Messages

That's odd. Are you pressing P on a selected note using the Simple Entry Tool?

Don't have time right now to check the whole thing, but can pop in to address a few things. Really neat sheet!

I kinda like the octave of the bass as it is right now, but if others would chime in with their opinions, that would be nice.

Sometimes low notes can sound muddier on real pianos (especially imperfect ones) than they seem in Finale playback. It's up to you, though I think the switch to treble clef makes things a bit weird. You could get by with writing it as-is and using 8vbs when necessary.

M. 39, beat 3, 4; So this is a tricky one and definitely something to think about from a performance standpoint. The figure of a 16th note followed by an eighth rest doubly is a figure found in many jazz charts. It's not uncommon to see something like that because of the nature of interpreting syncopation. However, I feel like most piano players that use are sheets are more classically trained. So writing that with a staccato'd eighth note one the downbeat of beat 3 would certainly clarify to classical players what's happening there. Not a big deal, just something to think about.

Seconded. Another thing I personally prefer is using a staccato'd eighth note instead of 16th+rest when it falls on the half beat as well. (Here, m. 38 beat 3.5 and similar places.)

M. 34; consider detaching the eighth note from beat 1 from the two other eighth notes on beat 2.

Given that the rhythm of this song uses 16th notes liberally, there are hardly any places in the sheet with two consecutive beats beamed together, which is why this looks a little out of place. You can cut them off so that each beat is beamed separately. However, that's not to say you have to. Food for thought: this sheet maintains beams like that, although here I think it serves to maintain the contour of the melody line over the other layer. Ultimately I trust you can use your best judgement.

Other things just as I pass by: are the top layer expression markings in m. 9, 11, 17, 34 supposed to look as they are?

Flip the slur back and move the quarter rest back in the second half of m. 12.

Better, yes, but still looks slightly off - there shouldn't be a need to manually move the notes. Finale respaces around accidentals automatically.

Here, I re-entered the notes in 8 and 11 for you.

No problem, happy to help! Changes look good, and pedal markings look straighter and more consistent. (Not so great at placing them myself...)

I'll re-check that bass part soon if someone else doesn't get to it before me.

Submission #8: "Id (Serenity)" by Maelstrom

Submission #7: "FIN" by Latios212

Whoops, sorry for the wait. Thanks for taking the time to really consider your options! Since you thought it out carefully, I'd say go for it and leave the parts written as you have. Only thing I'm not sure of is beat 6 of m. 8, just check that I'm not mishearing that as a Ab in the melody (it's so quiet haha) instead of the Gb you wrote in. Other than that, all good

Looks good to me as written.

Just one thing I need to point out for now:

You cannot view this attachment.

The notes that have accidentals at the beginning of the measure are a bit horizontally crushed. Less space between the barline at the accidental, and between the note and the following note. Let me know if you need help fixing this.

[Good to go]

Same initial reaction as MSF here with the A up top, but if you think the song gravitates towards the echoing line you wrote in, I find that perfectly acceptable. Thanks for the thorough explanation!

Good to go

Not much more to add from me either, sheet looks solid. Only suggestions I have would be to try and increase the page 1 bottom margin, and to show the lower layer rest in the second half of m. 16 since the two separate layers are written out explicitly for the rest of the section (and there's just empty space below the top dyad there).

Aw, the playback is messed up in m. 26+. Other than that, looks great with the last few pieces of feedback!

[Here]'s a file with the systems shifted a bit to make use of the page better.

Couple of things before I check notes:
- What's the long diminuendo in the first system for? Everything plays at constant volume in the original there.
- Go back and check your note durations. Eighth notes vs. quarters vs. staccato'd quarters, make sure each note has the right duration and articulation.
- Would recommend condensing the tempo/swing marking at the beginning, it takes up a slightly awkwardly large amount of space. Perhaps something like this.

Let us know if you need help doing the last thing in Finale. You should be able to address the others.

[Looks good to me!]

Looks good to me!

[Octopath Traveler]

Another Octopath sheet! This one has a really nice piano part, and the rest of it translates over to piano surprisingly well as well.

Octopath Traveler

NEW!

The Frostlands

[MUS] [MIDI] [PDF] [Original]

Right? Such a great song

Sounds good, I've bumped up a few rests a notch or two in places. As for the added eighth note in the singing part, I like that! It adds more drive to the melody of the section, making it more lively. However, I've left 45-52 as is for some variety and because that section "winds down" the liveliness of the previous section, if that makes any sense.

Thanks for the compliments and for checking it over, and great ensemble arrangement you made too!