It's not Opposite Day.
Started by Olimar12345, August 23, 2023, 04:58:25 PM
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AMCould you please upload a copy of this sheet's .musx file to the project folder? Is helpful for our own project tracking
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AMMy biggest question I have is the second page key signature choice - it seems like after m18 the song should switch to F sharp minor; it would be much easier to read compared to staying in C minor.
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m6 Correct me if I'm wrong, but single grace notes are usually 8th notes as opposed to 16ths
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m13 RH 2.0 could add C#/Db grace note to this Dn
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• Whare are the hidden coda symbols at m14?
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m15 for your endings couldn't you make m15 be outside the first ending, and then delete current m17? It looks a little weird currently the way the tie is split off from m14 (note all measure numbers in this post are for the current numbers)
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m16 and 18 maybe you could move the middle tie a little; very small detailSpoiler[close]
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m22 RH first triplet hearing G#/Ab not a rest
Quote from: Kricketune54 on August 29, 2023, 11:59:33 AM• m26 LH 3.5 this sounds like Fn/E#
Quote from: Kricketune54 on August 09, 2023, 01:46:54 PMPM Latios212 with your email address so that you can access the Dropbox folder where we will be hosting all of the sheets (if you already have access from a previous project, this step is unnecessary). You should upload submitted sheets (just the .mus or .musx is fine) to this folder yourself, and keep them up to date when changes are made.
Quote from: Olimar12345 on August 30, 2023, 03:43:19 PMThe second half of the piece doesn't function tonally for the most part. Unlike the first half, it mostly planes chromatically until setting up the turn around. It'd have lots of accidentals no matter where you put the key signature, and I'd rather keep it the same so the performer doesn't have to worry about that as well as all of the written accidentals.
QuoteI'm not understanding the issue here. Could you elaborate what your concern is?
QuoteThey're used to facilitate the first and second endings' playback. This is an older arrangement and I used to do that before realizing I could create an empty symbol to use, which is what I do now. It's not visually present when printing so it shouldn't be an issue. I had excess space to work with, and this made the page turn cleaner and more visually appealing.
QuoteThat's carried over from the idea in the previous measure which I did not include (the flute was playing the accents). Sounds like the horn chords play on beat one also, which might add to what you're hearing. Since it isn't what the flute is actually playing, I'd prefer it as I've written it.
QuoteYou might have gotten the wrong measure numbers? That's what I have written in 26...
Quote from: Kricketune54 on September 02, 2023, 07:53:41 AMThen alternatively I'd suggest going keyless starting at m19. That way you can write out the Gbm as an F#m chord: since it's planing chords, it'll likely be easier to read the chords as F#m with sharps and naturals rather than Gbm with flats and double flats. You could also similarly show the chord planing with Em and Ebm in m23 and m25. m32 in F#m is also a bit easier visually as well, and looks much nicer ascending to m33 beat 1.
Quote from: Bloop on October 17, 2023, 01:44:10 PM-The R.H. in the first page feels a little bit over-saturated with articulations here: is there a specific reason you're using both tenuto and legato markings, instead of just legato slurs? I also don't hear that much difference between most accented and un-accented notes in the original.
Quote from: Bloop on October 17, 2023, 01:44:10 PM-m7: I do hear a C in the flutes and trumpets on beat 2, but the organ melody voice plays the C on beat 2.5, which seems to fit a bit more rhythmically with the rest of the melody.
Quote from: Bloop on October 17, 2023, 01:44:10 PM-m12: The G on beat 4.5 isn't part of the organ melody, but the ending note of the flute countermelody. Do you still wanna keep it in? You did leave it out at m4
Quote from: Bloop on October 17, 2023, 01:44:10 PM-m19-20 and 31-32: Maybe you could write these Gbm chords as F#m instead? It might read a little bit easier than Gbm, especially for the melody in m32, and it'd mirror the movement Em to Ebm too. It may look a bit nicer leading up to the dominant in m33 as well.
Quote from: Olimar12345 on October 20, 2023, 02:48:47 PMIt's how I would most likely see it written for the flute, or any instrument in a jazz setting like this. The tenutos are also showing where to rearticulate after the string of slurred notes.
Quote from: Olimar12345 on October 20, 2023, 02:48:47 PMI see what you mean. I'd actually like to incorporate it in measure 4 as well, tbh. It's nice, I like it.
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