-I hear different notes for left hand beat 3 in nearly all of bars 1-8. Bar 1 I hear an E, bar 2 a G etc. Most of them are octaves and definitely not fifths.
This was completely intentional, lat addressed it too.
>-I don't think you should cut off the melody in bar 28 right on the final beat, it makes that line sound really odd. I'd recommend instead finishing it on the correct A and then taking over with the new line at the start of 29. You could still keep the D as harmony if you wanted, but I think you should preserve the ending of that melody.
So I messed with this a bit and it doesn't sound weird to me. This is because the A is far quieter than the D pickup for m29 and that D->A motion has always been far more memorable to me than the that of the strings in m28. I would like to keep it as is, but understand what you're getting at here. I extended the slur from 29 to the pickup to more clearly indicate what it's doing.
-m30 - I would like to keep b3 as it is, because, first, I don't hear the F, and 2nd, that would end up making that chord a 5th, breaking the pattern here in a very unsatisfying way.
Revisited 39-42 heavily. I distinctly hear the strings playing the Eb and G I wrote in. I think it's quite a bit better than it was before now.
I think the Ds I were hearing in 43+ were actually Cs so I revised the chords to better reflect that.
I did things to the counter melody to get it to work without ever getting rough to play. Most of the time, I just added in the string chord to the octave when it wasn't the octave already. When it was, I added a note that made sense given the part and the melody's movement from the previous notes
Killing the huge rolls worked better than I thought
>-Bar 63 has the same last note as bar 64 in the left hand.
Don't hear this at all, sorry
>The melody line in bars 65-66 should have an A on beat 2 of bar 64. (The A on beat 1 actually goes down to the F# on beat 3 and isn't part of that line, so the way it's currently written is kind of confusing voice wise but that should be easy to clear up if you move the current lower layer down to the left hand.)
Assuming you meant 65 here. I respectfully disagree as I can't hear a restrike at all. I would be willing to take out the D if you really want, but I do not hear any real change in sound between b1 and b2 of m65.
I strongly disagree on m67-74. I think it sounds pretty close to the original and would like to keep it as is. Yeah, it might be a bit empty, but it feels right to me and contrasts more strongly with 75-end. And using ped. to hold the chords long enough would do funky things to the bassline.
Sorry for this disaster of formatting, hope it makes sense and that I actually got everything you said this time
everything I didn't mention was hopefully addressed, files updated