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Messages - Bespinben

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As of the current moment, it is not possible to configure Musescore 2.3 to output notation that matches the house style of the majority of this site's Finale-based sheets. The number one reason for this is that Musescore does not support 3rd party music fonts (Maestro, Maestro Wide, EngraverFontSet, etc.) outside its own presets.

So, until Musescore can support 3rd party music fonts, it is impossible to create Musescore submissions that match Finale's default output.

Here's what needs to happen in the music notation software industry before NSM can integrate Musescore:
(1) Musescore must natively allow 3rd party music fonts, and do so in a way that allows seamless* (see below) swapping of SMUFL fonts
(2) Makemusic must create an SMUFL-compatible version of Maestro, and then ship this in a future version of Finale Notepad.

*While Finale and Sibelius do allow music font swaps, the fonts themselves have to be optimized for those specific programs. Yes, you can port in SMUFL Bravura to Finale, but it will result in many glyphs not being where they should. This is why things like Fravura/Aruvarb/Norfolk exist (derivatives of Bravura), because no commercial notation software can swap SMUFL fonts seamlessly (except Dorico) without serious typographical anomalies

Submissions / Re: [GBA] Fire Emblem - "Black Fang" by Libera
« on: July 15, 2018, 04:38:17 AM »
Excited to review your first submission!

I tend to judge things in terms of their sum effect, and the feeling I get from this arrangement is that it lacks the emotive weight of the original piece. I think the main contributor to this is your decision to invert the bass above the ostinato, which, while I can see your reasoning for doing so, comes at a loss.

I'd first double the timpani in octaves in places where it would be most idiomatic, and I'd move the string ostinato to the right hand:

When the solo (brass?) instrument comes in, I'd actually opt to lower it below the ostinato, for reasons of making it playable with the bass, and because it has an effect of giving it a mellower tone that seems more in line with the original piece.

This pattern works fairly well for the rest of the song, although I do feel perhaps this texture may downplay the string melody's tense and urgent mood. Definitely interested in seeing what you do next.

Off-Topic / Re: The Introduction Thread
« on: July 09, 2018, 12:34:16 AM »
fresh meat

oh um i mean yes welcome hi

Submissions / Re: [SNES] Mario Paint - "Title Theme" by Nine Lives
« on: June 30, 2018, 10:03:33 AM »
Music preparation best practices:
(1) Prepare page turns to coincide with ample amounts of rest.
(2) If using repeat markers, place them within the same page spread to avoid unnecessary backwards turns.

I believe the below is the least compromised implementation of these considerations:

Help! / Re: Where to download Finale on Mac?
« on: June 28, 2018, 04:19:26 AM »
You could install Windows on Mac via Bootcamp and then run Finale Notepad.

If you just need Finale short-term, Makemusic also offers a free 30-day trial for the full version of Finale, which is compatible with macOS.

Positively gorgeous. Great work.

That could work well too, so go ahead with that. My approach is a bit idiosyncratic (like with the amounts of space I prefer between systems), but as long as I've given you some ideas for your own editing, then I'm happy with that : )

My take on the page layout. Designed to reduce some of the distorted horizontal spacing caused by the many accidentals, and to achieve a more unified appearance throughout.

~Yay~ ✿ ͡◕ ᴗ◕)つ━━✫

Well it needs an MUSX too, so it'd probably be easier if I just uploaded it. This is how it looks:

Careful, you just might jinx it.

Thanks to both of you for doing that. I noticed a few micro-irregularities with the layout though, so I fixed those real quick. Ideally, you want the top and bottom systems to align horizontally across page spreads, and you also usually want to space systems evenly on the same page.
Exhibit A
Exhibit B

Here's the file with those fixes:

I went back and gave this one some more thought to try and find justification for my previous self writing those in. It does sound fine without the A, but I think I did prefer the slightly "bulkier" texture because otherwise the middle of the measure emphasizes B a bit too much for my liking... I'll think about it a bit more.

Just want to chime in on this real quick, since this is a subject that interests me. I think there's a number of advantages to the addition of A into these chords, such as it emphasizing the quartal quality of the chord's upper structure, as well as anchoring the progression on the 5th scale degree of the key as the progression drifts away from the key. But I think what interests me most is how this A naturally comes to one's ears, despite it not being explicitly audible in the OST. My hypothesis is that perhaps there's something missing texturally between the punchiness of spiccatto strings and the inevitable pedal-heavy execution on piano, and that the extra A helps to fill in that gap with its distinct bulkiness.

Just saw your newest edit; that's much better now! I'll accept this if there are no objections otherwise... Latios?

Correct me if I'm misunderstanding, but it seems all that was done (at least as far as what I was concerned with) was that you changed the page size to 85% (formally 91%) and changed the left margin to 0.75" (formally 1"). While this does improve the aesthetic of the layout somewhat, it doesn't fix any of the major issues that my recommendations were aimed at -- namely, whitespace optimization and page turns. While I understand that preparing a layout around page turns is a non-issue for a lot of people (as I know many NSM'ers either use tablets or print single-sided), there's still tons of unused whitespace in your current edition at the bottom of each page, which is just not good graphic design. Aim for a predictable layout with ample whitespace that allows your music to breath:

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