Maelstrom - Running HellI am aware. This was actually done intentionally. The real way it should be written is
In this, the top note is lowered, making the chord sound more compressed than before. If you simply invert it, and write it in the same way, the top note stays the same and the bottom note lowers, which makes a larger chord and changes the texture of the progression. I thought long and hard about this. First, I decided against writing it verbatim because that's not not feasible to play. It was hard to decide, but I went with what I wrote because it more accurately captures the original texture even if the notes aren't exact. It's a fudge that I think emulates the original better than writing a pure inversion would.
It's probably not what I would have done, but at least I understand there's some rationale behind it.
The other things look
good to me, I'm happy to sign off on this now.
Zeila - Id (Dilemma)-Might I suggest a different distribution? At the moment the whole sheet is on default bars per system and default staff size, which has the effect of making everything look a bit clumsy. I mocked up something like this with 0.65cm staff size (the best ;) ) and I tried to spread things out across the two pages a little more consistently (4-5).
-Perhaps some sort of articulation like 'freely' above the bits with the really crazy rhythms (bar 25 onwards, really), just to let the performer know not to get too bogged down in the precise rhythms etc. Your call though, as I think the rhythms are pretty accurate at the moment.
-I actually disagree with Static about your accidentals in the beginning section. All of those chords look like F#7 in third inversion to me (or just F# on it's own) so I think that A# and C# are the correct ways to spell these chords. You even have the perfectly analogous Dm followed by E7/D in bars 13-14 which is just exactly the same thing but in Dm rather than Em (and the spellings there are as I am suggesting already!). In that case, I might be inclined to put a courtesy natural on the An in bar 6, but it's not really necessary since the key signature is literally right next to it.
-Another thing about accidentals: the final chord of the piece is an Ebm chord, but it doesn't look that way because of how it's spelt. I'd suggest changing the F#s to Gbs and the Gns to Abbs, or alternatively changing to sharps in bar 37 (essentially modulating early) and then writing the Ebs and Bbs as D#s and A#s and then you'll end on a D#m chord. I think the second option is probably the more preferable, but see what you think anyway.
Weird piece, but nice job!
