[SWITCH] Fire Emblem: Three Houses - "Respite and Sunlight" by Latios212

[Zeta]

Submission Information:
Series: Fire Emblem
Game: Fire Emblem: Three Houses
Console: Nintendo Switch
Title: Respite and Sunlight
Instrumentation Solo Piano
Arranger: Latios212

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[Latios212]

Wonder how long this YouTube video will be up...

[Libera]

This piece is one of those really distinctive 'Fire Emblem genre' pieces.  I'd guess Hiroki Morishita, personally, but we'll have to wait and see.  Also, it's Edge of Dawn references are a bit subtler than others which is a nice change.

-Why not add in the low double bass notes from 5 onwards?  I think it'd be a nice way to differentiate at least 5-8 from 1-4, since it's not just a straight repeat in the original.  That and the new notes fit in very nicely as octaves below notes you already have.
-I think the final quaver in the left hand of bar 24 and the final quaver in the right hand of bar 28 should be crotchets.  They sound full length to me, at least.
-Since you add those lines in at 24 and 28, why not add them for 12 and 16 as well?  It's exactly the same as far as I can tell.
-I think my biggest concern is with the section 29-36 which admittedly has a much muddier texture so it can be a little hard to discern in parts.  At the moment, as far as I can tell, there are a fair few wrong voicings/missing notes/extra notes in those eight bars  Rather than listing them all, I thought it might be more helpful if I posted a transcription and you could decide what you wanted to do with it.

Spoiler

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I'm reasonably confident that it's accurate, although there might be some subtle rhythmic inaccuracies due to me simplifying rhythms a little in places.
-It might be worth putting something in to help discern the last two semiquavers in bar 20 from all the previous ones, as those two lead into the melody in the following bar.  Not sure about what the best way to do that would be though.

[Latios212]

This piece is one of those really distinctive 'Fire Emblem genre' pieces.  I'd guess Hiroki Morishita, personally, but we'll have to wait and see.

Haha yeah I agree, it's got the signature intriguing rhythms and chords...

-Why not add in the low double bass notes from 5 onwards?  I think it'd be a nice way to differentiate at least 5-8 from 1-4, since it's not just a straight repeat in the original.  That and the new notes fit in very nicely as octaves below notes you already have.

That works well. I'm not too crazy about how the texture lightens up from m. 5-8 if I include those (I don't want to make even larger jumps for the left hand for the rest of the song) but I've made those octaves for the rest of the piece too, just higher. It adds some more punch to the bassline without making it more difficult, so sounds good to me!

-I think the final quaver in the left hand of bar 24 and the final quaver in the right hand of bar 28 should be crotchets.  They sound full length to me, at least.

Sounds good to me (looks better now too)

-Since you add those lines in at 24 and 28, why not add them for 12 and 16 as well?  It's exactly the same as far as I can tell.

I wanted to differentiate the two sections somehow since the sound is quite different in the original. First pass to focus on the melody and second pass to add the embellishments.

-It might be worth putting something in to help discern the last two semiquavers in bar 20 from all the previous ones, as those two lead into the melody in the following bar.  Not sure about what the best way to do that would be though.

Yeah, thought about that too, not sure either. I added a slur which is probably an improvement.

-I think my biggest concern is with the section 29-36 which admittedly has a much muddier texture so it can be a little hard to discern in parts.  At the moment, as far as I can tell, there are a fair few wrong voicings/missing notes/extra notes in those eight bars  Rather than listing them all, I thought it might be more helpful if I posted a transcription and you could decide what you wanted to do with it.

Spoiler

You cannot view this attachment.

[close]

I'm reasonably confident that it's accurate, although there might be some subtle rhythmic inaccuracies due to me simplifying rhythms a little in places.

Hmm yeah these voices were hard to follow... this is one of those things where I can hear something different each time I listen... Have a look now, I've gone over the section again using what you wrote as a reference, though with a few things different:
- Not really hearing movement in the lower voice in m. 30 beat 2. However, there is some stuff in the upper staff we both missed
- I don't want to include the 16ths at the end of 32 - they're very subtle in the original and would distract too much from the melody in my arrangement
If you think anything's still off, I can give it another look later.
- I kept the initial strike of the upper layer in the LH in m. 33 and 35; I don't think restriking is is super important and would create weird intervals with the bass part. I kept the octaves towards the end of the section since it sounds heavier towards the end. Also I feel like the An in the upper LH layer is emphasized on beat 1 of m. 36.

Thanks for the help! Files updated.

[Libera]

All looks good on my end.

[Maelstrom]

This is a matter of notation preference, but I think I have previously said what i think about beaming 8ths over rests and letting finale group 3 8ths. However, there's a lot of beaming over rests in this piece where there's a beam between two notes over a rest and it looks unnatural. Say, for example, b23+4 of m1. If you break that beam, not only does it look cleaner, but it is easier to sight read. I'm not insisting you break up all the auto-8th-beaming, but at least consider breaking up some of them.

[Latios212]

I getcha, but my personal preference is to leave it as the default beaming most of the time unless something looks really strange (vague, I know). Here, I think it's pretty clear that that figure of rest-eighth-rest-eighth has the eighth notes as offbeats even though they're beamed together. I also think it would be odd if I broke them in some places but not others in this sheet, so I'd prefer to leave it.

[Maelstrom]

That's fine then.
accepted

[Zeta]

This submission has been accepted by Maelstrom.

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