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Messages - Th3Gavst3r

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- Courtesy accidental on the Eb (RH) in M. 5 & 30 would be helpful.

I'm not sure which measure you meant when you said M. 5, but I've changed everything else!
Any reason you didn't use parenthesized courtesy accidentals in your example?

Good suggestions, I've put them in

Site News / Re: Update, Sunday 11th of February 2018
« on: February 13, 2018, 12:14:15 AM »
Yay, new update!

Just popping in to report an error on the Mid for Big Blue. It appears to stop after the first measure.

Glad you caught that! Latios fixed it just now

Awesome! Thanks for putting such a close ear to this btw, really good to know how detailed your reviews are :D

I've actually been using the exploded channels from the game to arrange, so here's some evidence that the bass isn't leading down a whole step

That said, this chord in particular doesn't make a huge difference in terms of the overall sound. I usually go with what's in the song if possible, but if you'd really prefer it changed that's alright with me :)

-Good catch with m.12, I forgot about that voice when we got rid of the bass fifths
-Changed the D.C.

-In m.24, the Ab on the last beat comes from the Ab-Eb-Ab arpeggios in the high voice throughout m.23-24. The arpeggio voice holds an Ab starting on beat 4, while the bass plays a syncopated Gb-Db fifth on 4&. While the Ab does sound during that last chord, in my opinion the Ab-Eb fifth is less appropriate because it resolves too well with the melody's Eb. By using the Gb fifth, the song retains its tension transitioning into the B section.

-In m.40, the bass still plays a Gb-Db fifth on the last chord, but there is also an Ab in the higher voice which parallels it for some reason. There isn't actually an Eb anywhere in the original, but I still prefer your suggestion for an Ab-Eb fifth in this case. There aren't any problems resolving with the melody, it sounds virtually the same with either chord, and the fingerings for ending on an Ab fifth allow the player to phrase much more naturally.

I like that a lot Deku, definitely the best I've seen or come up with so far. Gonna use that one :D

I've been really bad about keeping this page updated, so here's a ton of sheets I've finished since April :P

[PSX] Crash Team Racing


[MUL] Cuphead

Don't Deal With The Devil (Instrumental)

[SNES] F-Zero

Big Blue
In Submissions

[SNES] Fire Emblem - Mystery of the Emblem

Under the Flag

[PS2] Katamari Damacy

[PS2] Kingdom Hearts

Dearly Beloved
On Site
Kairi I
Once Upon a Time
Treasured Memories
[NDS] Pokémon Diamond/Pearl

Champion Cynthia
Pokémon Healed
Spear Pillar
Trainer's Eyes Meet (Artist)
Trainer's Eyes Meet (Artist) (Duet)
Valor Lakefront (Day)

[GBA] Pokémon Emerald

Rayquaza Appears!
On Site
[GBC] Scooby-Doo! Classic Creep Capers

Chapter 1 - It's a Mystery
On Site
Chapter 1 Intro
On Site
[MUL] Shovel Knight

Courage Under Fire (Two Pianos)
In Submissions

[GBC] Star Wars Episode I - Racer

Title Screen (Duel of the Fates)

[SNES] Super Mario All-Stars


[GCN] Super Smash Bros. Melee

Balloon Fight
Yoshi's Island N64

[NDS] The Legend of Zelda: Phantom Hourglass

Ciela's Parting Words

- Parallel 5ths are insanely difficult to play, especially at this tempo. In places like m8, 12, 20, 24, etc., you'll want to make the LH part just octaves instead (which are actually easier to play). If you want you can change the current RH line in those measures to the harmony line (starting on C in m7 for example). If you do this, you'll want to keep it an octave up from where you currently have this line in the LH for playability.

Moving the fifths to the top of the arrangement messes with the voicing of the arrangement imo. Since fifths fit nicely into the harmonic series, the purpose of fifths (power chords) in rock music is to widen a guitar's voicing without causing too much distortion. In measures 8 and 12 both hands play the melody in parallel, so the fifths are there to fill in the center of the arrangement without distracting too much from the emphasized double melody. If you move the fifths to the RH and put octaves in the LH, the fifths draw too much attention by being the highest voice in addition to the melody suddenly dropping down an octave. If you leave the fifths out entirely, the arrangement instead sounds very hollow. Because of all this, I think the arrangement is best with the fifths how they are, despite the playing difficulty.

- The offbeat notes, particularly in the B section and onward, are really, really important. It might be a good idea to add some extra chord tones on these parts (such as (RH) m25 beat 4.5, m27 beat 4.5, m29 beat 2.5, m30 beat 2.5, etc.)

I've done my best with this one. Some of the syncopated harmonies from the original are squeezed in where I could fit them

- Even though the song is in a rock style, it wouldn't hurt to include some more variety in dynamics (perhaps a crescendo in m24 to a ff in m25; just some things to consider.)
- You might want to add some more articulations and accents past the A section.

I've sprinkled some of these around, lmk if you think there's anywhere else they'd work

Addressed all of Latios's suggestions :)

I just took a quick listen and here's what I noticed
  • You're missing a harmony to the melody in m. 1-13, 17, 25, 57-72
  • Would be nice to have the melody decrescendo in places like m. 1-13
  • Chords in m 4-6 and similar places come in later than you have written
  • Chimes missing m. 17-33 and similar places. Seems like they'd fit nicely into Piano I's LH
  • The octave gliss & 32nd notes in m. 53-55 would be incredibly hard to play, I'd recommend simplifying these to one pitch with accents or forte
  • For that matter, the 32nd notes in general might work better as grace notes
  • I see you were trying to indicate a loop at m. 73 in an earlier post. I have no idea how you'd pull it off in MuseScore, but I know it's possible in Finale to make something like a "D.C. second time." I don't want to try messing around with formatting while you're still changing things in MuseScore on your end, but if you need help getting the final sheet to work just say so and it'll be fixed in a jiffy :)
Of course, I definitely haven't noticed everything and the updaters always have final say on what needs work. So listen to them hehe

The best way to avoid this would be to buy Finale hehe
But in the off chance you don't want to dump cash on that, you can try using one of the the All Tempo Markings and Expressions templates on the NSM Site Resources. At least, you could for a single piano arrangement... There'd normally be templates for duets and two piano arrangements on the Formatting Guidelines, but it looks like all of the Dropbox links died :(

That said, here's a modified Two Piano Template based on what I normally use. It should work... decently with your arrangement. What'll probably work best to get you started is to
  • Convert your MuseScore sheets to Notepad using XML
  • In Notepad, select the entire sheet and copy it
  • Paste everything into a formatted template
No matter what, you'll almost always have to do some cleaning after converting from MuseScore. The Nearly All Special Formatting file on the Site Resources will let you copy-paste a lot of the notation which Notepad doesn't normally have (including measures with clef changes etc). If you run into something you can't fix yourself, you can always ask for help on the Formatting Help thread. Since this is a submission thread, hopefully some folks can help you clean up your formatting right here.

Also, never forget you can grab a free trial of Finale 2014, Finale 25, or PrintMusic if you need them. Between all the versions out there, I'm pretty sure you can get several months of unrestricted free trials (ymmv).

I like your Rock Groove idea a lot, definitely using that!
Also changed the rhythms and did take out those 4ths from the RH in measures 8 & 12. Should be a lot easier to make that jump now and they sounded a little muddy anyway hehe


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