After saving everything and having a short look on every page, I came up with this. I hope I didn't criticize too much and it doesn't sound like I don't like it. I like your work, but it's not perfect and there's some stuff that annoys me. Maybe it's me and my ignorance. I hope you understand what I mean.
Well, many pieces are good. Not perfect, still they're well-made and every detail seems to be added. And that's where I need to tell you that maybe less would've been more. I own the official transcription already, so I am able to compare at least some tracks. I know you transcribed the full score, yes. I said SOME parts. I'm not talking about a single note. See, look at Bio(luminescence Of...) for example. Page 1, what is that? Is that from the 5CD soundtrack?
It's
Jake Sleeps, I added some informations yesterday
There are two tracks in it: Jake Sleeps (in CS/DE, the normal one), The Bioluminescence of the Night (OST/DE they are the same). I treat it as the dream of Jake, after this day there are lots to think of.
Page 2, is it just me or is the whole stuff a bit slower and faster? You changed the time signature, I see, but the notes are still not held long enough. Then the flute part, sometimes indicated as these tiny notes, sometimes not. Especially the solo (somewhere round 1203) isn't valued, while you use so many musical ornaments in your transcription, here there's only one, the appoggiatura (is it actually?) at 1205.
I didn't change the time signature (actually, except the composer and the one in producing, no one knows it), it's clearly 3 beats..!
Or do you mean the tempo? Maybe 68 seems very slow to you, but I had try it with the soundtrack playing, it's nearly the same.
What's the meaning of "the notes are still not held long enough"..?
I checked again all the flute part in page 2 are small notes, the one in normal form are not in flute part.
I expect the player had listened the track or can
sense him/herself which voice is the solo, for all phases, as my piano teacher expects me..
Listen to the soundtrack again, there's clearly something at 1205...
Page 3 is...well...unplayable. I don't know what you did there, the tinkling sounds are nice, but do you have to add those and do the melody part and the accompaniment and then the other tinkling sound as well? You lose track so easily, it looks awful and I can't believe anyone could get the timing right.
The stuff I'm playing is just like this kind... melody and accompaniment in the same hand.
Listen to that track again, part with and without the tinklings makes great difference, and they are in high pitch, so they must be played by right hand (the higher one).
The beat is not so complicated... regularly 16ths... and the tempo is not fast, to me that is not a big problem
I stop being fussy now and concentrate more on the bigger issues. And the timing thing leads me to one question: Did you ever try to play what you created? Viperwolves, Becoming One, Gathering All The Na'vi Clans...these tracks look like even a master would have problems with them. And Becoming One seems to be a rather easy track when I look at the official transcription, of course it is not that accurate as yours, but yours looks wrong because of that. Sixty-fourth notes? Are you honest? And sextoles at the same time?
Honestly I've only tried a few..
That's really something in the Viperwolves, this track includes too much unpitched notes.
But I don't think Becoming One, Gathering All The Na'vi Clans .. is unplayable, it needs much practice, but not impossible.
For the 64ths, they from the part got from the deleted scenes, a very slow piece.
You can click the spoiler in that spoiler to see the sheets without this part.
Another thing is that I tend to believe that you wanted to make it look difficult. No, I don't want to impute something to you, but there are these time signatures. Alla breve when I think it's completly unnecessary; 4/2, 12/8, 9/4, 1/2 or 4/8 are all uncommon and the tempo is often given in half notes or something. Why do you put I See You into a 4/8? That's a pop song, you can write it in 4/4 without any problems, anyone can read it then and you don't need to use quintolets anymore.
They don't make anything looks difficult, what's their usage..:
4/2 - Gives you the feeling "it won't be fast" and "the sentences are long". Try compare 3/4 with 3/2, 2/4 with 2/2.
9/4 - In that track is using 6/4, 9/4 appears when extra three 4ths exist (due to some cut). Why I don't use 3/4+6/4? Because they are not the same. 6/4 means 2 groups of three 4ths, 9/4 means 3 groups, both of them are compound times, but 3/4 is not.
1/2 - Here I felt the melody is heavy and one note (beat) use one bar, as the previous
Jake's First Flight, every bar felt as one (big) beat only.
12/8 - Just want to follow phase 5-5, 5-6, 5-8, they all uses compound time.
I See You, the 4/8:
If I follows the official one (that's 2 4/8 bars become 1 4/4 bar), I have to use 2/4 sometimes. I hate this, so I take their 2 beats as a bar.
OK then you say I should make all the notes here double longer and 4/8 -> 4/4. Think of this, the voices are complicated right? The tails link the notes in the same voice, and help you to identify from them. If it's 4/4, some of the tails will dissappear and you have to find the voices more harder.
One of the reason is that I want to use more different kind of sigs. These are not THAT unusual, I don use _/1, _/32, 8/_, 11/_ or any these kind of stuff already..
And when we talk about I See You, look at 5398 and the following measures, that half note/sixteenth note thing is so confusing, can't you put it all into bass clef? Same at the Thanator Chase for example.
In I See You, that part means you play the bass clef stuff with your left hand. And one more thing is the note moved is stepping with the melody, it's even more confusing if there are two same note but in different staffs. Sometimes it really would be this way, but this time it can be avoided.
For the opening of Thanator Chase, the notes moved means heavier. It's not the kind pp/ff..>.. can express. They are some bass drum actually, I combinded it with pitched notes, it doesn't mean the note is stronger, but it means it is not the same kind (but in the same voice).
Last point: As much as I try, sometimes the transcription just doesn't match to the soundtrack, I don't see the connection, i.e. I can't follow the sheet. Look at Grace's Lab, there are these twelve things I can't even name and I don't hear any of those.
This is arrangement not direct coping, you know, piano is not organ or cello or something, the long notes won't hold tì'i'avay krrä, and you cannot make dynamics with one holded thing.
Those 12th things come from the bass, and also the repeated notes, they MEAN one long thing, but you MAKE it won't lose, keep the sound and DO something on it.
Suggestions: Mark the canto, it's easier that way. Put together what needs to be put together, don't do it when you need to lose track because of that. Time signatures could be easier, I don't know if you can do that by one click though. And I'd like to know again when you wrote smaller notes and why.
No offense, this is just what I think. I hope it's helpful.
My vocabulary is so poor that I don't know what to put in for canto, I'm sorry..
And could you give some examples for "what needs to be put together"? Sorry again I don't get what it is.
I use small notes usually when:
1. there's not enough space to put that 50- or 60-something notes in one line.
2. there are too many voices in one staff, use small notes to help identifing.
3. it is from percussion part, means there isn't that sound actually.
4. they are weaker, more unclear notes.
5. they are some notes I add on.
it may not be one of these also, but usually is.
Small notes isn't mean optional. No, you must play it, they are one of the contents.
Irayo for your long feedback, it makes me take a review for what I've done, too..
Hope you will understand why I choose the "strange" way sometimes.
