[PC] Symphonic Rain - "Always Smiling (Free Play Mode)" by Latios212

[Zeta]

Submission Information:
Series: Other
Game: Symphonic Rain
Console: PC
Title: Always Smiling (Free Play Mode)
Instrumentation Solo Piano
Arranger: Latios212

[attachment deleted by admin]

[Latios212]

a bit of commentary on the versions of this song

There are I believe only two ways to hear "Always Smiling" in game - during the credits of a particular ending (or multiple), and free play mode.

The credits version is longer and contains some additional instrumentation, I think it's this. It's similar (but not the same as) to a full version of the song that appears on a separately released vocal album (which contains fuller versions of all the songs from the game). This version I arranged from is the version embedded in the top of this post. It's not exactly the same as the track I got from the game files that plays during free play mode because some of the notes are overlaid on top based on how well you play the minigame. Either one's valid for an arrangement, I think.

tl;dr it probably doesn't make a difference to anyone, but that's the story behind this song and I'd prefer to keep the version I have rather than make an arrangement of the fuller version

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[Static]

Regarding the arrangement itself, I don't really have much to say. The quarter rests in m33-34 RH would probably look better aligned with the others. Or maybe instead move the rests in m29-30 and 31-32 down.

About the credits version, are you planning on submitting that as a separate sheet? If there's just going to be one sheet of this, it honestly might be better to do the full version since it's really not much different. The biggest change is the additional verse and that's basically a copy/paste affair. You could get away with keeping most of your accompaniment parts identical. If you'd rather not, then you could title this "Always Smiling (Free Play Mode)" or something. That's my two cents on that anyway.

[Latios212]

Regarding the arrangement itself, I don't really have much to say. The quarter rests in m33-34 RH would probably look better aligned with the others. Or maybe instead move the rests in m29-30 and 31-32 down.

Thanks! Yeah I raised them to be consistent with keeping the voices more visually distinct.

Unrelated, I adjusted the left hand part in the first half of m. 10 so it doesn't overlap with the right hand and outlines the chord better. (D-F#-A instead of D-A-D)

About the credits version, are you planning on submitting that as a separate sheet? If there's just going to be one sheet of this, it honestly might be better to do the full version since it's really not much different. The biggest change is the additional verse and that's basically a copy/paste affair. You could get away with keeping most of your accompaniment parts identical. If you'd rather not, then you could title this "Always Smiling (Free Play Mode)" or something. That's my two cents on that anyway.

I don't plan on making a sheet of the credits version now or anytime soon, but I'd need to spend more time listening really closely to the credits version to see if it should warrant a separate sheet. Aside from the extra verse, the intro is repeated for a couple more measures - but there are also some more subtle instrumentation differences that may or may not make a difference as an arrangement. Anyway, I'd prefer keeping it as is but don't really mind adding that clarification in the sheet title if you/others think that would be more helpful.

Thanks for checking, files updated

[Libera]

Since Static didn't have much, I'll post some feedback in advance of his approval.

This is quite a pleasant piece, unfortunately tarnished by some of the worst mixing I've heard in a professional setting.  Legitimately painful in places.

-I think bar 22 should have a melody D on beat 2, like in the previous instances.
-I'm not convinced on the chords in 27-28.  It sounds like there is more going on, like the F# -> E movement on beats 3-4 in bar 27.  Could you double check this section for me?
-What is the philosophy behind the backbeat crosshands in bars 29-34?  I don't really see where this is coming from in the original and feels like a significant deviation from it.
-I think you're sticking to the syllabics a little too closely in bar 35 for a piano arrangement.  If you were singing this you might write it out like this, but the effect of vocalist doesn't portray these as even sixteenths.  It sounds like this in practice:

Spoiler

You cannot view this attachment.

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The same thing happens in bar 14 with beat 3.75-4, although it's a little less noticeable.  I just think this is an instance where trying to write it out explicitly how it is sung makes it sounds significantly less like the original on piano.
-The D on beat 4 of bar 36 sounds like an E to me.
-I see the (organ?) has been left out pretty much entirely, but its omission sticks out in bars 46 onwards.  Particularly in bar 46 where its by far the most interesting thing happening.  Any reason for not including it?
-I see that the left hand has been significantly simplified/ironed out.  I'll try not to be too obtuse about it, but there are lots of places where the rhythms feel inconsistent compared to the original, or where bass movement disappears despite there being nothing else written into the sheet for the left hand.  Even with simplifications, I feel like this could reflect the original a little more closely without being any less pianistic or more difficult, though you might feel differently.

[Static]

Anyway, I'd prefer keeping it as is but don't really mind adding that clarification in the sheet title if you/others think that would be more helpful.

That sounds good to me. I'll approve pending that change and Libera's feedback

[Latios212]

This is quite a pleasant piece, unfortunately tarnished by some of the worst mixing I've heard in a professional setting.  Legitimately painful in places.

Yeah, this game suffers from that the separate vocal album contains actual production quality versions of these songs..

-I think bar 22 should have a melody D on beat 2, like in the previous instances.
-I think you're sticking to the syllabics a little too closely in bar 35 for a piano arrangement.  If you were singing this you might write it out like this, but the effect of vocalist doesn't portray these as even sixteenths.  It sounds like this in practice:

Spoiler

You cannot view this attachment.

[close]

The same thing happens in bar 14 with beat 3.75-4, although it's a little less noticeable.  I just think this is an instance where trying to write it out explicitly how it is sung makes it sounds significantly less like the original on piano.
-The D on beat 4 of bar 36 sounds like an E to me.

Updated these!

-I'm not convinced on the chords in 27-28.  It sounds like there is more going on, like the F# -> E movement on beats 3-4 in bar 27.  Could you double check this section for me?

I listened again and although these couple measures in my arrangement sound a bit same-y with just the A7 chord throughout, I don't really hear any movement in the original prominent enough that I'd write in. I think I can maybe hear the F#>E movement you're mentioning but the F# doesn't fit well with the A7 chord.

-What is the philosophy behind the backbeat crosshands in bars 29-34?  I don't really see where this is coming from in the original and feels like a significant deviation from it.

The beat 2/4 hits are mostly present throughout 31-34 and are in some places transcribed directly (otherwise fitted to the harmony and the range above the melody so as to not interfere). I chose to write it like this to keep the lower registers of the piano free of anything except the bass voice to give it a lighter feel like this section in the original. I backported this pattern into m. 29-30 to keep it consistent as well as to hit the harmony notes that are above the melody without distracting the right hand from playing the melody - you can think of the hits as rhythmic displacement here since I didn't think they would fit well in either hand on beat 1. Looking at it again, I would be open to removing them in m. 29 since there are no non-melodic voices playing on beats 2/4. Otherwise, I'd like to keep the section as is.

-I see the (organ?) has been left out pretty much entirely, but its omission sticks out in bars 46 onwards.  Particularly in bar 46 where its by far the most interesting thing happening.  Any reason for not including it?

I agree m. 46 would benefit greatly from that voice and have written it in. For the instrumental end, I'm more hesitant to do so because the voice is much less prominent than the one I wrote in and I'd rather keep it simple and focused on that voice. (That, and I think it's a bit hard to hear exactly what that voice is doing towards the end...)

-I see that the left hand has been significantly simplified/ironed out.  I'll try not to be too obtuse about it, but there are lots of places where the rhythms feel inconsistent compared to the original, or where bass movement disappears despite there being nothing else written into the sheet for the left hand.  Even with simplifications, I feel like this could reflect the original a little more closely without being any less pianistic or more difficult, though you might feel differently.

I did my best with this one to represent the original's accompaniment with simple arpeggios that roughly match the contour of the original, with bass and harmony matching as an outline. Looking at it again, I still feel like it's a pretty good representation of the original and I'm happy with it, but let me know if you have any particular sections you think don't fit very well...

Thanks for checking! I've updated the files (though haven't changed the title yet - I'd prefer to leave it as is but Libera let me know if you agree with Static).

[Libera]

Thanks for checking! I've updated the files (though haven't changed the title yet - I'd prefer to leave it as is but Libera let me know if you agree with Static).

I feel like the credits version seems like the more definitive version, so I could understand someone finding this and being confused as to why it is missing stuff based on the title.  I think it would make more sense to have arranged the credits version, but forsaking that it would make sense to have the title something like Static suggested.  I have zero familiarity with the game itself but that's just my impression built on my general experience.

I listened again and although these couple measures in my arrangement sound a bit same-y with just the A7 chord throughout, I don't really hear any movement in the original prominent enough that I'd write in. I think I can maybe hear the F#>E movement you're mentioning but the F# doesn't fit well with the A7 chord.

I hear this F#/A -> A movement pretty strongly at the end of bar 27 and literally nothing else is going on there.  I don't really hear the G that much but it only clashes with the F# if you voice it like that.  I guess it's not that big a deal but the arrangement does sound a little stale compared to the original here.


With regards to everything else, if you're happy with it and Static didn't bring up any of the same things I'm fine leaving them.  It's not how I would have done it, but the arrangement itself sounds perfectly fine.

[Latios212]

I feel like the credits version seems like the more definitive version, so I could understand someone finding this and being confused as to why it is missing stuff based on the title.  I think it would make more sense to have arranged the credits version, but forsaking that it would make sense to have the title something like Static suggested.  I have zero familiarity with the game itself but that's just my impression built on my general experience.

Okay! That makes sense, I've updated the title accordingly.

I hear this F#/A -> A movement pretty strongly at the end of bar 27 and literally nothing else is going on there.  I don't really hear the G that much but it only clashes with the F# if you voice it like that.  I guess it's not that big a deal but the arrangement does sound a little stale compared to the original here.

I'm fine with this I suppose, playing with it again. I've changed the lowest notes of the chords at the end of 27.

With regards to everything else, if you're happy with it and Static didn't bring up any of the same things I'm fine leaving them.  It's not how I would have done it, but the arrangement itself sounds perfectly fine.

Yep yep, I'm happy with it. Thanks for understanding, and for checking. Files updated!

[Libera]

Cool, I will accept then!

[Zeta]

This submission has been accepted by Libera.

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