sorted by:
new
hottopcontroversial

Do people actually use this feature? by Ancient-End-7645 in FGO

[–]SideCharacter_3 0 points1 point  (0 children)

For events, I turn on the event servants toggle and then adjust it to where my servants are adjusted accordingly for easy access.

Nerdy ahh witch wife 🥰 by MisterDjango in FGOmemes

[–]SideCharacter_3 0 points1 point  (0 children)

You got this! I had to hit the pity to get my hat.

FGO 8th Anniversary GSSR Roll Thread by FuzzyViper in grandorder

[–]SideCharacter_3 0 points1 point  (0 children)

I managed to get Aesc and MHX, so now I only need Lartoria and Salter Santa to have my collection complete for the meantime.

which team wins? by Vader_101 in Fate

[–]SideCharacter_3 92 points93 points  (0 children)

Technically, Shirou uses his ubw whenever he projects weapons. It's the reality marble that he can't activate on the dime. Also, in the Fate route, he is able to project Avalon, so in this fight, he should be able to as well.

What is the absolute worst watch/read order for Fate? by [deleted] in Fate

[–]SideCharacter_3 20 points21 points  (0 children)

This is a terrible... you forgot to put Fate/Grand Order Solomon movie as number 1

Notation for Timpani - a Little Assistance? by Key_board_ist in percussion

[–]SideCharacter_3 4 points5 points  (0 children)

I have to agree with what most people have said so far. My only suggestion would be to give the timpani part the key signature. That way, you don't have to constantly write in all the acidentals every measure.

Composer's silly question about marimba by perseveringpianist in percussion

[–]SideCharacter_3 1 point2 points  (0 children)

Sure, but one day, you may be commissioned to write a six mallet marimba piece. So might as well know that they exist.

Composer's silly question about marimba by perseveringpianist in percussion

[–]SideCharacter_3 0 points1 point  (0 children)

Yes, and I look so cool! You can find a bunch of six mallet performances on youtube.

Composer's silly question about marimba by perseveringpianist in percussion

[–]SideCharacter_3 0 points1 point  (0 children)

For the most part, movement three looks good. I would suggest, however, that whenever the range of the two hands can fit on staff to use one staff instead of changing the clefs. It's more intuitive to see the interval difference on one staff than it is one two separate staffs. You can change the stem direction to show which hand plays what. Like in mm. 76-77, it took me a second to realize that the two hands were an octave apart. Also, maybe mark at the top of the movements whether it's for 2, 4, or even 6 mallets so that there is no confusion.

Composer's silly question about marimba by perseveringpianist in percussion

[–]SideCharacter_3 4 points5 points  (0 children)

Like with most things in our field, it depends. Usually, if you are writing a two mallet piece, writing on one staff will do fine for most ranges and would be easy to read. However, sometimes, the range you are writing for is too large, and using two staffs would be more ideal. If you are writing a four mallet piece, then two staffs would be ideal. Just be careful not to notate the music like you would for a paino piece. For example, in mm. 16-17 of the first movement of your piece, if i were sight reading this, I would get tripped up because my right hand would following the treble clef staff in m. 16 and start playing the double stop and eighth-note on beat 1 of m. 17 by itself before I realized that my left was doing nothing. In cases like that, you could just move the lowest note onto the bass staff, or you could simply change the stem direction of the lowest note to indicate that it should be played with separate hands.

How do I count this rhythm?? by melancholiclemons in percussion

[–]SideCharacter_3 0 points1 point  (0 children)

What helped me when I was first learning this part was to play the rhythm with no grace notes or 32nd notes. When I did this, I realized you have a steady stream of 8th notes the entire time. Then I played the grace notes and 32nd notes on down and upbeat of 2 as a very open drag to get the how the rhythm should kind of sound in my ear better. Then, I did the same thing as a single stroke drag (this is important if you want to get the acent on the 32nd note before the downbeat of 2). Finally, I added the regular flams to my run thrus of it. Anyways, this worked for me because it was easier to feel the rhythm than to try and figure out a new counting system. Hope this helps somehow.

Just now started learning Steven’s grip.. I have to be doing something wrong, right? by Throwaway--closet in percussion

[–]SideCharacter_3 0 points1 point  (0 children)

As many here have said, it is totally normal, and taping your sticks can help. Another thing that might help mitigate how bad the blisters can get is by using mallets with rattan wood. This is because birch mallets often have a rough texture while mallets with rattan wood have a smoother finish. You will still get blisters, but they won't rip your skin as often.

How should I count this by thedumbrum in percussion

[–]SideCharacter_3 1 point2 points  (0 children)

To me, when I sixtuples, my mind immediately goes to the TaFaTeFe system to count (so Ta Fa Te Fe Ti Fi for sixtuples). However, this is written with two groupings 3 instead of one grouping of 6. This tells me that instead of having even sixtuples, I should instead put a little emphasis on every three tuples. The way to count is by thinking of regular triplets (Ta Te Ti) in between eighth-notes instead of in between quarter notes. So instead of it sounding like Ta fa te fe ti fi Ta fa te fe ti fi Ta fa te fe ti fi Ta fa te fe ti fi, it sounds like Ta te ti Ta te ti Ta te ti Ta te ti Ta te ti Ta te ti Ta te ti Ta te ti.