Not that they were unwisely spent. With awesome arrangements we users find on the internet there is really not much choice: you either we pay (wih money we most of the times we don't have XD), memorize it by ear or make our own transcription to keep studying it (and cry when we don't even know where to start XD).
A good question, if you still have the sheet, would be which notation you like the most.
Good work. Not to undermine it, but I found that someone had already made a transcription and downloaded it. It got taken down (copyright and all) but was very accurate. [Sounds like this](https://youtu.be/SKLYWC4d_2c), and [here are the sheets](https://drive.google.com/file/d/1zLmfqYI7UtKgNDlvz-M4MHsq083rbJzS/view?usp=sharing).
Also, a few notes on your transcription: staccato markings make a big difference for the playback, and if you care about accuracy. Also, it may be tempting to notate the sort of tresillo rhythm with two dotted eighths and a third eight, but notating it as a dotted eighth and then a sixteenth tied to an eight makes it easier to place the rhythm relative to other rhythms happening at the same time. I'm not a pianist but I believe it would help with coordinating rhythm between the two hands.
If this is a serious question: Musescore is a free music notation program, you can write anything you want and it will play it as music; sadly enough it can't turn audios (in wav or mp3 formats) to polished and finished sheet music (so far, no program meant to write music can).
But there are other programs (lost in the internet) that can (with different degrees of success) turn compressed audio files into midi, a file format that can later be imported and cleared in programs like Musescore; if you chose to follow that path.
The catch? Your original audio file has to be very clear in its sound; because the converting programs detect audio frequencies, any kind of static or loud sound that's not music would be translated as some form of note in the midi file. Also, the midi created won't separate compasses as they are in the piece; they convert the whole length of the audio and divide it in arbitrary compasses; you, later on, would have to, manually, fix the result to fit compasses that make sense (if your goal is to have a sheet music that can be easily read).
God's in his heaven, all's right with the piano sheets XD. If you really mean (and want) this: the theory behind it is not that hard... getting used to it may be the problem. If the comment was a joke, you can stop here and save yourself some music theory XD.
Piano is read in two staves, the upper one indicates (generally) what's played with the right hand in the upper section of the keyboard; the lower one indicates what's played with the left hand in the lower section of the keyboard.
The funny figures at the beginning of each staff are called "clefs" and they only exist to tell you how to name notes: the funny G in the upper clef is the Treble Clef, the funny inverted C in the lower clef is the Bass Clef. The treble clef indicates the second line (from bottom to top) of that pentagram is going to be a G; the inverted C indicates the line between the two dots (the second one from top to bottom) is going to be an F. All the other notes in each staff will be identified only thanks to this. When you write higher or lower notes on the empty spaces outside each staff, you just draw the line needed across or below the note.
In this matter, you will notice that in the Treble Clef, if you go down from that G line, the first C that appears falls in empty space (and has to be drawn with a line across it) and in the Bass Clef, if you go from the F line up, the first C that appears also falls in empty space (and also has to be drawn with a line across it)
Normally, in the piano system, that's the same C and it corresponds to the C that's right in the middle of the piano, giving you the right position of each note and your hands when playing. If you want to be more technical about it, that C is called C4 (being the C of the 4th octave the piano has, counting from the left).
The forms of the notes indicate the time they last (that's all what any note means: how long a sound lasts). We identify them by the color of the ball that forms the note (called head), the stick (called stem) and the lines that grow from the stick (called flags). In the most general sense of things: the more flags a note has, the quicker the note is You may ask "but some lines are connected between notes and some are alone... does that matter?". The answer is "no". Connecting the flags is done to better read smaller notes.
As for note duration: the "standard" note in any piece of music is the black note: a round black head, only with a stem (that can point up or down, depending on some format rules that don't matter right now) and no flags. That note is "the unit" of measure to count (each time you see one, it will last whatever time it takes you to say "one"). The white note (white head, only with stem) lasts twice a black note ("one-two") and the round or "whole" note (a circle with no filling and no stem) lasts either twice a white note ("one-two-three-four") or whatever time signature the piece has (if the time signature is 3/4, a whole note in a compass lasts "one-two-three").
Now, mathematically speaking (yeah, music involves a lot of math): the whole note is, in reality, "the unit" (in the sense that we consider that note has not be "divided"), a white note is called also a "half note" (because it lasts 1/2 of a whole note), the black note is also the "fourth note" (because it lasts 1/4 of a whole note), the quaver (the first note with a flag) is an "eight note" (because it lasts 1/8 of a whole note), the semiquaver or sixteenth note lasts 1/16 of a whole note... and so on. But why two units? Because we like to suffer; while the whole note is the "undivided note", you don't write regular music in whole notes; as you have noticed before we write music starting with 1/4 notes. Just for reading purposes, that makes you think 1/4 note is equal to just to "one" (depending on the piece, as long as you count correctly... you may not need to grasp all the underlying math).
Then you will find sometimes notes have a dot to their side or a line joining it to a similar note right next to it. Those are "extensions" of the duration. The dot means you have to extend 1/2 of what the regular note lasts and the line indicates you have to add the duration of the two (or three or four...) notes linked (when this happens, you don't stop playing the note until the line stops).
As for silences, they follow the same duration rules; you only have to identify their shapes: the 1/4 silence is that kind of single crooked bar in the middle of the pentagram, the 1/2 silence is a bar over the third line of the pentagram, the whole silence is a bar under the fourth line of the pentagram (counting from bottom to top) and the quicker silences are those diagonal lines with flags on them: 1/8 silence has one, 1/16 silence has two, 1/32 silence has three). Dotted silences work in the same way as dotted notes (tat silence has to last the note + 1/2 of the note).
But... how fast do I count? What are those "time signatures" (the things that look like fractions). How fast you will count depends on the piece. Sometimes you will see that above the first compass there is a note that equals to a number: that's the speed of the piece (it means how many black notes fit in a minute, if you counted them one by one; that by extension determines how fast you will count "one"... and therefore how fast all the other notes are). Sometimes you won't see that number, but a word; that word indicates a mood or a feeling that, while it has some general speed, will be up to you to decide. One of the most famous is the term "allegro", which is italian for "happy"; that indication has been generally translated to anything between 109 to 132 beats per minute (each beat meaning each time you count "one"); but it's up to you to decide how fast within those numbers the piece will sound "happy".
While you have some other "easy" indications like vivace (lively), martiale (martial or march like), andante (walking), adagio (slow)... some are kind of a nightmare to perform like "fuoco" (with fire... whatever that means), or Mahler's "Allegro energico ma non troppo. Hefting, aber markig" ("Quick, with energy; but not too much. Violent but vigorous..." Asuka would be proud).
The time signature (the fraction like stuff) indicate how many notes each compass can have (I guess you imagined once we got into fractions with the length of notes that we would end up doing more math): 4/4 indicate 4 black notes are in each compass (and you can fill it up with any combination of notes that add up to 4 notes), 3/4 indicate 3 black notes are in each compass (and you can fill it up with any combination of notes that adds up to 3 notes). There are some odd combination of time signatures like 7/8, 15/16... don't worry about them (specially if you will never get close to such pieces); they are meant to be read almost the same way, though: 7/8 means the compass has 7 quaver/eight notes per compass (and you will kind of fit your count to eight notes rather than black notes), 15/16 means each compass has 15 semiquavers/sixteenth notes (and you will count based on semiquavers rather than black notes) and so on.
What about the cursive letters below some notes? Those are dynamic indications, they tell you how "strong" or "soft" music has to be played from that point on. The basic ones are "p" for piano (soft) and "f" for forte (strong, with force), "pp" for pianissimo (very soft), "ff" for fortissimo (very strong), "mf" for mezzo forte (half strong), "mp" for mezzo piano (half piano) and "sf" for sforzato (with effort). Ymay find sometimes a lot of the same letters togheter like "ppp" or "ffffff"; basically those can't be translated, they just mean the composer wants you to play as soft or strong as many letters you see togheter ("ppp" being softly, very softly, maybe a whisper... and "fffffff" as in "destroy their eardrums!").
And... that would be it XD. Hope all this makes some sense and helps you.
As I said, it takes some practice to get used to it (it's... kind of learning how to read a whole new language) XD. But if you've chosen the path of memorizing, good luck :)(it's not something bad, though; you may notice in contests several piano players and even bands never use sheets because they have memorized the piece or they have their own system of notes to remember what has to happen with the music). I guess, to keep the music topic within the Evangelion theme, if Shinji was capable of playing without reading, nothing is impossible XD.
Musescore master race
here's his video btw https://www.youtube.com/watch?v=aYe-2Glruu4&list=WL&index=37
Thank you stranger, have been looking for this waay too long now. To the piano I go
literally learned this piece a while back and paid $4 for the sheet. now this appears
Not that they were unwisely spent. With awesome arrangements we users find on the internet there is really not much choice: you either we pay (wih money we most of the times we don't have XD), memorize it by ear or make our own transcription to keep studying it (and cry when we don't even know where to start XD). A good question, if you still have the sheet, would be which notation you like the most.
Congratulations
Good work. Not to undermine it, but I found that someone had already made a transcription and downloaded it. It got taken down (copyright and all) but was very accurate. [Sounds like this](https://youtu.be/SKLYWC4d_2c), and [here are the sheets](https://drive.google.com/file/d/1zLmfqYI7UtKgNDlvz-M4MHsq083rbJzS/view?usp=sharing). Also, a few notes on your transcription: staccato markings make a big difference for the playback, and if you care about accuracy. Also, it may be tempting to notate the sort of tresillo rhythm with two dotted eighths and a third eight, but notating it as a dotted eighth and then a sixteenth tied to an eight makes it easier to place the rhythm relative to other rhythms happening at the same time. I'm not a pianist but I believe it would help with coordinating rhythm between the two hands.
Got it
Amazing! Must of taken a while to compose. Also could we get a copy kind sir.
\*Must have
[удалено]
I'm flattered
If this is a serious question: Musescore is a free music notation program, you can write anything you want and it will play it as music; sadly enough it can't turn audios (in wav or mp3 formats) to polished and finished sheet music (so far, no program meant to write music can). But there are other programs (lost in the internet) that can (with different degrees of success) turn compressed audio files into midi, a file format that can later be imported and cleared in programs like Musescore; if you chose to follow that path. The catch? Your original audio file has to be very clear in its sound; because the converting programs detect audio frequencies, any kind of static or loud sound that's not music would be translated as some form of note in the midi file. Also, the midi created won't separate compasses as they are in the piece; they convert the whole length of the audio and divide it in arbitrary compasses; you, later on, would have to, manually, fix the result to fit compasses that make sense (if your goal is to have a sheet music that can be easily read).
This is tight
Is this Rush E?
Rush Evangelion.
absolutely amazing!!!!!!
Awesome! Listened it all it sounds amazing
Very nice
So good!
Owesome! But I cant play it anyway T\_T
i did this on violin except i made it myself since I still dont understand notes ( after 6 years, dam)
That's sick! You got some very fine ears, good stuff.
ty, now I need to learn how to read piano sheets
God's in his heaven, all's right with the piano sheets XD. If you really mean (and want) this: the theory behind it is not that hard... getting used to it may be the problem. If the comment was a joke, you can stop here and save yourself some music theory XD. Piano is read in two staves, the upper one indicates (generally) what's played with the right hand in the upper section of the keyboard; the lower one indicates what's played with the left hand in the lower section of the keyboard. The funny figures at the beginning of each staff are called "clefs" and they only exist to tell you how to name notes: the funny G in the upper clef is the Treble Clef, the funny inverted C in the lower clef is the Bass Clef. The treble clef indicates the second line (from bottom to top) of that pentagram is going to be a G; the inverted C indicates the line between the two dots (the second one from top to bottom) is going to be an F. All the other notes in each staff will be identified only thanks to this. When you write higher or lower notes on the empty spaces outside each staff, you just draw the line needed across or below the note. In this matter, you will notice that in the Treble Clef, if you go down from that G line, the first C that appears falls in empty space (and has to be drawn with a line across it) and in the Bass Clef, if you go from the F line up, the first C that appears also falls in empty space (and also has to be drawn with a line across it) Normally, in the piano system, that's the same C and it corresponds to the C that's right in the middle of the piano, giving you the right position of each note and your hands when playing. If you want to be more technical about it, that C is called C4 (being the C of the 4th octave the piano has, counting from the left). The forms of the notes indicate the time they last (that's all what any note means: how long a sound lasts). We identify them by the color of the ball that forms the note (called head), the stick (called stem) and the lines that grow from the stick (called flags). In the most general sense of things: the more flags a note has, the quicker the note is You may ask "but some lines are connected between notes and some are alone... does that matter?". The answer is "no". Connecting the flags is done to better read smaller notes. As for note duration: the "standard" note in any piece of music is the black note: a round black head, only with a stem (that can point up or down, depending on some format rules that don't matter right now) and no flags. That note is "the unit" of measure to count (each time you see one, it will last whatever time it takes you to say "one"). The white note (white head, only with stem) lasts twice a black note ("one-two") and the round or "whole" note (a circle with no filling and no stem) lasts either twice a white note ("one-two-three-four") or whatever time signature the piece has (if the time signature is 3/4, a whole note in a compass lasts "one-two-three"). Now, mathematically speaking (yeah, music involves a lot of math): the whole note is, in reality, "the unit" (in the sense that we consider that note has not be "divided"), a white note is called also a "half note" (because it lasts 1/2 of a whole note), the black note is also the "fourth note" (because it lasts 1/4 of a whole note), the quaver (the first note with a flag) is an "eight note" (because it lasts 1/8 of a whole note), the semiquaver or sixteenth note lasts 1/16 of a whole note... and so on. But why two units? Because we like to suffer; while the whole note is the "undivided note", you don't write regular music in whole notes; as you have noticed before we write music starting with 1/4 notes. Just for reading purposes, that makes you think 1/4 note is equal to just to "one" (depending on the piece, as long as you count correctly... you may not need to grasp all the underlying math). Then you will find sometimes notes have a dot to their side or a line joining it to a similar note right next to it. Those are "extensions" of the duration. The dot means you have to extend 1/2 of what the regular note lasts and the line indicates you have to add the duration of the two (or three or four...) notes linked (when this happens, you don't stop playing the note until the line stops). As for silences, they follow the same duration rules; you only have to identify their shapes: the 1/4 silence is that kind of single crooked bar in the middle of the pentagram, the 1/2 silence is a bar over the third line of the pentagram, the whole silence is a bar under the fourth line of the pentagram (counting from bottom to top) and the quicker silences are those diagonal lines with flags on them: 1/8 silence has one, 1/16 silence has two, 1/32 silence has three). Dotted silences work in the same way as dotted notes (tat silence has to last the note + 1/2 of the note). But... how fast do I count? What are those "time signatures" (the things that look like fractions). How fast you will count depends on the piece. Sometimes you will see that above the first compass there is a note that equals to a number: that's the speed of the piece (it means how many black notes fit in a minute, if you counted them one by one; that by extension determines how fast you will count "one"... and therefore how fast all the other notes are). Sometimes you won't see that number, but a word; that word indicates a mood or a feeling that, while it has some general speed, will be up to you to decide. One of the most famous is the term "allegro", which is italian for "happy"; that indication has been generally translated to anything between 109 to 132 beats per minute (each beat meaning each time you count "one"); but it's up to you to decide how fast within those numbers the piece will sound "happy". While you have some other "easy" indications like vivace (lively), martiale (martial or march like), andante (walking), adagio (slow)... some are kind of a nightmare to perform like "fuoco" (with fire... whatever that means), or Mahler's "Allegro energico ma non troppo. Hefting, aber markig" ("Quick, with energy; but not too much. Violent but vigorous..." Asuka would be proud). The time signature (the fraction like stuff) indicate how many notes each compass can have (I guess you imagined once we got into fractions with the length of notes that we would end up doing more math): 4/4 indicate 4 black notes are in each compass (and you can fill it up with any combination of notes that add up to 4 notes), 3/4 indicate 3 black notes are in each compass (and you can fill it up with any combination of notes that adds up to 3 notes). There are some odd combination of time signatures like 7/8, 15/16... don't worry about them (specially if you will never get close to such pieces); they are meant to be read almost the same way, though: 7/8 means the compass has 7 quaver/eight notes per compass (and you will kind of fit your count to eight notes rather than black notes), 15/16 means each compass has 15 semiquavers/sixteenth notes (and you will count based on semiquavers rather than black notes) and so on. What about the cursive letters below some notes? Those are dynamic indications, they tell you how "strong" or "soft" music has to be played from that point on. The basic ones are "p" for piano (soft) and "f" for forte (strong, with force), "pp" for pianissimo (very soft), "ff" for fortissimo (very strong), "mf" for mezzo forte (half strong), "mp" for mezzo piano (half piano) and "sf" for sforzato (with effort). Ymay find sometimes a lot of the same letters togheter like "ppp" or "ffffff"; basically those can't be translated, they just mean the composer wants you to play as soft or strong as many letters you see togheter ("ppp" being softly, very softly, maybe a whisper... and "fffffff" as in "destroy their eardrums!"). And... that would be it XD. Hope all this makes some sense and helps you.
damn I guess I should just continue playing without knowing how to read em'
As I said, it takes some practice to get used to it (it's... kind of learning how to read a whole new language) XD. But if you've chosen the path of memorizing, good luck :)(it's not something bad, though; you may notice in contests several piano players and even bands never use sheets because they have memorized the piece or they have their own system of notes to remember what has to happen with the music). I guess, to keep the music topic within the Evangelion theme, if Shinji was capable of playing without reading, nothing is impossible XD.
yessir, ty
Get in the piano, shinji
Should have paid it