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Kricketune's Halloween Sheet

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Kricketune54:
Kirby Halloween sheet going strong into its 3rd year for me!


The intro was definitely the toughest part to come up with.

Not every part in the intro lines up exactly how it is in the intro, specifically that the second measure has a rest before the tremolos (the thinking being that would give the player time to play the run with both hands and to then do the tremolos) as well as the second run in m5 technically happens at the same time of the notes of the previous measure.


Additional Notes

m19, 21, and 23 the LH is a combination of the harp and the low quarter note strings (harp part is down an octave from the original), but I felt m20, 22, and 24 worked better feeling a bit more static (the harp notes don't blend as well here either).

m26 I didn't think the harp run fit well so I added chord notes underneath the melody in the RH.

m33 beat 4 reorganized this chord

XiaoMigros:

* m33 b2: I think there's a C# here
* m25: The Fn can technically be spelled either way, but it would look neater as E#
* m19, 21 & 23: Showing the quarter rests in the RH would provide more clarity
* m34 b2 should be spelled as A# and C# (F# chord)
As for the intro:

* I'm not sure how much sense it makes writing this in 4/4. Maybe something cadenza-esque would be more fitting? I like what you have written currently, it just feels a bit too linear.
* The long runs shouldn't have fixed tuplet values, so hiding the number would be best.
* It might be worth writing the F# in m2 as Gb, so all the notes are legible
* Since this section is played freely, I don't think rit. markings are needed.

Kricketune54:
Hi Xiao, thank you for the feedback, sorry it took a little while to get to.

I don't disagree with the cadenza idea. I don't know how to hide the tuplet numeric values though. Beyond that I have updated the sheet with the note fixes as well.  Keeping the rit. but hiding them as to keep the audio playback somewhat representative.  Thanks!

Kricketune54:
I was able to figure out how to remove tuplet numbers, I also have updated some eighth note beaming in the Cadenza section.

Bloop:
Cadenza:
-Since the intro is now a cadenza, you can hide the time signature (with the measure tool) and force show it in the true m1 instead. Maybe you can do the same thing with the key signature, and show accidentals again at the start of the 8va part in the R.H. (as people might forget the D#'s after a while)
-I think the harp run at the start of the cadenza starts on a G, and also plays the C# and D# after the first B (albeit a bit softer and quicker)
-The Eb's in the L.H. might be better written like D#'s, since they're like that in the R.H. as well.

The rest::
-m11: I don't hear the E on beat 4 in the R.H. here
-m14 and 18: I think it might be better for the L.H. to continue with the harp part, so there's a bit more motion in the sheet instead of a triple octave doubled melody line.
-m19-20: Maybe you could write the second layer in these measures like this:

I think I hear all these voices in the harp part, though transposed in octaves in the R.H. if needed.
-m21-28: You could consider doubling the melody an octave above: there's not an instrument that's playing in that octave in the original, but the melody is played by both harpsichord and oboe, so having it in octaves and piano gives it a bit of the same punch. If you wanna keep it as a single line though, I'd suggest moving the top notes in the R.H. in m28 down an octave, so the melody is still on top. In both cases, the note in the R.H. on beat 3 in m29 should be a half note.
-Maybe you could consider writing m13 and m21 in a different dynamic? I'm thinking mp in m13 and f in m21, mostly to evoke the feel of the part rather than the actual volume. m1 is soft but punchy, m13 is a bit denser in orchestration but sounds lighter because of the legato, and m21 is the climax.


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