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Author Topic: [SNES] Fire Emblem: Genealogy of the Holy War - "Chapter 3 (Eldigan the Lionheart)" by Libera  (Read 696 times)

Zeta

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Submission Information:

Series: Fire Emblem
Game: Fire Emblem: Genealogy of the Holy War
Console: Super Nintendo Entertainment System
Title: Chapter 3 (Eldigan the Lionheart)
Instrumentation Solo Piano
Arranger: Libera
« Last Edit: September 17, 2021, 06:58:28 PM by Libera »
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Libera

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Bloop

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Nicely done!
-Maybe for m. 2-13 (or at least m. 8-9) you could cross staff the notes of the middle voice that you want to be played with the R.H.? Most of the time it's pretty clear, but you could save some figuring-out-time, especially in m. 8-9. Here's m. 8 for example:

-I'm guessing you intended some parts to be played with a pedal, especially because of the second layer notes from m. 14 on, but I think it would be nice for the player to know for certain with a con pedale mark.
-In m. 6, I think it's pretty much impossible to play the melody G on beat 3 fully because of the second layer (even if you're able to play the e-g decime). Maybe you could move the last E in the second layer up an octave? It's more playable and I think gets the same feeling across.
-In m. 19 R.H., you can change the two tied quarter notes to just a half note.
-In the first and last bar of the piece, you could change the eighth + sixteenth rest to a dotted eighth rest, so that the beat is a bit easier to read. I found this source which has a source which supports me at least :p

maybe i should buy that book

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mastersuperfan

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In addition to Bloop's comments:
- On Bloop's note, m13 beat 1 could also be a good place to cross-staff (writing the C in the RH).
- m21 RH gets pretty close to the LH stems—maybe widen the space between the staves here?
- I'd suggest moving the m32 eighth+sixteenth rest up above the staff, at the same level as the quarter rest on beat 1, since Layer 2 is being held throughout the whole measure.
- The double barline at the end of m31 seems odd to me, at least if you're forgoing double barlines at the time signature changes, because m32-33 doesn't seem like a distinct "section" to me. Thoughts?
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there's also a huge difference in quality between 2000 songs and 2010 songs
The difference between 2000 songs and 2010 songs is 10 songs.

Zeila

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Clean work :3

  • m27 LH if you're going to go with the top notes on the downbeats, then it sounds like beats 1-2 are C instead of A. If you're going to pick the harmony to make it stand out more from the RH, then beat 3 should be G instead of Bb (although if you're going to mix and match then that's okay)
  • m29 LH the strings sound like they play a G and C on beats 1 and 2, so there's no A; on beat 3 it sounds like G and Bb
  • m31 LH here it sounds like the downbeat notes should be Bb and C instead of A and Bb (and it leads into m32 a little smoother)
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Libera

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This is definitely the largest amount of people I've had giving feedback at once on one of my subs.  I wouldn't really have considered this a particularly popular submission, but thanks anyway haha.  I'm sorry that it's taken a little longer than usual to respond.

-Maybe for m. 2-13 (or at least m. 8-9) you could cross staff the notes of the middle voice that you want to be played with the R.H.? Most of the time it's pretty clear, but you could save some figuring-out-time, especially in m. 8-9. Here's m. 8 for example:


In addition to Bloop's comments:
- On Bloop's note, m13 beat 1 could also be a good place to cross-staff (writing the C in the RH).

My view here is that I want to point out at the start that you need to take some of these bottom stave notes with your right hand, but I don't really want to overly prescribe how to do it.  I think different people (with different hand sizes) will find different methods easier, so it's better for them to work out what works for them.

-I'm guessing you intended some parts to be played with a pedal, especially because of the second layer notes from m. 14 on, but I think it would be nice for the player to know for certain with a con pedale mark.

I think it's pretty clear where you need pedal from the way I've written it out.  I'll put con pedale at the start if I want pedal everywhere, but here I only really think you want pedal where you need to use it to play what's written.

-In m. 6, I think it's pretty much impossible to play the melody G on beat 3 fully because of the second layer (even if you're able to play the e-g decime). Maybe you could move the last E in the second layer up an octave? It's more playable and I think gets the same feeling across.

Of course, so you need pedal here.  It's harder to play but I think if you can play it with the E in the original octave then you get the distinctive arpeggio pattern rather than breaking it up on the final note.


-In m. 19 R.H., you can change the two tied quarter notes to just a half note.

If I remember correctly I had some reason for wanting it like this, but I think it looks fine this way now so I'll just change it.

-In the first and last bar of the piece, you could change the eighth + sixteenth rest to a dotted eighth rest, so that the beat is a bit easier to read. I found this source which has a source which supports me at least :p

Personally I don't really like dotted rests and I pretty much never use them, so I'd prefer not to.

- m21 RH gets pretty close to the LH stems—maybe widen the space between the staves here?

Nice spot.  I think I tried to do this when I made the sheet originally but accidentally widened the wrong stave haha.  Fixed.

- I'd suggest moving the m32 eighth+sixteenth rest up above the staff, at the same level as the quarter rest on beat 1, since Layer 2 is being held throughout the whole measure.

This is what I usually do because I think it's more readable this way.  Is it not?

- The double barline at the end of m31 seems odd to me, at least if you're forgoing double barlines at the time signature changes, because m32-33 doesn't seem like a distinct "section" to me. Thoughts?

I've always viewed the first bar of this piece and the final two bars before the loop as having a very different feel to the rest.  They're almost like a short interlude or pause with the (relatively) big chords and the lack of movement and percussion.  This was my reasoning for separating them out like this, but I realise it's probably a little subjective.

  • m27 LH if you're going to go with the top notes on the downbeats, then it sounds like beats 1-2 are C instead of A. If you're going to pick the harmony to make it stand out more from the RH, then beat 3 should be G instead of Bb (although if you're going to mix and match then that's okay)
  • m29 LH the strings sound like they play a G and C on beats 1 and 2, so there's no A; on beat 3 it sounds like G and Bb
  • m31 LH here it sounds like the downbeat notes should be Bb and C instead of A and Bb (and it leads into m32 a little smoother)

Yeah I remember the strings here being a little hard to make out.  Thanks for the help; it should be better now I hope.



Thanks again for checking you three.  New files are up.

mastersuperfan

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This is what I usually do because I think it's more readable this way.  Is it not?
In my eyes, putting them at center staff makes it look like the rests apply to both layers, which is confusing at first. I put rests back on center staff if one of the layers is far above or below the staff, but here layer 2 is also in the center of the staff, so it's not clear at first glance which layer the rests actually belong to. That's how I view it anyway.

Yeah I remember the strings here being a little hard to make out.  Thanks for the help; it should be better now I hope.
On this note, I think m28 LH beat 2 might sound like an A rather than a C.

Everything else looks good!
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there's also a huge difference in quality between 2000 songs and 2010 songs
The difference between 2000 songs and 2010 songs is 10 songs.

Static

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Nice sheet, just a few extra details here:
  • m18 LH: There is an extra 8th note Eb in the bass on beat 4.5, it's pretty short but noticeable when isolating the channel. Up to you if you want to include it, but the rest of the bassline is there so I figured I'd mention it.
  • m27 LH beat 3: The top background string voice still goes to Bb here, I'm assuming you changed it to G because of the RH? Same goes for using the low voice in m29 LH.
  • On this note, I think m28 LH beat 2 might sound like an A rather than a C.
    m28 LH: There is no A in the LH here, the upper voice on the downbeats is C-C-Bb, lower is G-G-G.
  • m31 LH: It might be cool to include the G-Ab-Bb line on the downbeats instead of Bb-Bb-C, since it leads into the Bb in m32. It's fine either way though.


I know that 2nd page is really tough to make out the individual lines with all the parts playing, so if you want files for the individual audio channels lmk
« Last Edit: August 31, 2021, 03:06:45 AM by Static »
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Libera

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m18 LH: There is an extra 8th note Eb in the bass on beat 4.5, it's pretty short but noticeable when isolating the channel. Up to you if you want to include it, but the rest of the bassline is there so I figured I'd mention it.

Added this in.

m27 LH beat 3: The top background string voice still goes to Bb here, I'm assuming you changed it to G because of the RH? Same goes for using the low voice in m29 LH.

Yes, that was the idea.  I think it sounds fuller and more interesting this way.

m31 LH: It might be cool to include the G-Ab-Bb line on the downbeats instead of Bb-Bb-C, since it leads into the Bb in m32. It's fine either way though.

I tried changing it to Bb G Ab, but it sounded kind of weird to me stuck out like that, since the resolution of C -> D in the melody stands out more and the jump Ab -> D is a tritone.  I guess I could go for dyads on the beat here but then I think I'd have to do it everywhere, and I think it'd make the section sound too heavy.  I think I'll just leave it as it is.

In my eyes, putting them at center staff makes it look like the rests apply to both layers, which is confusing at first. I put rests back on center staff if one of the layers is far above or below the staff, but here layer 2 is also in the center of the staff, so it's not clear at first glance which layer the rests actually belong to. That's how I view it anyway.

I changed this.



Thanks for checking; new files are up.

Static

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Sounds good then, I'll go ahead and approve

mastersuperfan

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The eighth rest in m33 should be moved up one notch to be level with the other rests.

That's it.
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there's also a huge difference in quality between 2000 songs and 2010 songs
The difference between 2000 songs and 2010 songs is 10 songs.

Libera

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Whoops, fixed.

mastersuperfan

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there's also a huge difference in quality between 2000 songs and 2010 songs
The difference between 2000 songs and 2010 songs is 10 songs.

Zeta

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This submission has been accepted by mastersuperfan.

~Zeta, your friendly NSM-Bot
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