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I know quite a few of the notes bend, but I'd rather keep it just a long note of the initial hit to differentiate it from the times it's not bent and rather just a couple of eighth notes. On the source above, I don't hear the E you're speaking of in measure 24. For measure 52, I hear it more as a single eighth note rather than two sixteenths.
- m2 beat 3.5 sounds like the B bends to an A here. Idk if you missed that or if you intentionally did it that way to differentiate it from m6 though. Same thing goes for m10 vs m14
- m24 RH beat 3.5 missing E quarter note
- m52 RH missing two sixteenth D's on beat 1
I do agree that the difficulty spike for the first suggestion is too high compared to the rest of the piece and how the right hand is right now is a tad more complicated rather than a lot more, which I feel is more preferable. On the second suggestion, I don't really like the sound of the lower octave bass since it's also seemingly out of nowhere. Maybe if it was throughout the entire piece, it might sit a little better with me, but for just the one section, I don't hear it working in well.
- m49-62 RH it would be nice to add the upper harmony layer on some of those notes, although that might raise the difficulty too much in comparison to the rest of the song
- m49-62 LH another suggestion to make that section a little livelier is to lower the bass part and add octave hits on beats 2 and 4 where there are currently eighth note rests
About the string line, I've always heard it as part of the melody and I think it would work better in the RH in measures 2 and 4. You have it as part of the melody in m6 already, so at the very least I'd recommend being consistent with how you include it.I thought the 8th on measure 6th fit more up on that octave rather than the lower one. I put the two back up, but it still sounds iffy to me. I updated the other stuff too. Tell me if I missed anything.
