[SNES] Fire Emblem: Genealogy of the Holy War - "Versus Arvis" by Maelstrom

[Zeta]

Submission Information:
Series: Fire Emblem
Game: Fire Emblem: Genealogy of the Holy War
Console: Super Nintendo Entertainment System
Title: Versus Arvis
Instrumentation Solo Piano
Arranger: Maelstrom

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[Maelstrom]

https://www.youtube.com/watch?v=LiKnlT-XZRs
The RH in the final section was raised so we wouldn't have lots of fun hand collisions.
Note that the official name of the character is, indeed, Arvis and not Alvis.

[Sebastian]

Another awesome Fire Emblem sheet. I just love these!
A few things:

- M. 2 (the 16ths) sound like they are increasing in speed and definitely sound faster than the measure before. Maybe put an accel.

- Your also missing a resolution in M. 2 that would be missed if it wasn't included. You can put the half notes in the second layer, the 16ths in the first, and add the resolution on beat 3 in the second layer.

- I always saw staccato-ed dotted eighths as superfluous. Why not just put an eighth - eighth rest with a staccato on top? I guess this is optional. I wouldn't say they are incorrect, but staccato-ing a dotted-eighth just seems kind of redundant to me (Latios would agree haha).

- For the sake of consistency and lack of confusion, go ahead and put in the missing eighth notes (with parenthesis, of course) in M. 19, 24, and 25. I've been told this same thing by Deku and/or Olimar a few times. 

- Curious, why an octave in the last measure (right hand)?

- I thought this was in the formatting rules, but I guess it's not. You have this for the copyright:
Nintendo/Intellgent Sysetms © 1996
http://www.ninsheetmusic.org/

It's been a while, but I remember being told by Olimar to use commas (for the Banjo project we had a while back) instead of slash marks like this:
Nintendo, Intellgent Sysetms © 1996
http://www.ninsheetmusic.org/

I don't see it in the formatting rules, so I guess it's alright. Olimar will have to shed some light on that if he wishes.

Again, excellent work with this sheet! I hope to see more : )

[TheMarioPianist]

- Your also missing a resolution in M. 2 that would be missed if it wasn't included. You can put the half notes in the second layer, the 16ths in the first, and add the resolution on beat 3 in the second layer.

You would have to put the resolution in the LH, bc the RH can't reach both. Of course, doing so would mean the performer would either have to sacrifice the bass for half the measure, or they would be forced to use pedal, which would also change the sound...but like Sebastian said, that resolution is mandatory, so I would include it.

- I always saw staccato-ed dotted eighths as superfluous. Why not just put an eighth - eighth rest with a staccato on top? I guess this is optional. I wouldn't say they are incorrect, but staccato-ing a dotted-eighth just seems kind of redundant to me (Latios would agree haha).

Normally, I would agree too. However, I believe he did this intentionally because writing it without a rest makes the sheet much simpler to read. While putting an eighth note and sixteenth rest would achieve the same result, it would result in uglier and more confusing LH measures. I would tend to leave it as is.

- Curious, why an octave in the last measure (right hand)?

The RH in the final section was raised so we wouldn't have lots of fun hand collisions.

The D in parenthesis is obviously what would be played if you were simply raising the RH an octave. However, with the repeated D's in the LH, I would agree with Sebastian; don't even include the bottom note.

In addition to what Sebastian said, I've picked up a few other things:

-Measures 1-2: It's clear that you intended to have an 8vb in these measures, but it currently reads 8va.
-Measures 15-18: Every time you have a quarter note written in the bass here, it is actually 2 eighth notes. In these places, the bass actually does strike twice, as opposed to earlier measures.
-Measure 18: I don't see any reason to bring those last two eighth note chords down an octave. The only reasons I could think of are if you are either transitioning between the high chords and the low chords in the next measure, or if you wanted to prepare the RH to move down lower on the keyboard. The former doesn't happen in the song, making it unnecessary, while in the case of the latter the RH has 2 whole beats to move down to that D. I would say that you should leave those chords in the original octave unless you have some other reason for doing so that I do not see.
-Measures 19-26: In the LH, I would continue to notate that rhythm with the same accent pattern that you were doing in the RH from 11 to 18. Although it is more subtle because of the louder melody over it, this still exists.


Despite Sebastian and I critiquing a lot of stuff, I think that this sheet was very well done. A lot of the stuff we criticized was very minor; you didn't really have any major issues in accuracy or anything like that. Great work!

[Maelstrom]

Anything I don't respond to directly has been fixed. Also too lazy to quote, so I'll do this without that.
TMP:
m15-18 quarters-eighths - I checked very closely. They are not repeated. It's an illusion created by the snare drum. It goes away if you listen closely when you slow it down.
m18 - Thanks. I heard the sudden volume change wrong as a lower octave

Seb:
Thanks for that Accel. thing.
Most of my disagreements with your comments were addressed by TMP.
-I'd like to keep those notes I left out in the last segment out simply because of their number. If it were only one or two in a row, I'd be fine, but it's four. Imo, this will only confuse things, and is better notated the other way.

Both:
The resolution is now present.

Of course, doing so would mean the performer would either have to sacrifice the bass for half the measure, or they would be forced to use pedal, which would also change the sound...

The sostenuto pedal is a thing. Which I have added.

[TheMarioPianist]

Oh shoot, I should have known this would happen. Because of the 8vb in the LH, that resolution needs to be moved an octave higher. Sorry about that. Also:

m15-18 quarters-eighths - I checked very closely. They are not repeated. It's an illusion created by the snare drum. It goes away if you listen closely when you slow it down.

I swore the last time I slowed it down, I heard two distinct notes. Clearly that is not the case. In one measure where there isn't a snare drum at that point, it still seems like two distinct notes, but it goes almost unnoticed, and it would be silly to mess up a pattern just for that. So one note it is.

[Maelstrom]

I was thinking HOW DO I EVEN DO THAT WITHOUT LEDGER LINES and then I remembered I could just end the 8vb early.
Fixed.

[The Deku Trombonist]

Flip the stem on the F# in bar 2.

Have you tried fitting this on one page? I'm phone posting as always so I can't muck around with it to see how feasible that is.

No accent on beat 4 of bar 18?

Eehhhhh... I'm personally not a fan of the crotchet rests on the and of beat 1 in bar 11 onwards.

That phrase marking in bars 9-10 looks a bit over excited. Tell it to settle down.

[Maelstrom]

Edited, finally.

The accents were left out because the notes are quieter than the other ones.

[Latios212]

Nice job! Looks great.

[Zeta]

This submission has been accepted by Latios212.

~Zeta, your friendly NSM-Bot