[ARCADE] Radiant Silvergun - "THE STONE-LIKE" by Libera

[Zeta]

Submission Information:
Series: Other
Game: Radiant Silvergun
Console: Arcade
Title: THE STONE-LIKE
Instrumentation Solo Piano
Arranger: Libera

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[Libera]

[Bloop]

ooh nice choir harmonies stuff, looking good!

-m7 beat 1: I think I hear the tenors sing Gb an octave above the bass Gb
-m8: I don't think the F in the R.H. is there in the original, and I believe the sopranos sing the same line as the tenors an octave above too.
-m9-10: I hear a soprano melody above what you have here:
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(I had to move the G in beat 3 of m10 up an octave for playability)
-m11: I think technically the Bn's here should be Cb's (Cb6 or Abm7/Cb chord with the F's acting as appoggiaturas), so it's the same as m14 but a major third (i guess technically diminished fourth) up. Having them as Bn's is readable too though.
-m12: I personally hear this here:
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-m13: I hear some octave doublings here, but maybe you left them out intentionally: I hear the top notes doubled an octave below and the bass and octave above (bass also in m14)
-m14: I hear a D on beat 2 above the Bn in the R.H. too
-m24: I don't hear the G# here anymore. It's a bit questionable if it's really there in m23 or if it's somehow the reverb from m22, but it's definitely gone in m24.
-m26: I hear the sopranos go to D# here too on beat 2. It's a bit questionable if there are other parts where there are some octave doublings of the lower part or if it's just overtone stuff (I hear a D in m27-28 too for example), but this D# stood out to me the most.

[Libera]

-m7 beat 1: I think I hear the tenors sing Gb an octave above the bass Gb

That's what I wrote it at first but I'm not really sure about it.  I put it back in for now but I'm not 100% convinced.

-m8: I don't think the F in the R.H. is there in the original, and I believe the sopranos sing the same line as the tenors an octave above too.

There's lots of dubious octave doubling that I've left out in this sheet.  Partly because I'm not sure about whether it's really there or not and also because parallel octave motion doesn't really sound that great and doesn't really add anything.  With regards to the F, I can hear one.  I also like matching the cresc with a four note chord.

-m9-10: I hear a soprano melody above what you have here:

Yeah that sounds right.

-m11: I think technically the Bn's here should be Cb's (Cb6 or Abm7/Cb chord with the F's acting as appoggiaturas), so it's the same as m14 but a major third (i guess technically diminished fourth) up. Having them as Bn's is readable too though.

Sure, I don't really mind.

-m12: I personally hear this here:
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I can kind of hear the C# but also can hear an F#.  It's not clear to me if one is an overtone of the other.  I guess the C# makes more sense matching with bar 9, but then the F# makes more sense matching with bar 13.  I don't really want a 5-note chord there.  I've left it as is for now since this sounds a little darker.

-m13: I hear some octave doublings here, but maybe you left them out intentionally: I hear the top notes doubled an octave below and the bass and octave above (bass also in m14)
-m14: I hear a D on beat 2 above the Bn in the R.H. too
-m26: I hear the sopranos go to D# here too on beat 2. It's a bit questionable if there are other parts where there are some octave doublings of the lower part or if it's just overtone stuff (I hear a D in m27-28 too for example), but this D# stood out to me the most.

I think this is all the same as what I previously said about octave doubling.  Also I particularly don't want a D above the B in bar 14 because that would obscure the "melody" if you can call it that.  I think it should match with bar 11.

-m24: I don't hear the G# here anymore. It's a bit questionable if it's really there in m23 or if it's somehow the reverb from m22, but it's definitely gone in m24.

Yeah that sounds good.


Thanks for checking, files updated.

[Bloop]

I can see why you'd leave out the parallel octaves, it doesn't bother me as much, but either way is fine I think. Then I'll approve!
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[Latios212]

Interesting piece... quite unlike most things I've listened to in a while

-m8: I don't think the F in the R.H. is there in the original

With regards to the F, I can hear one.  I also like matching the cresc with a four note chord.

Hmm I don't think I hear the F either. The chord sounds a bit crunchier than the original because of the minor second between the F and Gb. If you think it sounds right though, that's fine.

-m24: I don't hear the G# here anymore. It's a bit questionable if it's really there in m23 or if it's somehow the reverb from m22, but it's definitely gone in m24.

Yeah that sounds right.

I also think 23 would be better without the G#. Having both the tritone and the major seventh above the D makes this sound quite a bit more dissonant than the original, and the resolution of the previous G# in 22 to the F# in 23 gets obscured by re-striking the G# too.

Other small things:
- The mf is rather high/close to the RH stem in m. 9. Also in m. 13 the mf is a bit higher than the crescendo line (I guess to center it between the chords?)
- The 1./2. endings are too far to the right at the end (would look better above the left noteheads)

[Libera]

Hmm I don't think I hear the F either. The chord sounds a bit crunchier than the original because of the minor second between the F and Gb. If you think it sounds right though, that's fine.

Yeah the F is definitely there but the voicing isn't the same.  I've tried it out both with and without and I think I prefer it with for the reasons I said before i.e. that it helps with the build up into 9.  I agree it sounds crunchier than the original due to the voicing.  I also tried out voicing the chord differently but I think it's kind of confusing to listen to when I changed it.

I also think 23 would be better without the G#. Having both the tritone and the major seventh above the D makes this sound quite a bit more dissonant than the original, and the resolution of the previous G# in 22 to the F# in 23 gets obscured by re-striking the G# too.

Yeah I like this, especially now how it all three bars with this match.

- The mf is rather high/close to the RH stem in m. 9. Also in m. 13 the mf is a bit higher than the crescendo line (I guess to center it between the chords?)
- The 1./2. endings are too far to the right at the end (would look better above the left noteheads)

Hopefully fixed both of these.

Thanks for checking!  Files updated.

[Latios212]

You're welcome! Sure thing about leaving m. 8 as is - good to go now

[Zeta]

This submission has been accepted by Latios212.

~Zeta, your friendly NSM-Bot