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Messages - WaluigiTime64

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1
"The line ends with A" was referring to the last four bars of the piece, not the dynamic shaping of the D.C.
I got that far.

The line ends with the 16th notes G# and F# leading up to an A. Without it in that register, the voice leading ambiguously suggests that it drops to an E from the F#, which does not happen.
It took me a while to really wrap my head around this. I get it, but the only time I can agree with it is when I listen to the piece without actually focusing on it at all, otherwise my brain naturally tracks the melody (like any normal listener), which does in fact descend from F# to E. This isn't to say that I haven't already updated the files with a different inversion of the chord, but hey, that's just my opinion being thrown out there.
What probably confused me was how you said that the 16th notes G# and F# lead to an A, even though they're strictly in the melody line only, which descends to an E.

Also no octave because easier playability.

2
Wait, was the file in the op the one containing Mael's edits? Now I'm not sure.
I don't know actually. Not sure if he put it in himself because I didn't edit it. I know for sure that my old pitches for the bass in the last section were definitely wrong though.

I hear the E now, but the line ends with A being the most important pitch there and as such it should be the highest note. The D-A relationship is much stronger than the E. I'd still suggest it to be in both octaves, but at the minimum it should have the one above the staff.
Hehe, I knew there'd be some discussion on this one.

I wouldn't say the D-A relationship is any stronger than the E-A one, because both are fairly weak, hidden behind a very prominent A. A is the most important pitch there, yes, but the highest A has the most noticeable single-note crescendo, making it far more prominent on M.2 than M.1. The E however, is instantaneous in its dynamics, albeit weak regardless. The crescendo (which as we know wouldn't exactly be possible on a piano) is why I consider using the higher A immediately as rather jarring, which is why I didn't put it in. I do agree that the A should have the most focus, but I couldn't put in a better alternative.

3
-Change "8va" in the bass to "8vb."
-And about the repeat: it desperately needs to be written as a D.C. after playing for four pages, I would rather know that I am repeating back to the beginning rather than search for a forward-facing repeat bar.
-Why does piano II get to fortissimo two bars later in 45 rather than in 43 with Piano I? In general, many of your differing dynamics are odd, but I feel like this is the worst instance. 32 is a close second.
-RH Pno I measure 29 should include another note in that grace note pick-up: it should start with an additional D.
-RH Pno I measure 31 should include another note in that grace note pick-up: it too should start with an additional D.
-RH Pno I measure 33 is missing the E#-F# grace note pick-ups.
-Sorry Mael, but the bass line from the key change to the end has major issues regarding correct pitches, the glaring pinnacle of which is the last four bars. Y-ouch!
     -33-34 should be F#
     -35 should be A#
     -first half of 40 should be G#
     -41-42 should be F#
     -43 should be E#
     -45 should be D#
     -46 should be E#
     -47 should be F#
     -48 should be B natural
Fair enough. Thank you for your time and effort.

-The guidelines for duets says that you should abbreviate each instrument in a duet with I and II.
Funny enough this was in my sheet before Mael's edits, so I don't know what happened there. Also you forgot the "I" in "Piano I" in the first system.

-Why is there an E held for four bars at the beginning in the second piano part? Nowhere does that happen in the original. I would suggest replacing it with a chord consisting of second-space A, fourth-line D, and A above the staff, as two whole notes (tied in measures 1 and 2), for the D.C. You'll need to specify that though, with something written along the lines of "play on D.C. only."
What I'm wondering is how you managed to hear that accompaniment before the melody. That E is the last note of the melody, and it should be very obvious. I did take most of this into account, and compromised with an A-D-E chord (whatever you'd wish to call that (Asus4? (the A is the most prominent note in that chord anyway))). Sliding from two 16ths to an octave at 162bpm isn't easy anyway.

-General comment: you should consider the need for the 8va line on that uppermost staff. You've got a considerable amount of that line in the bottom end and even below the staff. Ledger lines aren't a bad thing at all.
I would've dealt with this but I'm not 100% sure where I could remove it. Some places obviously need the 8va (the earlier section, for example), but whenever there's a part that is lower down, it's typically followed immediately by a higher part, and I see no reason to remove an 8va for 4 measures. The consistency may help the pianist too (very subjective though).

     -43 should be E# (last note should change to A# early)
You sure about the early A#? Something sounds strangely off about that.

4
happy to celebrate this submission's fricking birthday

this is also technically a bump

5
1 - I'd rather keep them in. If someone can't play them, I'd imagine they have the sense to play single notes there instead.
I guess that's fair enough, although I think the transition to them from M.4 should be a lot less jarring somehow (maybe a crescendo or whatever).
Something tells me the whole thing there is an octave too high but that might be me not checking correctly.

2 - While those notes are there, I intentionally didn't put them in because they obfuscate the melody. I can't move them down an octave to include them, because they're just the lower note raised an octave.
This makes no sense because those notes uh... are the melody. It's common practice to repeat a phrase with a higher inversion of the chords for the melody, which is exactly what ZUN did. I see no reason why they shouldn't be there.

6
Forum Games / Re: The Fifth Annual(?) NSM Superlatives!!
« on: February 11, 2018, 03:02:20 AM »
Yeah woah the 28th is a long while from now.

7
Forum Games / Re: The Fifth Annual(?) NSM Superlatives!!
« on: February 10, 2018, 07:47:59 AM »
2050.

8
Ok so a few things:

 - M.5-8 (and similar): I can almost see why you put octaves there, but this is already annoying enough to play with single notes. Octaves jumping 6th intervals are really difficult to land accurately and consistently.
 - M.25-32: Missed the top notes:
I did this in like, 10 seconds so it may not be 100% accurate.
[close]
- M.42-50: The LH is practically begging for some 4th/5th triads, as well as more consistency. The way you have it now is both a bit too empty and inconsistent about it.

Other than that I think it's cool.

9
That took a while. I sent Onionleaf a PM with a whole bunch of actual fixes already. :V

10
Music / Re: What are you listening to right now?
« on: February 08, 2018, 09:58:27 AM »

I keep listening to this. All the time.

honestly it's just an arrangement of the smb theme yet i keep listening it's so comfortable and good

11
Feedback / Re: The NinSheetMusic Redesign Suggestion Thread: Site features
« on: February 06, 2018, 09:15:18 PM »
(I always have trouble understanding the "It's expensive, therefore it's better" logic, be it there or with anything else)
It's more that people don't want to admit that a free program is on the same level or better than a program they already paid a lot of money for (to validate their purchase).

Admittedly, money blocks do filter out the bad from the good a fair bit though.

12
Submissions / Re: [SNES] Mario Paint - "Title Theme" by NineLives
« on: February 04, 2018, 10:53:23 AM »
The fact of the grace notes missing was more of an arrangement choice, I thought it would sound a bit better.
An odd one at that. Usually for a song of this style (fast, with swing), grace notes would come as a more natural thing. I'm not sure what NSM's policy is on intentionally leaving out grace notes for that reason, but I'm fine with it, if it's what you want (I can't force you).

I credited The Deku Trombonist because he helped with the file conversion and corrected some of the bigger mistakes I made, I thought it'd be appropriate since he rearranged a couple of things.
I was only referring to the inconsistency between the sheet and the submission. I can see why you set it up the way you did, although I tend to prefer consistency (personal thing, do whatever).

The piano tap I thought about, but decided against it.
That's perfectly fine, it was merely a suggestion (those are hard to implement anyway).

- Unless I've picked a wrong upload, something tells me that there's a loop which isn't written in here.
 - I believe it is possible to remove the unnecessary bottom stave from the entire first section, which would be good for spacing.
 - I do not believe the composer/arranger text is right-aligned. It needs to be.
These are still here, and the last one of them is actually necessary for formatting reasons.

Thanks for the suggestions, I'll try on thinking more on that sort of stuff in future arrangements.
No problem. Nice to see some Mario Paint stuff.

13

 - Unless I've picked a wrong upload, something tells me that there's a loop which isn't written in here.
 - Bars 29 and 87 are missing grace notes.
 - The Submission credits Deku and NineLives, but the sheet only credits NineLives.
 - The systems are very tightly squished together. Shrinking the staff sizes slightly should alleviate the problem.
 - I believe it is possible to remove the unnecessary bottom stave from the entire first section, which would be good for spacing.
 - I do not believe the composer/arranger text is right-aligned. It needs to be.
 - Unlikely anyone would bother, but you could add the backing rhythm during the quiet sections with tapping on the piano.

I like everything else though. Good to see a sheet of this one.

14
If it's in 12/8, NotePad should automatically beam notes when you input notes/rests, including over 8th rests (where applicable). You can just go through the whole sheet clicking on a note/rest in each bar with a note tool and it'll automatically beam them.

Obviously it won't split quarter notes into tied 8th notes though.

15
Off-Topic / Re: The Birthday Topic
« on: January 29, 2018, 10:21:09 PM »
Thank you guys!

<snip>
Blessed image.

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