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Sorry again for the wait!

- Going off what Bloop said, I think it would make sense to fill out some of the subsequent chords similar to m. 1 and m. 3. Both F and G in the chord in m. 5/9/33, and F in the chord in m. 7/11/35.
- Also m. 5: the durations of the dotted quarter and dotted half should also be switched so that the dotted half coincides with the second half of the measure.
- The durations are a bit hard to say for sure for m. 8-12, what you have seems fine at a glance. For m. 12, I think you can use a dotted eighth for the Eb as notes within the same beamed group shouldn't be tied together in general.
- The quarter rest in m. 15 should be split into two eighth rests since it doesn't fall on a downbeat.

- Makes sense, done.
- Also done.
- Yeah, it's very loose rhythmically, so I'm hoping the rubato conveys that. I switched the duration you suggested, as well as made some minor changes in 9-10 for readability (took out a tied note that wasn't necessary and added some staccatos).
- Done as well.

Thank you!

Another Rune Factory arranger!! I love seasonal themes in the Story of Seasons/Rune Factory series so I'm particularly excited to see the RF3 spring farm theme. And Persona too - you have excellent taste! I had a look at some of your arrangements and the notation looks very clean and they seem nice to play too.

Sorry for taking so long to get to this!

• Maybe add a dashed line from m11 LH 1st voice beat 4 to m12 RH 2nd voice beat 1 (G#)? Just to show the progression.

I added one for both transitions there.

I feel like I could listen to this tune for a long time without getting bored lol.

Agreed, it's so catchy!

• m2 RH b1.5 - I'm hearing this G# an octave lower
• m11 RH b4.5 - I'm hearing a G# instead of F# here
• m12 RH - To me it sounds like the top line should be up a whole step (D# instead of C# and E# instead of D#). I also can't make out the G# and A#, I think its all unison on C# and D# with the exception of the flute.

• The lower octave G# would make sense, but it really does jump up there in at least two of the voices (one of the flutes and the kind of twangy string-like voice). However, there could possibly be a lower G# in addition to the upper one? I didn't think I heard one while going through the voices individually though.
• I think you're right about this one here, fixed.
• I checked this part again and I'm still pretty sure about the G# and A# being there (it's in the same voice that holds the long notes through the rest of that section - the note on beat 1 is the most audible but it does continue through as well). I think you might be right about the top line being up a whole step, though, so I changed that.

Thanks for taking a look!

[Opening Theme]

Opening ThemeI think 12/8 would work fine here too yeah. 12/8 vs 6/8 is like 4/4 vs 2/4, in which it's sometimes hard to really distinguish between the two. Like cash mentioned though, the melodic phrasing seems to fit 12/8 a bit better.

Luckily I had files in both time signatures so 12/8 it is! I agree about the melodic phrasing fitting better in this time signature. Because of the measure numbers in the feedback, I'm attaching a PDF of the old 6/8 file here for cross-referencing.

-m1-8: I hear some extra notes in these measures: in m1-4 I hear an additional F below, and maybe even an F and G in-between the C's. In m5-8 I think I also hear an F between the Bb's. In m2 there is a C above the F in the L.H. too in the ooowwaaaa voice (professional musical terms here lol) that is held over into m5 too

Octaves and 5ths, my nemeses... I think I added all the extra notes here, is this what you meant? As well, do these extra notes happen every time these chords are restruck in the following bars? If so I can add those in as well where possible.

-m16-17: I hear the melody a bit different here:

-For m26 until pretty much the end of the track, maybe you could add staccatos to the L.H. and R.H., or add a "staccato" marking? In the L.H., I hear all (low) Eb's legato.
-m37: I hear G's in beat 4 and 6 in the R.H.
-m40-41: In the R.H., I hear m40 beat 6 and m41 beat 1-5 one step lower (so Bb's should be Ab's and Ab's should be G's)
-m42: The Eb-F in beat 3-4 in the L.H. should be C-Eb
-m47-49: In the R.H., from m47 beat 6 to m49 beat 1, all notes should be one step lower.
-m57: The bass clef clashes with the 8th rest.
-m81 and 89: Maybe you could add a courtesy accidental to the Bb in the R.H., since it's right behind the Bn? Or alternatively, you could write all Bn's in m74-89 as Cb's instead, since they all move down to the Bb

Whew, I think I've made all of these changes, but please let me know if I missed anything!

I'm doubting about whether it's worth it to keep the higher octaves in m26-46 (the ones on beat 1 every 4 bars): it's a bit awkward to have the R.H. jump around and have the melody switch between L.H. and R.H., and the effect doesn't really last as much as in the original. Using a pedal wouldn't work with the staccato melody and bassline. You also already left it out in m50 anyway.

Yeah, coming back to this I agree with leaving them out. The upper chords weren't quite both in the upper sustain register so it didn't work perfectly even sound-wise, and avoiding the awkward jumps and melody juggling is worth it.

Also I wonder if it may sound better to leave out the R.H. part in m82-89 and put the bass back in (so similar to m50-57)? It's unfortunate to remove that R.H. part, but the section sounds a bit emptier without a bass to fill it up.

Man, it really is unfortunate to lose that upper part but I think you're also right about this. Suddenly losing the bass that's been there the rest of the arrangement does leave it feeling quite empty.

I tried to get everything mentioned, but I'm feeling a bit rusty so I apologize in advance if I missed a few obvious things. Thank you for the excellent feedback (and to Kricketune54 as well on the other piece)!

Hi everyone! I am so sorry about the late response here, I went back to school in the fall and got a job about a month later and things were just so busy that I didn't have any time to work on arranging. But now that the term is finally over I have returned to finish these.

Before my posting I watched the credits for this game to see if a composer was credited... I guess if someone wants to go through them and cross refence series composers or music, be our guest lol but the current credit will do. Harvest Moon 3 GBC Credits

Yeah, I've been through everyone in the credits on MobyGames and I didn't see any of them credited for composition/music/sound/anything like that in any of the other games they're credited on, so unfortunately this is one Harvest Moon mystery that remains unsolved!

m6 RH 1.0 not hearing Gn, sounds like this is rested. I would think m1-2 and m5-6 would be written the same, with m2/6 beat 1.0 an 8th rest and no tie from m1/5. Thoughts?

Hmm, to me it sounds like it bleeds over a little bit into the next bar (though that could just be the reverb), but you have a point that there is definitely some separation between it and the next note. I'm fine with changing it to an eighth rest since any other way of notating that would be unnecessarily complicated, so done.

For the Swing text you don't have to do this (and I can't remember if we have "official guidance" to the contrary), but I like to recommend keeping it clean like the following screenshot. Can add "Swing!" to your tempo marking, just make sure Times New Roman, 14 pt font.

Spoiler

You cannot view this attachment.

[close]

That's also fine with me, done.

Might I suggest a little bit of an alternative left hand for m1-7? It's a little awkward currently even if it is a bit more accurate than what I'm proposing, which is to eliminate the notes currently in the 2nd voice on beats 2.0 and 4.0 and to make the LH one voice for the measures in question. Screenshot is an example of this for m1.

You know what, I actually think that sounds fine and the better playability is worth the sacrifice, thanks for the suggestion! The only measure where this got a bit confusing was m. 7 where the LH quarter note D on beat 2 went above the RH... I added a D in the RH and put the LH one in parentheses because that seemed like a more readable way to do it, if not perfect. Thoughts?

I'm going to take a look at the Ecco arrangement as well but it might take a bit more time to work on so I just wanted to get this reply posted first.

[Mainland Port/Aquarium/Theater]

Mainland Port/Aquarium/Theater
- Make sure the F's in the melody in m. 1/2/5/6 are flipped upwards and horizontally aligned (probably just delete and re-enter them)
- There's an E in the harmony of m. 9 beat 1 (similar to m. 8 beat 1 that you already have written in)

- Oh how odd, no idea how that happened. Re-entering them worked though, done!
- Definitely meant to add that, good catch!

Mainland Port/Aquarium/Theater
Also quick question, is "GBC" part of the title of the game? We list the consoles of the games on site now, so is it necessary to include as part of the title?

In this case, I would consider it part of the title. Wikipedia, Moby Games, and the game's cover art all include it, as well as the Japanese title (牧場物語GB3).

Thanks for taking a look! Weird to think these might be some of the last Finale submissions I do.

I'm hearing G# and B# to A and C#, but if you prefer you could write it as G#/D# to A/E to sound less muddy on the piano. Whichever option you prefer, but it's definitely G# for the low note!

Sounds good, I'll trust you on the G#! Also good call on spelling it as a B# instead. I actually like the thirds, I feel it captures the muddiness of the original haha.

Thanks for taking a look/listen!

- This piece is in A mixolydian, so it should be written in A major (three sharps) with G naturals in the melody.

Oh man, I totally meant to add a key signature but I must have forgotten. Done, thanks!

- For the left hand patterns in the even-numbered measures, I think it sounds a bit more chromatic - that is to say G#/D# instead of G/D - but I'm not too sure. What do you think?

That's a tricky spot to hear. I wasn't sure either - neither of them were sounding quite right to me, so I sought a third opinion from a friend and he heard it as Gn/Cn to A/C#. That sounds the most right to me so far... thoughts?

Doesn't surprise me for a 2001 PC game lol

The funny thing is that this would play during the entire lengthy installation process so the abrupt loop was really obvious... imagine listening to this for like half an hour while waiting for the game to install off of several discs haha.

Thanks for the feedback!

This looks really good.

LH m1 b1-2 I'm hearing down an octave
LH m2 b4.5 I'm hearing as Bn not C#
LH m3 b1-2.0 I'm hearing down an octave (goes up to A#)
LH m3 b4.0 I'm hearing as F# (above current D#)

In measure 11 when the second melody goes to the LH, I think it would be better put in a second voice with opposing stems so it is clearer melody went.

Done, according to Kricketune54's adjustments.

• m1 and m3 beat RH 2.5 the D# should be a C#
• m12 LH beats 3 and 4 you could add an octave above to these notes

Did both of these as well.

Thanks to both of you for the feedback!

Honestly 12/8 might make more sense with the melodic phrasing, but that's up to you I feel. Also yeah, switch time signatures in finale is always a huge pain 😩

I think I meant to reply to this and forgot! I was just going to say that I don't have any strong feelings on 6/8 vs 12/8, so I'm interested to hear if anyone else wants to weigh in. Thanks again for the feedback!

two small comments, Ecco the Dolphin is in 6/8 (the bassline accents beats 1 and 4) cue the 3/4 vs 6/8 debate!.

Oh man that's often a loaded debate, but after revisiting this I think you're totally right. That explains why some of those rhythms didn't feel quite natural in 3/4. Is it definitely 6/8 as opposed to 12/8? I encountered some debate between 6/8 vs 12/8 while seeking a second opinion from some musician friends. Regardless, I have it in 6/8 for now (which was surprisingly more work than I expected... Finale did not like that meter change for some reason).

The harvest moon track could be layered to show each layer more clearly, as well as the harmony voice can be played entirely with the left hand pretty easily. Maybe it could look like this?

Yeah I see what you mean about the layers here too. In this case, while playtesting this arrangement I found that the harmony voice was better split between the hands due to the voice crossing and the range of the left hand (it was much jumpier to go from low G to the G-E dyad rather than just between the two Gs). So I reworked the voices in a way that hopefully shows each layer better while still keeping the split between hands.

Nice arrangements

Thank you! And thanks for the feedback, those were both good points

[Ecco the Dolphin - Opening Theme]

Ecco the Dolphin - Opening Theme
[MUSX]

One of the classic aquatic games! Opening Theme seems to be the most commonly used title.

Harvest Moon 3 GBC - Mainland Port/Aquarium/Theater
[MUSX]

Title comes from the (mostly aquatic) locations it plays in-game. The composer for this game is unknown so I just credited the developer/publisher.

(The first arrangement is a little complex but the second is short and simple so I hope they balance each other out!)

Title source

This sounds like an abrupt loop but it's like that in the game too.

This was so cool to look at and see the layouts over the years! Crazy to see how this site and community has persisted through many changes and challenges over the years.