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Messages - Bespinben

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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:

Archive / Re: [MOB] Fire Emblem Heroes - "Main Menu" by Latios212
« on: April 04, 2018, 03:48:54 AM »
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:

Submissions / Re: [MUL] Celeste - "Resurrections" by PlayfulPiano
« on: April 03, 2018, 10:57:06 PM »
1. Submission formatting requires con pedale if the pedal is being used.
This is false. Like D3ath said, sometimes, the best way to notate pedal it is to not do it at all. If necessary, I personally like to use implicit means of notating pedal usage. Laissez vibrer, slurs, and (my favorite) sustained voices in a 2nd layer a la Rachmaninoff are all viable tools to communicate pedal usage implicitly.

I'm very pleased with how you've continued to improve and evolve this arrangement towards your own vision. The most I can offer at this point is some pedantry regarding page layout. If we use 6.5mm staff size (as per Elaine Gould's recommendations), symmetrical margins (with sides slightly larger to offset the ungainly width of the aspect ratio of 8.5 x 11 paper), and a general allotment of 5 measures per system (with some judicious give-and-take to account for page turns), we get a much more functional print-ready layout:

I butchered your slurs in the process unfortunately, but shouldn't take too long I hope to redraw them :)

Arrangement looks fine to me. However, I think the layout could be much better optimized. Instead of squishing as many systems as possible onto every single page (which has resulted in huge amounts of unused whitespace on page 3), spread it out evenly over the 3 pages you're using. In fact, if you did 5 systems on page 1, you could fit 6 systems on pages 2 and 3 each, creating a nicely balanced and evenly filled layout.

Archive / Re: [PC] Undertale - "Before The Story" by PlayfulPiano
« on: March 08, 2018, 02:49:39 AM »
This is how a MIDI synthesizer plays a melody:

This is how a human plays a melody:

If you want the slightly detached feeling that you hear in the original, the accurate *and* human way of writing that would be by using a chord roll marking, like so:

Not only can any number of 8ths/quavers be beamed together in 3/4 (Elaine Gould, Behind Bars, pg. 153), it is an expected engraving practice to beam all three beats together, such as in the first 8 bars of Detention Center:

"The rule is: group together as many notes as make one beat EXCEPT .... if a bar of 3/4 ... consists entirely of quavers, then all the notes should be grouped together".
(The Associated Board of the Royal Schools of Music, Rudiments and Theory of Music,

Finale's default setting to separately beam consecutive quavers/8ths in 3/4 into individual beats really is lamentable, as that should really only be done if the utmost clarity is required, or to indicate a change of pitch pattern (Elaine Gould, Behind Bars, pg. 154).

Franz Liszt's Liebestraum uses a 6/4 meter (essentially a double 3/4), and beams each 3/4 subgroup in groups of 6 quavers/8ths. Just as it would be absurd to to assume that the contours of the right hand arpeggios in the beginning of Liebestraum imply a compound sub-division, it is equally absurd to assume that the contours of the right hard arpeggios in the beginning of "Detention Center" imply a 6/8 meter.

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