Overall I think they all work reasonably fine for me, even Menacing works okay for me. I've heard versions from at least 3-4 different ports so in some cases, I wonder if it's just a matter of you basing sections off from a different port than one namida's used to hearing?
Beast:
- measure 12, cello part: it really shouldn't go to C# on the fourth beat, leave it on F# for the whole measure.
- the staccato notes often seem a little too short and barely audible against the melody and bass line, feel like it could either be a little louder or not as short.
- measure 33 etc.: in many if not all ports, the harmonic progression there starts with 4 measures of F# follow by 4 measures of C#. In your viola part there you basically leave it on C# throughout that whole section. That's a fairly long time leaving the harmony completely static, I think the 4 measures of F# will work better.
Menacing:
- I think the "double note" is okay, some ports like the Amiga are actually a little more like that (although typically not quite as prominent as this arrangement, because of the percussion and bassline). I'll accept it as a creativity choice. It is a fair point that having it mostly in double notes will probably create a slightly different rhythmic feel than the original with less doubling.
- measures 76-79: this may be the part where namida hears too much silence. There are no sustained notes in those measures, maybe there should be some (on C)?
- measure 114, 122: those two measures lack sustained notes and stand out oddly against surrounding measures that have them.
- measures 123-127: this transition just doesn't make much sense to me, sorry. Granted, it's perhaps not easy to come up with a good one going from Menacing to Awesome.
Awesome:
- Yeah, I heard the same "3rd note cut off early" as namida, and it is as notated in the score. I have to say like namida I don't agree with the choice. At the very least, the cutoff should be shorter (try an 8th or 16th rest instead of the current quarter rest, if you still want a cutoff there).
Beast II:
- namida points out that, relative to a number of ports including Amiga and Genesis, the viola notes in measures 174-176 is higher than usual (usually G#, you have D#). But there are also other ports that play that part with percussion of indeterminate pitch, so I don't think it matters too much what pitch you choose there.
- the staccato notes are once again too short and too soft for me (can you really even make them sound that short on a real violin/viola?)
- I feel like having only the cello play a soft (mp) note as the final closing measure is a little too wimpy? At the very least, feels like every instrument should be playing something there.
