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Messages - LeviR.star

#1
Also known as the "ending of every side quest" song lol

In all seriousness, this piece is really nice, thank you for arranging it, and for continuing on with Octopath Traveler.
#2
Quote from: Latios212 on March 22, 2024, 05:05:42 PM- However, I do think that m. 19 is a bit much and would maybe suggest simplifying it somewhere around beats 2.5-4.
- I think the tempo in the intro is a bit slower, around q=140, with the jump to q=150 at bar 5
- I'm hearing the chords quite differently from how you have them in m. 5:

- got it, how does that look?
- oh you're right, I hadn't even noticed that. Fixed
- mmm, I had trouble deciphering those myself, might've been the overtones or something. Instead of stressing over transcribing different possible versions of those chords, I'll just go with what you have, I trust your ears better than my own for this

Files are fixed; thank you, Latios.
#3



"synth bad, chiptune good" - Mega Man fans

This is the last numbered game in the main series to be represented on-site, and I choose this track not only out of nostalgia for the reveal trailer, but also because I just think it's a good song. A couple things about this one:

- I couldn't always hear the bass super easily, so I had to utilize some guesswork here and there. From m. 9 - 16, I devised my own bassline with alternating octaves in order to complement the percussion
- beat 4.5 of the last measure is supposed to tie back into the beginning via the repeat, but I had trouble implementing this so for now there's an audible re-strike
- unlike Mega Man 9 & 10, which had special titles for its stage themes like "Thunder Tornado" or "Solar Inferno", 11 doesn't have anything like that for its OST, so this will just be called "Fuse Man Stage". Since this is consistent with the first eight games' soundtracks, that's good enough for me
#4



Some of the dyads between m. 16 and 19 are a bit tricky to play right now, but I'll leave it up to the updaters as to where they can be simplified for the performers' sake. Other than that, I feel pretty good about this sheet, so ask questions if you have any.
#5
Quote from: Bloop on March 13, 2024, 01:54:41 PM- It's alright to keep it as "Performer's note", but still make sure to put the box inside the margins instead of outside

-m5: C# could be Db too (as that makes sense in the F minor-ish context)
-m13: C# should be Db (b9 in C7b9)
-m14: F# should be Gb (b9 in F7b9)
-m22: C#'s (both hands) should be Db's too (resolving to the C in Fm once it repeats)

- in that case I'd like to move it down to the bottom of the second page where there is more room within the margins
- got all of these fixed, thank you for going back through
#6
Quote from: Bloop on March 11, 2024, 02:12:18 PM-Maybe you recould rewrite "Performer's Note" to "Performance Note" instead? It's what we use in the formatting guidelines at least. Also, the text box for the performance note is currently outside the margins
-m1: I hear a C instead of a Db in the 5th note of the second and fourth set of 32nds (the last note of the R.H. parts)
-m2 and 3: Maybe you could use 3/2 and 2/2 as time signatures, since you're counting the beats in half notes?
-Maybe as for key signature, I think Gm would make a little bit more sense? The piece doesn't really like to stay in Fm for too long, but there are some cadences in Gm that do seem to stay in key (Aø - Eb7 - D+ - D - Gm in m7-11, as well as the II-V-I back to Gm in m17-19). I don't think you'll have to respell much, it mostly will just get rid of some naturals but might add a few Ab's. The only respellings you could consider are the Db to C# in m8 (the Eb7 acts as an augmented 6th chord here, a chord type I had never heard before college), and the F#'s-Db's in m19 to Gb's and Eb's (as the descend towards F's and Dn's afterwards). This last one you could do even if you keep the key signature in Fm.
-I don't think the courtesy accidentals in the R.H. in m5 and 14 are necessarily needed: all the chromatic runs make it pretty easy to see which note you'll be ascending too, and the notes are in a new system, which resets the accidentals a bit more too.

- I'd like to keep it as-is, if that's ok with you
- ooh, that's a good catch, I shouldn't have assumed the arpeggios were the same on the way down
- hmm yeah, I thought it looked funky, this is a good fix
- so far, I like what I see with G minor as the key signature. Consider it done!
- got it, I don't know what happened to them in the key change but I think they vanished?

Now that the sheet is in a new key, could you please re-check the accidental spelling in the LH as well as the last four measures? I'm updating the files for now.
#7
Quote from: Bloop on March 09, 2024, 10:20:29 AM-m9: You could move the R.H. E on beat 2.5 down an octave (like in the original) and put it in the L.H.: the L.H. can easily get there, the R.H. part becomes a bit easier to play and it brings out the melody voice a bit more.
-m19-20: You could actually put the 16th note part of the L.H. in the R.H. instead, I personally find that a bit easier to play and you'll be able to have some space for the L.H. to take a break from the 16th workout. If you wanna keep it in the L.H. though, that's fine too ^^
-m21: The Bb-C 9th on beat 3.5 in the L.H. is quite hard to reach for me in this context. There isn't really a good way to work around that though, so maybe you could just put one of the two notes in parentheses (probably the Bb)?
-m34: It sounds like the L.H. part also plays the triplet + quarter note in beat 2-3, instead of just holding a half note.

- hey, great idea! I was so invested in the RH there I had forgotten to check what the LH is playing
- works for me; if the 16th pattern can be shared by the RH in m. 24, the same can be done here
- yeah, I can do that
- I listened to that part again, and while the triangle is sustained as I had previously observed, the Pulse 2 channel is on the same octave and uses the triplet figure, so I'll change what I have to match that

Thank you for the detailed notes, Bloop, the files are updated.
#8
Hey, I know it's been over two months since my last post here, but I'm not gonna dump a story about my personal life on you all today. Let's just say that I'm no longer a music store salesperson and leave it at that, 'k?



[NES] Dragon Quest

514th

Finale
[TOPIC]


515th

Dungeon (Replacement) [ON-SITE]


This sheet is an edit replacement of Sebastian's on-site version. I changed a couple things, mainly presentation-related stuff, and added the note about how the track transposes and slows down as you descend lower into a cave/dungeon in the game.



Lately, I've been playing a lot of Dragon Quest XI: Echoes of an Elusive Age, a game I bought after finishing the demo, but never continued until now. As with most games I play, I've taken it upon myself to achieve full (with some small caveats) completion, and that means doing a lot of stuff: filling out the bestiary, crafting/reworking every possible item, doing every side quest, that kind of thing. There's 250 different accolades in the definitive edition, and by aiming to collect as many as possible I've extended my playthrough by about 100 hours so far—that's no exaggeration. This game is loooooong, I tell you; even if you ignore all the extra stuff, the main campaign is nearly 60 hours in length, so there's more than enough to do if you're bored.

It's a good game, and it pays homage to the series' legacy in a really unique way, in the form of an optional area called Tickington, which is ported over from the Japan-exclusive 3DS version. Basically what you do is choose from ten different shrines, each of which representing a past Dragon Quest game, and in each one, there are 2-3 areas you can visit to look for additional side quests. The concept of visiting locations from past games is really fascinating to me, and makes me wish I'd see that kind of thing in other games I enjoy. And it's also shown me how much cool music the series has to offer, like the observatory theme from IX or the battle theme from VII. That's why I'm seeing to it that the original Dragon Quest gets all of its sheets finished, because from what I can tell, the game has one hell of a legacy behind it. And there very well may be more to come, so stay tuned, and enjoy!
#9
Quote from: Kricketune54 on March 02, 2024, 06:35:58 PMDid count this at half note = 120 though. Not a big deal but 120 is more common than 123

Ah, that must be a holdover from the 2019 draft. Fixed that, files are updated.
#10
Feedback / Re: Sheet Music Errors Thread
March 07, 2024, 03:25:17 PM
Quote from: LeviR.star on January 15, 2024, 07:26:00 PMI'm seeing to it that the Dragon Quest soundtrack gets completed on-site, so I had something to bring up. We have an arrangement for the cave theme, and while there's nothing wrong with it per se, I think it could benefit from a small addition. You see, in the game, the ground level of the cave plays the track at the same key and tempo notated by the sheet. As the player ventures deeper underground, the track lowers in pitch by a minor third and the tempo decreases by about 5 BPM for every level descended. The deepest level, the eighth, is a major thirteenth below and roughly 35 BPM slower than the ground level. Now, I don't think all eight levels need to be notated on the sheet, but surely we could add some sort of instruction or chart to indicate how to perform the deeper/slower variations?

Thank you to Latios for helping me with this over Discord DMs, I really appreciate it.

With the next update approaching within a few weeks and the last two sheets from Dragon Quest in my submissions panel, the game's soundtrack is due to be covered on the site in full. That said, two of my on-site contributions are a bit outdated, and I'd like to request that they be replaced with my new versions. Changes made are listed as follows:

lotsa text
"People"

- updated with Maestro music font
- removed Nintendo from the copyright info
- changed m. 2 beat 3 LH from an F-sharp to a G-flat
- merged the two slurs in m. 3 into one continuous slur

I think it's safe to say this sheet aged fairly well. Now, the next one, on the other hand...

"Dragonlord"

- updated with Maestro music font
- removed Nintendo from the copyright info
- replaced all staccatissimos with regular staccatos, and added accents to beats 3 & 4 in m. 1, 2, 10 & 11
- redistributed the measures into five systems, rather than a cramped six
- removed all slurs, as I didn't feel they added anything to the arrangement
- corrected the G-flat in m. 15's beat 4 RH to a G-natural
- though I can see there's a trend from m. 12 - 18 to consistently spell the intervals as thirds, I would like to ask the updater team if they believe this is still appropriate for the arrangement
[close]



You can find the folder with the new files here.

Thank you for your time. If you have any specific questions, I'd prefer you reach out via Discord DMs.
#11
Sorry for not getting around to this earlier, it's been a rough couple of weeks for me.

Quote from: Latios212 on February 29, 2024, 08:34:53 PM- The ascension in m. 5-6 is kinda weird to read with so many flats. I'd recommend respelling m. 6 with sharps instead (outlining B major and D major chords instead of Cb and Ebb)
- Double barline at keysig change at the end of m. 16
- The lower layer in the first half of m. 15 should match the second half - did you adjust this so it'd fall within an octave of the melody?
- The courtesy Ab at the beginning of m. 21 seems unnecessary
- In m. 25 it sounds like the top melody plays a short Bn on beat 4. I'm not sure if that's worth writing in
- I think the LH note in the last measure also plays in sync with the RH instead of being held the whole time?
- Neither of these are particularly comfortable to play, but I think they're alright and not too terribly demanding. Since you're already messing with the inversions of the arpeggios anyway, in the first half of m. 17 I'd suggest just writing in an alternating D/Bb instead of what you have as it's somewhat of an awkward reach as you have it now from the Eb-Bb dyad to the high G. This would come at the cost of the G but the Ebmaj7 harmony is already apparent.

- ah, I knew there would be issues with that spot. See, I had a feeling it was wrong, too, but I didn't know for sure how to spell m. 6 so I treated it as a diminished chord, no matter how many flats ended up in there
- right, thank you. That key change was a late addition, figures I'd forget the double barline
- I did, but now that you mention it, I think that part should be manageable even when changed to match the original. Thank you for pointing that out
- on second thought, it is a bit redundant, isn't it? Fixed
- I took a closer listen, and determined that the B is the second layer's beat 3 fading out; if I remember right, this caught my attention during the arranging process. So you're correct, it's not worth writing in
- by muting the other two channels, I've confirmed that the note is indeed sustained through
- assuming you meant m. 17, yes, I can do that

The files are updated. Thank you for the feedback, Latios.
#12



This here's the other of the last two sheets to finish off the original Dragon Quest.

Theory-wise, this arrangement is truly my own personal hell. I don't know for sure if this is F minor or keyless, or if I'm missing a bunch of courtesy accidentals, and I'm certainly not about to give myself an aneurysm overthinking how to spell all these diminished arpeggios. But I am confident in nearly everything else, so I suppose that's a step in the right direction.
#13



One of the last two sheets needed to finish off the original Dragon Quest. Not much to say about this, aside from:

- the 16ths on page 2 are kinda tricky, so I simplified things a little to make the LH more manageable. Let me know your thoughts
- the original tremolos in m. 32 - 33 have alternating sixths, but I thought that, by moving things around, it'd be easier to interpret. Should I change them back? They're the same chords either way
- is that 2nd layer 16th on beat 2.75 in m. 9 even legal? I had troubles coming up with a sensible solution
#14
I observed something when taking a cursory glance at this arrangement's PDF: this is not based on the NES/Famicom version, but rather, the version from the PlayStation remake, which in turn was based on the symphonic suite rendition from 1990.

So at this point I think it would make the most sense to update the game information to reflect that of the PS1 release, or if the arranger so chooses, alter the arrangement so that it resembles the original chiptune version instead. The latter route would obviously involve more work, but I think it would be favorable to represent the track's debut on the site. Just my two cents :P
#15
Quote from: Latios212 on January 29, 2024, 08:23:28 PMI just have one suggestion to consider! How about in m. 9-10 LH, instead of beats 3.5-4.5 as they are now, lowering the 16th notes on beat 4 to that range? I think it'd be cool to keep those little flourishes and they fit nicely into the range of the left hand part.

Hey, that's a great idea! Preserving those little flourishes is vital, I wish I had thought of that. :P

Files are updated, thank you Latios!