[N64] Harvest Moon 64 - "Spring" by Code_Name_Geek

[Zeta]

Submission Information:
Series: Harvest Moon
Game: Harvest Moon 64
Console: Nintendo 64
Title: Spring
Instrumentation Solo Piano
Arranger: Code_Name_Geek

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[Code_Name_Geek]

Submission #1!

[Maelstrom]

You sure you want underscores in your arranger name? We can work some fancy magic if you want that changed.

[Code_Name_Geek]

You sure you want underscores in your arranger name? We can work some fancy magic if you want that changed.

Actually, I prefer the underscores if that's okay. Thanks for asking though!

[Latios212]

Taking a look!

For measures 2, 6-7, and 10 the top layer you wrote in doesn't follow the melody that's written elsewhere. Is it meant to be a combination of the main melody and the higher voice?

Aside from that, beat 2 of measure 23 (LH) should be an E instead of a D, and the RH rhythm in m. 26 is incorrect. I also think the octave in the last measure would be better off lowered by an octave, but that's up to you. The original also has a quarter rest at the end of the loop instead of holding the A's throughout the entire last measure.

Nice work! Great first submission :3

[Code_Name_Geek]

For measures 2, 6-7, and 10 the top layer you wrote in doesn't follow the melody that's written elsewhere. Is it meant to be a combination of the main melody and the higher voice?

It is meant to be a combination of the melody and upper voice, for some reason I've always heard those as part of the same melody and it sounds pretty bare without the upper voice to my ears. Perhaps it would make more sense to sustain the melody note through those bars and have the extra notes as part of the second layer with the inner voice?

Aside from that, beat 2 of measure 23 (LH) should be an E instead of a D, and the RH rhythm in m. 26 is incorrect. I also think the octave in the last measure would be better off lowered by an octave, but that's up to you. The original also has a quarter rest at the end of the loop instead of holding the A's throughout the entire last measure.

I was having a lot of trouble hearing the inner notes in measure 23 so you're probably right, thanks! And my bad on those rhythms, I'll get those fixed up as well

I'm a little torn on the octaves at the end, I could see some benefits and disadvantages either way. My reasoning behind the way I did it was to reflect the outer notes of the orchestration (with the flute up on that high A). Maybe another option would be have the left hand sustain the A4 above that eighth note phrase it plays to fill out the lower end a bit, what's your feeling on that?

Great first submission :3

Thank you! And thanks for the corrections/suggestions as well, it's really helpful!

[Latios212]

It is meant to be a combination of the melody and upper voice, for some reason I've always heard those as part of the same melody and it sounds pretty bare without the upper voice to my ears. Perhaps it would make more sense to sustain the melody note through those bars and have the extra notes as part of the second layer with the inner voice?

That's fine if you want to keep the upper voice notes! I'd avoid sticking anything else near the inner voice since it'll likely get too cramped, but you can consider writing in the main melody along with the upper voice where the main melody is currently absent, like writing in the B in m. 6 beat 3, D on m. 7 beat 1, and C# on beat 3 and other similar spots. Another thing to consider is that the left hand can easily play both the lower and middle voices, so you have a bit of room to fiddle with the upper right hand part if you like.

I was having a lot of trouble hearing the inner notes in measure 23 so you're probably right, thanks! And my bad on those rhythms, I'll get those fixed up as well

You're welcome! (Though m. 23 beat 2 still isn't E )

I'm a little torn on the octaves at the end, I could see some benefits and disadvantages either way. My reasoning behind the way I did it was to reflect the outer notes of the orchestration (with the flute up on that high A). Maybe another option would be have the left hand sustain the A4 above that eighth note phrase it plays to fill out the lower end a bit, what's your feeling on that?

Totally up to you! Having the left hand take that A would work fine, although I realized it strikes an A just before so it's probably fine to do without.

Thank you! And thanks for the corrections/suggestions as well, it's really helpful!

Haha no problem :3

[Code_Name_Geek]

That's fine if you want to keep the upper voice notes! I'd avoid sticking anything else near the inner voice since it'll likely get too cramped, but you can consider writing in the main melody along with the upper voice where the main melody is currently absent, like writing in the B in m. 6 beat 3, D on m. 7 beat 1, and C# on beat 3 and other similar spots. Another thing to consider is that the left hand can easily play both the lower and middle voices, so you have a bit of room to fiddle with the upper right hand part if you like.

I'm afraid I'm not hearing the missing melody notes you're referring to, which instrument are they in? To me it sounds like the clarinet and flute are playing a complementary line that makes up the main melody and the strings are playing pads in the background (which I left out of the arrangement for playability's sake). I hadn't thought about the left hand playing both lower lines though, so if the string parts are more important than I realized maybe I could re-arrange some stuff and fit them in.

You're welcome! (Though m. 23 beat 2 still isn't E )

Aaah I thought I had updated the attached files but I must have re-attached the old ones by accident, it should be fixed now.

[Libera]

Just popping in to say a couple of things.

I'm afraid I'm not hearing the missing melody notes you're referring to, which instrument are they in? To me it sounds like the clarinet and flute are playing a complementary line that makes up the main melody and the strings are playing pads in the background (which I left out of the arrangement for playability's sake). I hadn't thought about the left hand playing both lower lines though, so if the string parts are more important than I realized maybe I could re-arrange some stuff and fit them in.

There are definitely some issues with muddling of voices at the moment.  For reference, these are the first sixteen bars of the piece, with the melody written in the top staff and the countermelody written in the bottom staff.  I've put in lines that show where you jump around in your arrangement in what you are notating as the melody.

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Generally speaking this is not what you want in an arrangement.  Above all, the melody should be easy to find and bring out while you are playing, which is just not the case here because you jump between parts so frequently.  Particularly of note is the lack of the D -> C# in bar 7-8, and the Bs on beat 3 in bars 2, 6 and 10 (which I think is what Latios was talking about.)  The way to get around this is by using multiple voices, but the second voice is currently being taken up by another part in the right hand and going to three voices is going to be way too confusing I think.  So...

Another thing to consider is that the left hand can easily play both the lower and middle voices, so you have a bit of room to fiddle with the upper right hand part if you like.

I think this is the solution.


On a different note I'd like to say that I don't think the high string parts are worth including (for playability and clarity reasons), and that I agree with Latios on moving the final right hand notes down an octave (as that is what the melody line does).

[Code_Name_Geek]

Just popping in to say a couple of things.

There are definitely some issues with muddling of voices at the moment.  For reference, these are the first sixteen bars of the piece, with the melody written in the top staff and the countermelody written in the bottom staff.  I've put in lines that show where you jump around in your arrangement in what you are notating as the melody.

Generally speaking this is not what you want in an arrangement.  Above all, the melody should be easy to find and bring out while you are playing, which is just not the case here because you jump between parts so frequently.  Particularly of note is the lack of the D -> C# in bar 7-8, and the Bs on beat 3 in bars 2, 6 and 10 (which I think is what Latios was talking about.)  The way to get around this is by using multiple voices, but the second voice is currently being taken up by another part in the right hand and going to three voices is going to be way too confusing I think.

Thank you for the explanation, I think I understand what Latios was describing now! My ear was confusing the two lines but now that I see it written out it it's easier to pick out those melody notes. I'll try re-arranging some stuff tomorrow when I get the chance!

On a different note I'd like to say that I don't think the high string parts are worth including (for playability and clarity reasons), and that I agree with Latios on moving the final right hand notes down an octave (as that is what the melody line does).

I had a reason for the way I did it but that also makes sense, I think it'll sound fine either way so I'm happy to change it if that's what people think will sound better

Thanks again to both of you for the help (and patience)!

[Code_Name_Geek]

Alright here is the revised arrangement! I didn't add those eighth notes in the countermelody because I thought they would conflict with the melody, but that melody should now be correct. I also moved the middle voice to the left hand as suggested.

[Latios212]

Awesome, this looks splendid and the two voices are much better separated now.

Just move the LH/RH staves a bit further apart in the first couple of systems (to allow more space in places like m. 3/11) and I approve!

[Code_Name_Geek]

Done!

[Libera]

Thank you for the explanation, I think I understand what Latios was describing now! My ear was confusing the two lines but now that I see it written out it it's easier to pick out those melody notes.

Absolutely no problem at all, I'm happy to help.  That was the main thing that I spotted when I looked over this earlier and Latios has got pretty much everything else but I have got one more comment to make:

How about including the harmony line in bars 17-30?  It entirely moves in thirds or sixths with the main melody which makes it pretty easy to play.  I've written it in for this picture.

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If you're worried about it being too tricky or heavy, you could drop the lower octave in favour of the harmony line.  The thirds/sixths are very pretty in the original and I just think it'd be nice to include them.

[Code_Name_Geek]

How about including the harmony line in bars 17-30?  It entirely moves in thirds or sixths with the main melody which makes it pretty easy to play.  I've written it in for this picture.
...
If you're worried about it being too tricky or heavy, you could drop the lower octave in favour of the harmony line.  The thirds/sixths are very pretty in the original and I just think it'd be nice to include them.

That's a great idea! I went ahead and added those, thanks for the suggestion!