[SWITCH] Fire Emblem: Three Houses - "The Forgotten" by Latios212

[Zeta]

Submission Information:
Series: Fire Emblem
Game: Fire Emblem: Three Houses
Console: Nintendo Switch
Title: The Forgotten
Instrumentation Solo Piano
Arranger: Latios212

[attachment deleted by admin]

[Latios212]

[Libera]

Sorry for the wait.

-Not hearing the A in the chord in bar 9 or 13.  The strings just sound like they're playing an F# and C#.
-In bars 10, 14, 34 and 38, the piano actually plays a fourth below the previous note on beat 1.75 although it's quite quiet on some of those instances.  It feels to me like it's meant to be part of the melody.
-I'm not hearing the C# G# harmony you've written in for 11-12.  The strings are just playing E and B and the E moves to a G# on beat 3 of bar 12.
-In bar 19/31 beat 2 I think the A should be a B in the right hand.  Also I then hear a G -> F# motion alongside the D -> A motion rather than just a B.  Also (x2) I don't hear the A on beat 2.75, it sounds like another F# to me.
-The xylophone stuff in bars 17-18 and 29-32 has more notes in between the ones you've written that are lower.
-You could add the xylophone in for 19-20 if you wanted to since the left hand is free.
-Why leave out the strings harmony in 21-27?  It's mostly just one extra note and would help to differentiate it from the opening section.
-The strings don't move up to a G# in bar 12 the second time around.  That's the only difference I could find between the repetitions though.
-Do you start the xylophone thing in bar 31 a quaver late to avoid the double E?  Just checking.

[Latios212]

No worries, thanks for looking!

-Not hearing the A in the chord in bar 9 or 13.  The strings just sound like they're playing an F# and C#.

I added the A there to thicken the texture (consistent beat 1 triads throughout this section).

-In bars 10, 14, 34 and 38, the piano actually plays a fourth below the previous note on beat 1.75 although it's quite quiet on some of those instances.  It feels to me like it's meant to be part of the melody.

Oh yeah. I like that! I do hear that when I listen to the original, but I don't think I hear it in m. 14/38. Let me know if it's okay just in 10 and 34 or if you still think it should be in the others as well.

-I'm not hearing the C# G# harmony you've written in for 11-12.  The strings are just playing E and B and the E moves to a G# on beat 3 of bar 12.

This was also not verbatim from the original, but an attempt to fill in the sound a bit because otherwise it'd be a little empty to have a single note in the LH and RH. My question is, do you think the notes I wrote in don't fit? I could see that maybe the C#s should be B, and maybe the G#s should be A instead?

-In bar 19/31 beat 2 I think the A should be a B in the right hand.  Also I then hear a G -> F# motion alongside the D -> A motion rather than just a B.  Also (x2) I don't hear the A on beat 2.75, it sounds like another F# to me.

First point sounds good. For the second point - I would like to avoid consecutive changing dyads here for ease of playing and since the texture is pretty light except for the accented beats. I listened again and wrote in what I think sounds good which isn't exactly what you suggested - does that look okay? For the third point, I'm not really hearing F# there, it sounds a bit too full when I add the fifth above the bass.

-The xylophone stuff in bars 17-18 and 29-32 has more notes in between the ones you've written that are lower.

What are you hearing? I'm not really hearing anything prominent there, or at least what I hear for the xylophone sounds to me best represented as single notes on the piano.

-You could add the xylophone in for 19-20 if you wanted to since the left hand is free.

I'd prefer not to... it's much less audible than the 16th line and would interfere with it

-Why leave out the strings harmony in 21-27?  It's mostly just one extra note and would help to differentiate it from the opening section.

Oops! I think I was going to, but forgot to. Thanks for noticing, added in.

-The strings don't move up to a G# in bar 12 the second time around.  That's the only difference I could find between the repetitions though.

Ah dangit. You think a "first pass only" performance note would suffice here for the chord on beat 3?

-Do you start the xylophone thing in bar 31 a quaver late to avoid the double E?  Just checking.

Yep

Updated files with some of the above, waiting on your responses for others. Thanks again for looking at this one!

[Libera]

I added the A there to thicken the texture (consistent beat 1 triads throughout this section).

This was also not verbatim from the original, but an attempt to fill in the sound a bit because otherwise it'd be a little empty to have a single note in the LH and RH. My question is, do you think the notes I wrote in don't fit? I could see that maybe the C#s should be B, and maybe the G#s should be A instead?

The thing about this piece that sticks out to me is the sort of hollow harmony (fifths) in the strings that sit over the top of the guitar, so I don't really see the need to 'thicken it up' since to me the sound in the original isn't thick.  I also think that introducing a G# earlier lessens the effect of it coming in for beat 3 in bar 12 (on the first pass anyway).  Personally my suggestion would be to only include F# and C# in the first bar, Es and Bs in the second and third and introduce the G# on beat 3 of the fourth bar.  If you really want more notes, then Bs are definitely better than C#s, an A is also better than a G# in the third bar but for the fourth bar I don't think either an A or a G# is a good idea.  If you really really want three RH notes in bar 12 I'd double the C# rather than an A or a G# but I don't think it's necessary.

Oh yeah. I like that! I do hear that when I listen to the original, but I don't think I hear it in m. 14/38. Let me know if it's okay just in 10 and 34 or if you still think it should be in the others as well.

Yeah that's probably fine, it's really quite hard to hear it in 14 and 38 and I'm not 100% sure it's there either.  I mostly just suggested it because it would make sense with how 11 and 31 are, but I don't really mind.

First point sounds good. For the second point - I would like to avoid consecutive changing dyads here for ease of playing and since the texture is pretty light except for the accented beats. I listened again and wrote in what I think sounds good which isn't exactly what you suggested - does that look okay? For the third point, I'm not really hearing F# there, it sounds a bit too full when I add the fifth above the bass.

Yes this section looks better now, although I definitely still hear the F# on beat 2.75 of bar 19.  It's more or less the same 'fullness' as the last chord of 17, although maybe slightly stronger due to F# being a fifth above B rather than a fourth above C# but it doesn't sound that much stronger to me.  It's not a super big deal if you still really don't want to add it though.

What are you hearing? I'm not really hearing anything prominent there, or at least what I hear for the xylophone sounds to me best represented as single notes on the piano.
I'd prefer not to... it's much less audible than the 16th line and would interfere with it

Lower F#s between each note in 17-18 and lower Es between each note in (20-21) 31-32.  Admittedly they're pretty quiet so I don't mind if you don't want to include them really.

I'd prefer not to... it's much less audible than the 16th line and would interfere with it

Fair enough.  I guess I just thought that bar sounded a bit empty with just the slow run compared to the original.

Ah dangit. You think a "first pass only" performance note would suffice here for the chord on beat 3?

Sounds good to me.  Maybe make the noteheads small as well so that it's clear what the direction is applying to.


Anything I didn't respond to looks good.

[Latios212]

The thing about this piece that sticks out to me is the sort of hollow harmony (fifths) in the strings that sit over the top of the guitar, so I don't really see the need to 'thicken it up' since to me the sound in the original isn't thick.  I also think that introducing a G# earlier lessens the effect of it coming in for beat 3 in bar 12 (on the first pass anyway).  Personally my suggestion would be to only include F# and C# in the first bar, Es and Bs in the second and third and introduce the G# on beat 3 of the fourth bar.  If you really want more notes, then Bs are definitely better than C#s, an A is also better than a G# in the third bar but for the fourth bar I don't think either an A or a G# is a good idea.  If you really really want three RH notes in bar 12 I'd double the C# rather than an A or a G# but I don't think it's necessary.

Gotcha! Originally I was worried about the texture thinning out too much because we've got the melody and the guitar in the arrangement but not much to match the string harmonies in between. But I think the slightly emptier texture works fine on piano, and I have thicker harmonies in the end section anyway for contrast. Made changes as per your comments

Yeah that's probably fine, it's really quite hard to hear it in 14 and 38 and I'm not 100% sure it's there either.  I mostly just suggested it because it would make sense with how 11 and 31 are, but I don't really mind.

Yep, will leave those out.

Yes this section looks better now, although I definitely still hear the F# on beat 2.75 of bar 19.  It's more or less the same 'fullness' as the last chord of 17, although maybe slightly stronger due to F# being a fifth above B rather than a fourth above C# but it doesn't sound that much stronger to me.  It's not a super big deal if you still really don't want to add it though.

I listened again, and the F# sticks out a bit too much for me still, so I'll leave it out.

Lower F#s between each note in 17-18 and lower Es between each note in (20-21) 31-32.  Admittedly they're pretty quiet so I don't mind if you don't want to include them really.

Fair enough.  I guess I just thought that bar sounded a bit empty with just the slow run compared to the original.

Leaving these out as well ^^

Sounds good to me.  Maybe make the noteheads small as well so that it's clear what the direction is applying to.

Sure, sounds good


Uploaded new files. Thanks again for the help

[Libera]

Awesome, the changes look great!  Nice work.

Approved!

[Maelstrom]

Fantastic work.

accepted

[Zeta]

This submission has been accepted by Maelstrom.

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