Haha, yeah, I love Sibelius. I have actually never used a sequencer in my life, so I'm probably not ever going to produce anythng as high-tech/quality as some of the submissions on here, unless I manage to write something with straight instruments that's good enough.
Are there two Wily arrangements for piano here? I knew about Wily's Wedding, but I didn't know there was a second, or that either was live.
I could have sworn that a sonata was simply a "played piece", not necessarily in the sonata allergo form... though, in retrospect, that would seem logical.
Hmm... looking back, I see what you mean. I was really looking to change up the phrase, but I forgot to check the more global context.
I tried to make the piece a bit different, but I'm not very... confident, shall we say, in deviating far from the written when I arrange. I suppose this will grow with time.
It does indeed sound a bit mechanical, but I felt that the arpeggios and small-interval runs would be easy enough for an intermediate-advanced player. As for pedal, it seems that I used it in lieu of a phrase marking, or something similar. Thinking about it more, I understand (I haven't played a piano for a while, so I forgot the muddiness that runs can produce).
The "tie to nothing" style is adapted from percussion notation: I'm primarily a percussion player/writer, so I tend to use my styles for percussion writing in other types of writing. This is also why I notated the tied eighth notes like so; it's generally easier to see a note or rest on every downbeat for percussion, so I adapted here. I'll fix this for future non-percussive works.
I was actually debating with myself whether to use sixteenth rest-eighth-sixteenth notation or sixteenth rest-eighth-eighth notation. I picked the former because of my aforementioned percussion experience. I guess I chose wrong. I'll fix this too.
Thanks a ton for your review! It was very helpful. I'll take all of this into consideration for (potential) future works.