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Messages - D3ath3657

Pages: [1] 2 3 ... 6
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.

I don't know...

Sure, the accidentals look a bit cleaner, but the note spacing isn't that different. I'd even say page 2 looks less uniform now, like it gets progressively thinner as you go along. That, and I'm not too keen on the "double spaced systems" look.

How about I widen margins a bit and reduce staff height, but keep the same measure layout?

I will view this as a good reminder of just how utterly incompetent I am, despite my usual swagger.

I should make that my signature.

Submissions / Re: [MUL] Celeste - "Exhale" by PlayfulPiano
« on: April 06, 2018, 07:04:54 PM »
Here you are.

Submissions / Re: [MUL] Celeste - "Resurrections" by PlayfulPiano
« on: April 06, 2018, 06:58:52 PM »
Cross-staff works with the Note Mover tool. If you don't have access to it, I could do it for you. What do you mean by the "beginning scales"?

Writing measure 69 in 6/4 might match the Finale playback to the original soundtrack better, but it looks out of place from a music theory perspective: here you have this rising motif that's repeated several times as four eighth notes, and then when there's a slight variation at the end, suddenly none of the notes have the same rhythmic notation.

Naturally, you'd drop the sixteenth-note motif for the last beat of every measure past 110 in order to play the countermelody, but it was just a suggestion anyway; do what you see fit.

Can you not even select the character for rolling chords, apply it to one note, and stretch it to cover both layers? Even if it doesn't work in the Finale playback, it's still necessary for the actual sheet.

I forgot to mention it in my last post, but in measure 97, the left hand upper part's rhythm is a double-dotted half note (or a half note tied to an eighth) followed by two sixteenths; and in measure 101, it's a double-dotted half note followed by a single eighth on C (there is no A).

Submissions / Re: [MUL] Celeste - "Exhale" by PlayfulPiano
« on: April 06, 2018, 06:45:19 PM »
The problem with "breathe" isn't that it doesn't fit into formatting, it's that it doesn't suggest anything to people unfamiliar with the game. I initially thought it meant that liberties can be taken with regard to the tempo (to "take a breath" between measures/phrases). With your explanation, I feel something like tranquillo ("calmly, peacefully") or even pastorale ("in a pastoral manner; peaceful and simple") would have a less ambiguous meaning, on top of being more significant to a wider range of people. You could also just put "Calm and peaceful" or whatnot—it doesn't have to be in Italian; the idea is that you want to write the feeling this game's ending gives you, so that even someone who hasn't played it can understand.

Sometimes, deleting and rewriting a segment fixes positioning issues. Otherwise, "L" (or "cmd+L" on Mac, I think) flips the stems of a group of notes, as long as you're currently hovering the first note of that group in the Simple Entry tool.

Using three staves when writing for solo piano is used when one voice is always separate from the others, both in terms of height and in terms of importance. Since you're intertwining the piano and synth lines, it wouldn't work here.

Here's a link to a .mus file with most of the changes I've recommended. It's still possible that I've missed a few things.

Submissions / Re: [MUL] Celeste - "Resurrections" by PlayfulPiano
« on: April 06, 2018, 04:13:49 AM »
If you want to go that route for measures 66 and 67, you should probably make the notes cross-staff instead.

To raise repeat boxes, click the repeat tool, then click and drag the mouse so as to select every handle present on the boxes simultaneously, after which you can tap "up" until the boxes reach the desired height.

Measure 69 currently has a half note and a dotted half note in the right hand, which add up to five beats—one short of a 6/4 measure. But I truly believe you'd be better off writing it in 5/4 with a ritenuto.

Usually, you can fix misaligned layers by deleting the notes and entering them with the mouse at the precise height you want them.

This is what I meant by "continuing the right-hand motif":
Naturally, you'd drop this pattern whenever the countermelody shows up.

Submissions / Re: [MUL] Celeste - "Resurrections" by PlayfulPiano
« on: April 06, 2018, 02:20:07 AM »
Just a thought, but for measures 66 and 67, if your software permits it, you could swap to bass clef for the low E, then swap back to treble clef mid-measure for the other notes, instead of using a 8vb sign.

You should raise the repeat boxes above measures 66 and 68 a little, so as to not have them clipping into the notes.

You're currently missing a beat in the right hand, measure 69; but after seeing it written in 6/4, I'm now persuaded it should be written in 5/4 with a ritenuto.

Measures 94–101, for the sake of consistency, I would make the whole bass line whole notes in layer two. (By the way, the left hand in measure 96 is a bit misaligned.) In any case, please take note of the rhythm for the upper part: I had corrected it in my previous post, but you seemed to have missed it. Also, I don't know why you insist on adding a lower B to measures 95 and 99; but that aside, all intervals larger than a ninth should be rolled, for convenience (so measures 95–97 and 99–101).

From measure 102 onward, you didn't continue the right hand motif during the left hand's downtime, as I had suggested. I don't mind this, but since you didn't mention it, I wasn't sure if you had missed it or if it was deliberate, so I just wanted to point it out.

If you intend on writing tremolos with stacked whole notes instead of spaced ones, the tremolo lines should be in between said notes.

Submissions / Re: [MUL] Celeste - "Exhale" by PlayfulPiano
« on: April 06, 2018, 01:54:17 AM »
Here we go:
  • "Breathe" doesn't say much as an indication of character. I believe tranquillo, semplice or even rubato would convey more meaning.
  • There was a problem with stem direction for the left hand in measures 13 and 41.
  • The second quarter note of measure 6 (and other measures with the same rhythm) should be written as an eighth note tied to another eighth note.
  • In 4/4 time, you can beam eighth notes in groups of two or four, but be consistent about it—choose one or the other.
  • As I have said previously, grace notes must be slurred to the following real notes.
  • There is no need for a modulation in measures 21–28. This section is still predominantly in major, even if there is more mode mixture than before. (In the future, keep in mind that key changes require a double bar prior.)
  • It would make the .mus file much easier to follow if you kept the piano as layer one and the synth as layer two (when both play together), or vice versa, even if you have to manually redirect some stems.
  • The ninth on the last beat of measure 42 is awkward to play, and the tenth on the first beat of 43 is unreasonable for anyone not named Rachmaninoff, so consider lower both by an octave. (On the other hand, the synth in measures 38–40 could be shifted to its actual pitch, an octave higher, and still be very much playable.
  • You should easily be able to fit the piece on three pages, whether by tinkering with margins, system height, system spacing, resize tool, or a bit of each.
  • The files are missing both the subtitle and the NinSheetMusic site below the copyright.

...It seems you are correct.

I have no clue why I consistently hear the bass note of the second chord in measure 3 as an Ab (especially when I jump between it and the second chord of measure 2), and I guess I refused to accept there being an Fn in the first chord because of the Fb in the upper arpeggios; but writing out the proper voicing also made me realize the clear composition process: two fifths drifting apart from each other chromatically (which is why I have now added a Gn in measure 1).

I will view this as a good reminder of just how utterly incompetent I am, despite my usual swagger.

Files have been updated.

I like keeping the 15ma. Not everyone is a virtuosic pianist, so having a 15ma for a few notes isn't something to lose sleep over.

I don't know what's virtuoso about being able to read up to five ledger lines, and it's simply indecorous to chain together a longer 8va line and a stubby 15ma line in that manner.

I know the first chord of measure 1 has an F, but I don't like how it sounds when it's lowered into the left hand. It makes the chord sound like an inverted F7sus4, and I find the cross-relation between F and Cb too audible. I might change this, however.

As for measures 3–4, I happened to miss the voice that goes from Gn to Ab, and so I had based my voicing on the middle arpeggio line that goes Ab, [what I initially heard as Gb but is actually a Gn], Eb+Fb on beat one and Ab, Cn, Eb+Fb on beats two to four. I'll see what I can do about it, but I find that voice to sound much better when it's above the Cn to Db line, so I'm considering making them both really big arpeggiated chords. (I'm convinced, however, that there are no Fn's or Bbb's in those measures.)

Edit: files have been updated.

Submissions / Re: [MOB] Fire Emblem Heroes - "Main Menu" by Latios212
« on: April 04, 2018, 04:34:25 AM »
Again, context, what I said below the picture. Nothing aside from the 3+3+3+2+3 rhythm suggests a /8 meter for this song.
Never said they had to, and you're clearly exaggerating to stretch my words. There aren't any hard rules. This is just my trying to explain why I think it's best to have this in 7/4 and that in 3/4.

Sorry. I'm definitely prone to exaggeration, but I wasn't trying to distort your words.

In this section, yeah, since the four bars repeat the exact same rhythmic figure. This subdivision of 7/4 into 4/4+3/4 isn't present anywhere else in the song.

Looking through it once more, it seems to me as though the sixteenth notes in the second half of beat 5 (measures 5 and 7) would fit this division as well, since they resemble the second half of beat one. In any case, I meant that, while attention isn't drawn to it outside of measures 12–15, it's not contradicted either, which is another reason why I don't think it should be ruled out.

Anyway, I believe I've gotten my point across. I'd be curious to hear another mod's opinion on the metre in this piece, however.

I'm notorious for hating 15ma lines, but if there was one instance in which I wouldn't use it, it's in measure 32 of this arrangement. Sure, it goes a bit high, but you don't concatenate interval lines like that.

I've only skimmed the sheet, but it looks pretty good aside from that.

Just saw your newest edit; that's much better now! I'll accept this now if you're satisfied.

If you're content with the layout, then so am I. I'd also like to thank you; your standards have resulted in me learning a valuable lesson in terms of editing.

Don't accept until this is resolved.

I have the feeling it's going to take a while...

Submissions / Re: [MOB] Fire Emblem Heroes - "Main Menu" by Latios212
« on: April 04, 2018, 02:40:13 AM »
As I mentioned before, I did already test conforming the right hand melody to the left hand accompaniment's rhythm pattern. It really didn't make much sense to me...

Makes about as much sense to me as the left hand when it's written in 7/4.

About my use of 7/4, there's a clear difference to me between this and, say, the chorus of "Lost in Thoughts". Here there isn't a clear distinction into two parts of each 7/4 phrase. In "Lost in Thoughts" chorus, for instance, the rhythm very explicitly repeats in groups of three, and the left hand plays a pattern that "resets" every three beats. In this song we don't such an obvious subdivision into 3 and 4 in each 7/4 phrase's 3+3+3+2+3 rhythm. You could say 3/4+4/4 to align the break point with the eighth note rhythm, but it seems arbitrary to me - the left hand does not "reset" a pattern here; it continues to play a figure that is seven beats long. Each 7/4 bar is one phrase, and to me does not lend itself to a natural subdivision into 3/4+4/4. I may not be a fan of long bars in general, but here I believe it best gets the point across without impeding readability. Again with the 8/4, it more naturally alternates with the 7/4 - and notes play every downbeat so there's never any confusion as to where the beat lies.

Nowhere is it written that accompaniment motifs have to be regrouped into a single measure. If that were the case, the first chorus of "Lost in Thoughts All Alone" would be in 12/4, with the full left-hand pattern being the syncopated arpeggio repeated three times, followed by a dotted half note, and Chopin's op. 48 no. 1 (nocturne in C minor) would have to be in 2/4, because the motif is a bass in octaves followed by a chord.

The way I see it, measures 12–15 make it clear there's at least a separation between the first four quarter notes and the subsequent three, in each bar of 7/4. I also believe it should be taken into account that musical periods (I need to stop using "phrase" as a catch-all term) are most commonly made up of at least eight measures (which is why I initially transcribed "Lost in Thoughts" in 6/4—to divide each chorus into two phrases of four measures), though they can be longer (which is why I didn't complain much about the change to 3/4); currently, you confine each period within four measures (for example, measures 5–6 and 7–8 are clearly two phrases which are part of the same period).

I have the chords written as they are since that's the way I heard them and they created the texture I wanted. Regardless, I think of those chords as independent of the bass there which is just moving chromatically downwards.

I don't think omitting the A in the first five beats of each measure alters the texture significantly, but to me it actually sounds bulkier than the original when included. As for the chords, I just meant that C#m11(b6) has a very characteristic sound, and therefore I should have clearly noticed the presence of an A in that chord, had there been one.

Not really. First, there aren't staccato notes on "literally every note", or even anything close to that. For one thing, the staccatos in my sheet distinguish the middle layer from the bass, which is not currently labeled as staccato. And I'm hesitant to use slurs because I don't really want any part of this section to be interpreted as legato, even the phrases with consecutive non-staccato notes.

I was exaggerating when I said "literally", but that was just a thought which occurred to me. I shouldn't have lumped it in with the other points.

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