[PS2] Final Fantasy X - "Battle Theme" by Libera

[Zeta]

Submission Information:
Series: Final Fantasy
Game: Final Fantasy X
Console: PlayStation 2
Title: Battle Theme
Instrumentation Solo Piano
Arranger: Libera

[attachment deleted by admin]

[Libera]

[Fantastic Ike]

Thank you for submitting this so I didn't have to finish up my old bad arrangement lol

[Static]

Only one normal turn-based battle theme left after this one...

• m1-2 and 5-6 sound staccato to me, like m9-10. I'm assuming you wrote it like that because of the background voice, so I guess it's fine to leave it.
• m17 RH: I don't hear the string voice come in until m18, just the synth voice which plays every 8th note beat.
• m43-52 RH: Double check the 8th note arpeggios here, the lowest note seems to move around differently than what you have written. Here's what I'm getting for 43-44:
  
• m60-62 RH: Maybe restrike the G in each measure here so that it doesn't fade away from the chord so quickly. The G does cuts off at m62 though. Same applies to m66-68.
• m65 RH: This tie might look better flipped

[Libera]

• m1-2 and 5-6 sound staccato to me, like m9-10. I'm assuming you wrote it like that because of the background voice, so I guess it's fine to leave it. I honestly can't remember why I wrote it like this.  Adding in staccatos sounds find to me though!
• m17 RH: I don't hear the string voice come in until m18, just the synth voice which plays every 8th note beat.  Hmm I can hear it here, playing what I've written in.  It's quite quiet though.
• m43-52 RH: Double check the 8th note arpeggios here, the lowest note seems to move around differently than what you have written. Here's what I'm getting for 43-44:
  I've doubled checked it now and made some adjustments.  (I didn't quite hear what you had in your picture though...)
• m60-62 RH: Maybe restrike the G in each measure here so that it doesn't fade away from the chord so quickly. The G does cuts off at m62 though. Same applies to m66-68. I'm not sure about this.  I think restriking the G# takes away from the movement underneath, and it sounds weird to me restriking it only two beats later.  You could leave that tie in and then restrike on 61, but it then it's not really obvious to the listener where that G# has come from...  I think I prefer it like it is.
• m65 RH: This tie might look better flipped Yeah I agree.

Thanks for checking!  Files updated.  I also added in some slurs at the start and adjusted some other ones... Just minor changes for consistency.

[XiaoMigros]

• m1-2 & 5-6: I don't see any staccatos here yet (in the RH at least). I also don't see any other changes suggested by Static, so at least on my end the files aren't updated.
  In these sections, it sounds to me like the strings play the full triad for the entire sections, did you reduce this intentionally in your sheet?
• m16: On the last beat I hear a Dmaj7 chord, maybe it would make more sense to opt for C# instead of D in your RH chord? That would follow the downward motion of the lower line.
• m24 b2: Is the B4 left out for playability?
• m43-44: I hear this as Static does, except for m44 b2, which should be an A. I also hear a C# in m43 b1, up to you whether you want to include that or not for triad consistency.
• m47 b3: I'm hearing an A here too.
• m51 b3: similarly to above, this should be F##.
• m56 b1.5: Here I'm hearing B# instead of A#
• m57-58: I don't quite understand the E you included in the RH, the strings play a sustained C#/E dyad.
• m86-88: While I think it's fine to include the C#s and Bs from the saw synth, I think you should keep the Ens in the second half of m86.

If I had arranged this, I would have included some of the expansions to four-note chords in m41-56, but I like how what you've omitted creates a part that fits more smoothly. In general I like what you've removed but also what you've added, it's made a really nice sheet

[Libera]

I must have got distracted after posting and forgot to upload the new files.  Thanks for pointing that out!  Much of what you've said was already in the edits, but I'll respond to the stuff that wasn't below.

In these sections, it sounds to me like the strings play the full triad for the entire sections, did you reduce this intentionally in your sheet?

Yes.  It lets you build up in bar 9 without sacrificing any harmony.

m16: On the last beat I hear a Dmaj7 chord, maybe it would make more sense to opt for C# instead of D in your RH chord? That would follow the downward motion of the lower line.

The only ways I can think to do this are with 1) an out of place voicing, 2) a minor 2nd, 3) ending on F#m.  I'm not sure I really like any of those options.

m24 b2: Is the B4 left out for playability?

It's more to do with how the part is constructed, but it certainly makes it less awkward.

m57-58: I don't quite understand the E you included in the RH, the strings play a sustained C#/E dyad.

There is already a C# in the left hand, so I put an E in the RH.  If the question is why is it not sustained, then the answer is that this is much simpler and fits with how the rest of the RH is constructed.

m86-88: While I think it's fine to include the C#s and Bs from the saw synth, I think you should keep the Ens in the second half of m86.

I'm not sure I follow this comment.  Do you mean that you want the Ens doubled in the second half of 86?  I think I prefer going to four note chords in the last two bars to help with the crescendo.

If I had arranged this, I would have included some of the expansions to four-note chords in m41-56, but I like how what you've omitted creates a part that fits more smoothly. In general I like what you've removed but also what you've added, it's made a really nice sheet

I don't think I added anything, but thanks anyway.  I'm glad you like it.

The files that were meant to be uploaded last time now actually have been, or at least I hope so.

[XiaoMigros]

Do you mean that you want the Ens doubled in the second half of 86?

Yes, I think it's worth keeping that part 'intact'.

[Static]

All the changes look good to me. That pic I sent of m43-44 was a mistake on my part; I heard it as you have it now.

[Bloop]

-m25, 29, 33, 41, 45, 49 and 53: You can write the two 8th rests on beats 3-3.5 as just one quarter rest.
-m67: Maybe you could use D# instead of C# in the L.H. on beat 3, since the bass is following the B-C#-D#-C# motion in the chords and hasn't yet returned to the C#.

That's all though, nice work ^^

[Libera]

-m25, 29, 33, 41, 45, 49 and 53: You can write the two 8th rests on beats 3-3.5 as just one quarter rest.

Argh that's really bad, sorry.

-m67: Maybe you could use D# instead of C# in the L.H. on beat 3, since the bass is following the B-C#-D#-C# motion in the chords and hasn't yet returned to the C#.

Yeah that works for me!

Files updated, thanks for checking.

[Bloop]

Awesome, then this is accepted!
You cannot view this attachment.

[Zeta]

This submission has been accepted by Bloop.

~Zeta, your friendly NSM-Bot