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[Zeta]

Submission Information:
Series: Other
Game: OMORI
Console: PC
Title: By Your Side
Instrumentation Solo Piano
Arranger: SlimyWyvern

[attachment deleted by admin]

[SlimyWyvern]

[Francesca]

I'm very glad to see more OMORI sheets being worked on~ I'm  not an updater, but I'll still try to give some advice.

• I recommend adding a double barline at the end of measure 16, to indicate the next part.
• Excluding the lower pedal notes in m17 and onwards, the bass part is almost exactly the same as in the first part of the sheet, so at that point is the change of clefs necessary/helpful? (as in, wouldn't it be better to have it all be in the bass clef?)
• I hear m5 and m21 similar to how you harmonized m13, like this:
  
• This doesn't matter too much, but the actual tempo of the song is a bit slower than what's written, at about 88BPM.

[SlimyWyvern]

I'm very glad to see more OMORI sheets being worked on~ I'm  not an updater, but I'll still try to give some advice.

I appreciate it. This is probably my favorite track in the whole OMORI ost and I noticed someone made a request for it a couple years ago so I thought I'd take a crack at it.

Excluding the lower pedal notes in m17 and onwards, the bass part is almost exactly the same as in the first part of the sheet, so at that point is the change of clefs necessary/helpful? (as in, wouldn't it be better to have it all be in the bass clef?)

Yeah, you're definitely right. I thought for some reason that it looked better in the treble clef for the first half of the piece because it was higher up, but then I realized I had to change it once the lower bass notes came in. It all looks just fine with a bass clef, ultimately.

I also made all the other changes you suggested, as well as taking out a note in measures 11 and 27 that I saw overlapped with the right hand.

[Bloop]

Nice sheet! I should really play omori some day..

-Tonality wise, these chords kinda seem to suggest C#m to me, even though there's no actual C#m in the song. The Amaj7-G#m is a pretty common setup for C#m, but it just always ends up on the more dorian-oriented F# major.
-m6 and similar: Anytime you have these two grace notes, the grace notes should be 16ths instead of 8ths: single grace notes should be 8ths, more than one grace note is always 16ths. If you do keep the key signature as F# major, you can change the Fn's to E#'s too.
-m16 and 32: I hear a D# on beat 3
-m22 and 30: You can move the notes (+ grace notes) on beat 2.5-3 up an octave, so the melody doesn't suddenly jump down an octave. You can add the octave below the non-grace notes too if you want, though it's admittedly a bit harder to play than I anticipated.
-m26: The L.H. can't play the C# on beat 3, you could either delete it or move it to the R.H. (the thumb can play the C# and D# simultaneously)

[SlimyWyvern]

Tonality wise, these chords kinda seem to suggest C#m to me, even though there's no actual C#m in the song. The Amaj7-G#m is a pretty common setup for C#m, but it just always ends up on the more dorian-oriented F# major.

I wasn't 100% sure on the key but having only four sharps in the key signature makes it a bit easier to read, so I think I'll end up changing it to C#m.

-m22 and 30: You can move the notes (+ grace notes) on beat 2.5-3 up an octave, so the melody doesn't suddenly jump down an octave. You can add the octave below the non-grace notes too if you want, though it's admittedly a bit harder to play than I anticipated.

For m30, would those notes look better with an 8va marking or should I just leave them up an octave? And yeah, having an octave right after the grace notes is a bit hard for me to play, myself, so I'll leave those as is.

[Bloop]

For m30, would those notes look better with an 8va marking or should I just leave them up an octave?

They are fine as is! I usually start using 8vas when you have 4 or more ledgerlines without easy reference points.

For the C# in m26 on beat 3 in the R.H., maybe it'd look a bit nicer to have it in a separate layer, as it looks kinda out of place admittedly, but I'll approve either way!

[Latios212]

A few quick comments:
- m. 16 - if I recall correctly it's more customary to use two quarter rests rather than a half rest if it falls on beats 2-3.
- m. 17 beat 1 - sounds like this note should be octave doubled in the melody too?
- m. 20 last note - I'm not sure where the D# is coming from, it sounds like the lower layer should play a low B instead here?

-m22 and 30: You can move the notes (+ grace notes) on beat 2.5-3 up an octave, so the melody doesn't suddenly jump down an octave. You can add the octave below the non-grace notes too if you want, though it's admittedly a bit harder to play than I anticipated.

I actually prefer these notes at their original pitch, matching the lower octave. Up to you though!

[SlimyWyvern]

- m. 20 last note - I'm not sure where the D# is coming from, it sounds like the lower layer should play a low B instead here?

Huh, must have misheard that for some reason. I made those other changes you pointed out as well.

I actually prefer these notes at their original pitch, matching the lower octave. Up to you though!

After listening to it a few more times, I actually do like how I originally wrote it a bit better. Sorry, Bloop :p

[Latios212]

Looking good! Just one last thing about that last note in m. 20 - I think that Bb should be an octave below where you have it now (leading into the A in the next measure). If you move it, be sure to make sure it's re-aligned properly.

[SlimyWyvern]

Like this, right?


Updated the files again, so everything should be good this time.

[Latios212]

Yep, looks good! All set now

[Zeta]

This submission has been accepted by Latios212.

~Zeta, your friendly NSM-Bot