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Show posts MenuQuote from: Latios212 on April 08, 2024, 06:24:39 PM- m. 20 - I don't hear the second C in the triplet at all, just sounds like a single strike of the C?
- m. 24 - this first triplet doesn't sound like a triplet, more like an echoey effect...?
Quote from: XiaoMigros on April 09, 2024, 02:48:45 PMI still hear these and think they are worth includingListening again I hear where this is coming from~
Quote from: Latios212 on April 08, 2024, 06:24:39 PM- m. 22 - the top A in the second chord is missing its natural signAh now that the key is Bb, this natural no longer needs to be shown
Quote from: XiaoMigros on April 09, 2024, 02:48:45 PMI changed the distribution to hopefully make more sense?? Also you're right about that one measure being longer, I added fermatas like I did to other measures that were also longerSounds good. My parting thought on this is - how would you feel about splitting both m. 20 and 22 into measures of 2/4 + 4/4? They're pretty distinct phrases to me and it seems a bit odd to combine them. But if you do decide to keep them as-is, probably move the chords in m. 22 beat 3-4 to the right a bit so the triplet has a bit of space after it.
Quote from: Latios212 on April 08, 2024, 04:10:29 PM- The low bass figure in m. 25 seems like it might be tricky to transfer into m. 25 from. If you lowered it to give the RH more space though, no problem I suppose
Quote from: LeviR.star on April 09, 2024, 03:48:01 PM- could you clarify, please? Do you mean the low bass notes in the second half of m. 24? I don't recall if I transcribed them that low intentionally or bumped them down to make room for the RH pattern, but if I were to change beat 4 of the RH to just a quarter note C, how would you like the LH written in that measure?Sorry I typo'd, yeah I was referring to how low the left hand gets at the end of m. 24. I was thinking raising it by an octave starting with beat 2 would make it easier to move to the pattern in m. 25. You could omit beat 4.5 in the RH if you like although upon looking closer it doesn't really get in the way with the LH even if the LH is raised an octave. I'll leave it up to you to decide what you prefer!
Quote from: Latios212 on April 08, 2024, 04:10:29 PM- Conversely, I think m. 41 beat 3.5 LH sounds like a C instead?
Quote from: LeviR.star on April 09, 2024, 03:48:01 PM- did you mean to say that m. 41 beat 3.5 LH sounds like a G instead of an F? Because I'm listening to it again and it still sounds like an F to meThat one wasn't a typo, I think I hear the bass playing the same C as it does on beat 4.5 of m. 41. Though honestly it's really hard to tell without pitching it up an octave and even then I'm not 100% sure. If you think the F octave is right, I'm fine with that since it fits musically anyway.
Quote from: Latios212 on April 07, 2024, 07:37:32 PM- m. 16 beat 2 LH C sounds an octave up
Quote from: Th3Gavst3r on April 08, 2024, 12:17:25 AMSounds pretty similar in bassiness to the C2's on beats 1 of m. 11,12,15,22 to me. And also sounds deeper than the C3 on m.7 b.1Hm, I'm still hearing it higher up. I think the low C from the beginning in m. 15 is still resounding at this point, might that be the low C you hear? Raising the pitch an octave, it sounds like the higher C has a notable strike here.
Quote from: Latios212 on April 07, 2024, 07:37:32 PM- m. 22 beat 1 - I hear this chord with a G on top rather than the C on bottom
Quote from: Th3Gavst3r on April 08, 2024, 12:17:25 AMThis is another situation like the last one where I'm hearing a ghost G on top. On inspection I hear the low C more clearly than the high G, even though in passing I keep thinking I hear a faint G on topI still think I hear the upper G here as well... lowering the pitch by an octave, I still hear it up top. It's also what my ear is drawn to when listening at full speed.
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