-m1-2: Maybe it'd make sense to fill the rests here a bit?
I was torn how to do this, as I thought it might be a good idea to preserve the 8ths of the similar pattern later on. Arrangement wise it makes more sense as you suggested though, so I changed that :p
-m3-5: Is there a specific reason you didn't add in a slur in the L.H. bars here, but you did afterwards?
I think it was because they were getting in the way off the cross-staffing, and instead of flipping them later I just removed them (it was late at night last I worked on this, iirc). Fixed!
-m4: If you want, you could leave the cross-staffed A in the L.H. staff as well, since it's the same A as in m6.
I used cross-staff notation in this sheet to better split figures between hands, hence in m4 the A is in the top staff. What I've done instead is moved the A in m6 up, making the LH easier to play.
I also hear an A-D in the piano in 8ths you could add in the L.H. if you want.
I've added just the A, it makes the part more coherent and clashes with the E less.
-m27: Huh, funny, on beat 4.5 both the guitar and clarinet (i think it's a clarinet) play a slightly different rhythm. The guitar plays a swung 16th, and the clarinet triplet 16th rest-16th-16th. Do you wanna choose one of those or did you choose this compromise consciously?
I interpreted this as a performance deviation and opted for what made the most logical sense to put in a sheet. If it's okay, I think it's best left like this (the difference it makes when performing is negligible but the confusion/difficulty added wouldn't be, imo).
-m28: I hear an A in the R.H. on beat 1 as well. Also, I hear the pedal lift on beat 3 instead of beat 2.
I originally had that A in there, I don't know why it's gone now but I'll add it again. I've expanded the pedal marking to beat 2.5, I think it's important for the chord on that beat to be staccato, it captures the feel of the piano part better than keeping it sustained.
-m32: The L.H. A on beat 1.75 starts on beat 2 instead.
I heard it as something inbetween and went with b1.75, but if it's actually b2 I'll do that instead.
-m36: I hear the R.H. B on beat 2 start on beat 2.25 instead. Also, on beat 4.5 I only hear F#-E (in a triplet 16th rest-16th-16th rhythm), not a mordent on an E.
The clarinet here plays a bit more freely and breathy than elsewhere, so I did more interpretation-y stuff. The B I've changed, but I do still hear a mordent at b4.5, so I've left that.
-m51: I don't hear the D in the L.H. on beat 4.75
I can hear it, albeit faintly.
-m52: I think I also hear an E in the chord on beat 2.5, but I'm not 100% sure. Also, this fermata is actually exactly 4,5 beats long, so you could just write it as a half tied to a half tied to an 8th too.
The E is there, I've added that. I chose a fermata for consistency reasons, as other tracks in the game have this melody/motif without the fermata, so writing it differently here seemed excessive.
I haven't paid much attention to the pedals yet, I sort of just added them where I felt like it. I'm considering just writing pedal ad lib, since in a lot of places it doesn't really matter whether the pedal is used or not. If not I'll just add the markings where you suggested and align them.
Everything else not mentioned in this post has (hopefully) been addressed. Thanks!
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Topic: XiaoMigros' Space Travel Project Sheets (Read 1610 times)