pedal it all away~

@@FiveNineSquared that is my hack for making sightreads sound good doesn't work if you have staccato in one hand and slurs in the other though 😉

unfortunate, yeah. i think it only ever plays twice (once in time/darkness) because its only accessed during the story campaign Did an arrangement 6 years ago [kzbin.info/www/bejne/naCaemaaes1lZ7Msi=RBQ7vSezqFV3h0qz ], but as for a piano arrangement, dunno lol Bespinben has an arrangement that's doubly old as mine so i skipped doing a piano arr of it back then

@FiveNineSquared oh I should listen to it, thanks ❤️

Uhhh check out 8 Ball by May when it comes out they make good stuff

unlucky, ig they picked the 6 seconds where i quoted it in a 6 minute video 💀

@@FiveNineSquared lmaooo the trailer was like a minute long I was trying to figure out the song then the 6 seconds happened and a lightbulb went off. Ive spent too much time making lyrics for that phase 2

yes i love shifting both hands up to a higher register like that hehehe.

Would love to see that list, as someone who's also been playing horn from secondary school up to now in college/uni (not being passive aggressive, i'm legitimately interested). I did actually consider recording and playing this myself but I was short of time and decided against it. A lot of the choices I made in the arrangement were because I was working around what I thought I could manage. I'm aware the balance will definitely be out of whack for this unless the players are super good at standing out, then blending back in within the same register. Also that using Ab/F/C as the key would definitely inherently resonate better with the instrument. (as for the key being D major/A major, I wanted the phrase in bar 45 to be satisfyingly in the high range but I can't hit above high A consistently. So I settled with D/A because it was the key with the most number of accidentals I found okay, while also keeping that final phrase at 45 manageable and high-sounding enough)

@@FiveNineSquared Sorry for coming off harsh, please know I’m not half the musician you are, when it comes to any of your instruments or arranging. I see now that you really did intend to play this yourself and a group of peers. Impressive! I also see that this is “rather faithful,” I appreciate that, too. At square A, you have 4th horn go up like piano left hand Eb-Bb-Eb. I would’ve left it on low Eb. That motion makes sense a few measures later after the key change when it’s the only moving part, but under the 16ths I disagree. At square B, when I audiate a typical undergrad quartet taking a hack at this, the C# in the staff over the melody in the mid-range is bound to stick out. That low C#-F#-C# jump is a hard for students, another reason to write it higher. A few measures later, 2nd horn has the melody E-D-C#-A-B then has to jump a tenth and lower the dynamic for being the accompanying third. That’s quite the jump, I would’ve avoided writing that. All throughout, you like to trade off the melody between parts in what feels like in the middle of the phrase. For ease of reading and knowing where you are, I would only trade off the melody after a “full” phrase is completed. You and your peers are obviously advanced, so you can handle this. You would agree that this is unsuitable for a quartet of middling skill, and there is a way to sacrifice not much art and make it accessible for said quartet. Also sorry for critiquing what is obviously very personal, I haven’t had anyone to talk about horn stuff with in years. 😭 Keep tootin’!

@@jameslutz6942 no no, I appreciate the constructive criticism! You bring up good points and I agree with all of them. I don't have enough willing horn peers to play this though lol. I would've recorded myself playing all four parts I think I wrote that left-hand sounding part into Hn 4 because the original had the same arpeggio figure from bar 10 repeat all the way through. but it definitely will make it easier and sound better if it was just a hold note Eb with a pickup into the next bar At B, actually for me the F#-A-F# in the phrase before is more difficult to hit lol. I agree Hn 1 needs to be very good at volume control for that counter line. For the 10th jump I'm pretty sure I was thinking I could cheat and take a breath there so I can have enough time to switch my embouchure hehe. It wouldn't make sense musically though, yeah. I think most of the time when I chose to switch parts midway through it was to keep the player within the same register? Bar 15-19 is kinda overkill but I was thinking of a funny lil stereo effect :s If I were ever to play this irl, I would rewrite a lot of sections for sure. The problem about doing these arrangements solo is you can't get the back-and-forth feedback between the players who'll actually play the arrangement and yourself so you get into a sorta echo chamber. So don't feel bad about critiquing me like this because I think it's honestly super helpful for the arranging process :D Also I understand I cannot keep my mouth shut about french horns if I see them in the wild on this site youtube dot com

You know I think I might have unconsciously referenced it. Because it was intended to be the countermelody that originally existed at that part of the music. But I just relistened to the original and the bar at 1:05 was my brain switching between that and the second part of Dark Matter phase 2. Made me realise those two coincidentally sound quite similar

@ Oh yk I might be the one getting mixed up, I think I got my wires crossed cus in the dark matter theme there is a motif of the partner theme I think. Either way, teared up when I realised it was super mystery dungeon!!

I think I quoted Sky Tower in the middle, but not the boss battle theme. Where did you hear it maybe I did an unintended reference lol

which parts 💀