Sebastian's Arrangement Library

[Sebastian]

Thanks Guys
Ill get right on it

[Sebastian]

The beaming of notes is wrong at some places. For instance in measure#7, and every measure where you use that same figure.
And also in measures#31 & #33 (left hand too!).

Im not very familiar with this stuff. Can you explain to me how I should change the notes please ?

[Jompa]

make sure that all the beats are visible through the beaming.
The problem in your case is that you can't place a quarter on the third eight, because that makes the third beat invisible.
If you didn't get that, here's a site with some examples: http://www.personal.kent.edu/~sbirch/Common/Encyclopedia/Rudiments/beaming_rules.htm

[Sebastian]

Sorry for being like this, but I still dont see whats wrong with it

[Sebastian]

Should I tie the A (eighth note A tied to eighth note A)?

[Jompa]

yes, to fix the measure#7-figure you should do that.
And follow the same principle at measures#31 & #33.

[Sebastian]

ok

[Sebastian]

Hello All!
I have started an arrangement project and I would be super, super happy if I could get some help

[Sebastian]

Animal Crossing: New Leaf
3 AM NEW!!!
[ZIP]

Easy 

[Jompa]

Your use of layers could be cleaned up.
And there is no point using sharps in Gb-major

[mikey]

And there is no point using sharps in Gb-major

I think this rule is stupid D:
I mean yeah it's nice when everything is either sharp or flat, not both, but it's the same darned thing.

[Jompa]

I think this rule is stupid D:
I mean yeah it's nice when everything is either sharp or flat, not both, but it's the same darned thing.

What do you mean "rule"? I said there's no point using sharps in Gb-major, and you know why? Because every single step on the scale is flattened. So yeah it would be nice.

But the fact that you don't like the "rules of either sharps or flats", sounds like you don't know much about harmony.
Stabling a chord D Gb A is not the same as stabling a chord D F# A, because the chord is D-major, not D(omit3b11). It's not "the same darned thing".
In the case of Gb-major this would as good as never result in using sharps. Which is the basis of why I to begin with said that there's no point using sharps in Gb-major.

Not understanding harmony is fine if you're not a musician, and you only want to get that piece of sheet music into the fingers as fast as possible, forever staying ignorant of the harmony underneath. Only then, you get to call it "the same darned thing".
But mariolegofan, who's arranging this piece, may wan't to learn something from his arranging experiences, and so he's not in the same boat as those who think rules of music theory is stupid. Same goes for me.

[mikey]

What do you mean "rule"? I said there's no point using sharps in Gb-major, and you know why? Because every single step on the scale is flattened. So yeah it would be nice.

But the fact that you don't like the "rules of either sharps or flats", sounds like you don't know much about harmony.
Stabling a chord D Gb A is not the same as stabling a chord D F# A, because the chord is D-major, not D(omit3b11). It's not "the same darned thing".
In the case of Gb-major this would as good as never result in using sharps. Which is the basis of why I to begin with said that there's no point using sharps in Gb-major.

Not understanding harmony is fine if you're not a musician, and you only want to get that piece of sheet music into the fingers as fast as possible, forever staying ignorant of the harmony underneath. Only then, you get to call it "the same darned thing".
But mariolegofan, who's arranging this piece, may wan't to learn something from his arranging experiences, and so he's not in the same boat as those who think rules of music theory is stupid. Same goes for me.

...A Gb is the same thing as F#...
Just saying.

[Jompa]

They're not the same thing for us who thinks more of music than just black or white keys.

Long-ass text about why you're wrong. Not like I'm expecting you to switch sides though.

Read this again:

Stabling a chord D Gb A is not the same as stabling a chord D F# A, because the chord is D-major, not D(omit3b11). It's not "the same darned thing".

F# and Gb sound the same. When playing them on instruments you play them the same way.
^If you don't know anything about music theory, nor isn't going to learn anything, then that's all you could possibly ever know.

But F# and Gb are only enharmonic with each other - which is why they sound like the same thing - but they're not the same thing at all.
Mainly because they are used in completely different contexts of harmony, most often according to key signature, but also because of the chords (and sometimes according to wether the melody ascends ore descends, but that has nothing to do with this). Meaning that when playing a D-major chord, you're not playing a D, a Gb and an A, but you're playing a D, a F# and an A.

For example, there's no G# in the key of F-minor, just because you're more used to calling that black piano key G# instead of Ab.

Back to Gb and F#; they aren't even on the same step of the scale! A F# according to a D is a major third, while a Gb is a diminished fourth -  meaning they are not the same thing!


If you're happy thinking about music like this, then great, you won't know what you're missing out on. But we're different

[close]

[Clanker37]

Jompa is right. You should always relate the accidentals to the key or the current modulation and try to use common intervals.

I think in this case, a C natural should be used (hell, even my finale makes it a C natural when I load it)

Also, hide those rests in bars 8 - 10.