are actually two basses in there, one is just waaaaay back in the mix. The secret bass plays the 3 note pickup too so I think it's the right change
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m33-end: This might work better in Gb major, not only since it keeps everything in flats, but also because of how it resolves back to Eb major. In m45-48, you'll notice it has roughly the same progression as m13-16, which is written with flats there. Writing it in Gb will remove a lot of those double sharps.
--- End quote ---
Yeah I changed it to Gb. I changed the chord symbols before editing the key and looked at the accidentals again after, so hopefully everything is still spelled right
Oh yeah and THANK YOU thank you for reviewing the chords. This was the first time I've tried to name chords and I was hoping someone might pick them up for review even though I hid them. I learned a ton about chord notation from your comments, you da bes
Static:
--- Quote from: Static on October 21, 2021, 12:46:23 AM ---m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.
--- End quote ---
I meant in the LH, but there is an Eb there in the RH too.
Everything else looks great! I took a listen to those spots and I think I'm hearing what you have now. In any case, what you have definitely feels better to play on piano. Just watch some of your accidental spellings; on page 3 the b9 of Eb7(b9) should be Fb. Likewise, for Db7(b9) it's technically Ebb, but keep it as Dn since it's simpler and matches the chromatically-moving bassline in m38.
I just have some formatting/aesthetic points now:
* The game was co-developed by Gulti, so you can add them to the copyright info.
* Any time you have a grace note in the middle of a set of four 8th notes (such as m5 beats 3-4), you should beam those back together. For some reason, Finale breaks beams when you add grace notes.
* There's a lot of ties that are touching surrounding notes (m7 RH beat 3, m15 RH beat 1, etc.) I'd go through the sheet and adjust those.
* There are also ties that don't match direction when they go across systems, such as m3-4.
* You're a bit inconsistent when it comes to using dotted half notes. Throughout all of Page 1, you use dotted halves on beat 1, but on Pages 2-3 you use half notes tied to quarters. I think just making all of them just dotted halves would look better and reduce clutter from the ties.
* Similarly, you're also inconsistent when using dotted quarter notes. Page 3 has a bunch, but on Pages 1-2, you use quarters tied to 8ths instead (or the other way around). I'd just make them all dotted quarters.
* m14 RH beat 4.5: If you want, you can unhide the half rest here and flip the ties to their normal positions. the ties at the end of m14 should match the ones at the start of m15.
* There's other spots you can hide rests, such as m37, 39, and 41 RH. You already did that in m33 anyway. Leaving it is fine too.
Th3Gavst3r:
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---I meant in the LH, but there is an Eb there in the RH too.
--- End quote ---
Ohh that's actually a much better place. Switched it to the LH
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---on page 3 the b9 of Eb7(b9) should be Fb. Likewise, for Db7(b9) it's technically Ebb, but keep it as Dn since it's simpler and matches the chromatically-moving bassline in m38.
--- End quote ---
Ahh I knew I'd miss something. Thanks for the catch
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---The game was co-developed by Gulti, so you can add them to the copyright info.
--- End quote ---
Sure, I usually reference the box art but it shouldn't hurt
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---Any time you have a grace note in the middle of a set of four 8th notes (such as m5 beats 3-4), you should beam those back together. For some reason, Finale breaks beams when you add grace notes.
--- End quote ---
Oh that's annoying. I wonder if it's because they consider a grace note a short duration, like how a 16th would break the beam... I'll have to keep that in mind in the future
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---There's a lot of ties that are touching surrounding notes (m7 RH beat 3, m15 RH beat 1, etc.) I'd go through the sheet and adjust those.
There are also ties that don't match direction when they go across systems, such as m3-4.
--- End quote ---
I've always thought Finale's ties looked bad, and now I know why empirically lol
Did an absolute ton of manual adjustments on ties throughout. Let me know what you think and if there are any places that still could be better
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---You're a bit inconsistent when it comes to using dotted half notes. Throughout all of Page 1, you use dotted halves on beat 1, but on Pages 2-3 you use half notes tied to quarters. I think just making all of them just dotted halves would look better and reduce clutter from the ties.
Similarly, you're also inconsistent when using dotted quarter notes. Page 3 has a bunch, but on Pages 1-2, you use quarters tied to 8ths instead (or the other way around). I'd just make them all dotted quarters.
--- End quote ---
Yeah I forgot this happens when you start from a midi import. Went through and made everything more uniform, and it did help a lot with clutter
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---m14 RH beat 4.5: If you want, you can unhide the half rest here and flip the ties to their normal positions. the ties at the end of m14 should match the ones at the start of m15.
--- End quote ---
After fixing the tied quarter on beat 3 a lot of the clutter disappeared, so I think it looks ok with normal ties on the last note
--- Quote from: Static on October 28, 2021, 11:21:35 PM ---There's other spots you can hide rests, such as m37, 39, and 41 RH. You already did that in m33 anyway. Leaving it is fine too.
--- End quote ---
After changing the tied half notes to dotted I felt like the lack of a visual beat on 3 was a little unclear, so I unhid the rests in those places and flipped the ties down to make it explicit which voice comes back in on beat 4
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