OK so here's the thing: I like super-accurate transcriptions as much as the next guy, which is why I've added back in so many of these notes, but now I feel like I've reached a deadlock, for two reasons.
First, when I
listen to the piece, measure pairs such as 12 & 14, 19 & 20, and 21 & 22
sound different to me. In measure 14 for instance, the very last B at the end of the measure jumps out to me, whereas in measure 12, it's barely audible (if it's even there); how might I capture this difference in an arrangement? by including both notes, but putting an accent over the one in measure 13? I'd rather just omit the first as I've already done.
Second, removing these differences I think makes the arrangement as a whole less interesting. From an artistic standpoint, I find measures 19–22 much more engaging if they present a motif, then expand on it slightly in the following measure, instead of just repeating the same thing twice verbatim, and measure 28 (as I hear it) would lose a lot of expressive power if it were like every other measure in the piece. However, I suppose it would be an option to use accents here too.
Most of these are really quiet, but from a pianist's perspective, it would make sense to have them there for a more flowing piece, and the slightest hint of them being there is enough for me to have them included. The fact that they're quieter is an interpretative consequence of the piano player, and most likely not a decision made by the composer of the piece.
I disagree: I think the continuous eighths in the right hand plus the pedal are more than sufficient in maintaining the flowing nature of the piece. And by the way, the
Piano Collections: Final Fantasy X version looks like this: