[SW] Pokémon Legends: Arceus - "Chat with the Professor" by Latios212

[Zeta]

Submission Information:
Series: Pokémon
Game: Pokémon Legends: Arceus
Console: Nintendo Switch
Title: Chat with the Professor
Instrumentation Solo Piano
Arranger: Latios212

[attachment deleted by admin]

[Latios212]

The soundtrack listing is the only one I've come across with things well labeled and ordered. I don't think there's an official source for names though - and I don't really agree with the title here. Since it plays once in an area at the beginning of the game where you learn how to catch Pokémon and not in subsequent conversations with the professor (he has his own separate theme), I would be more inclined to call this something like "Introduction" or something of the sort - particularly because this seems to be the "main theme" of the game, also heard in the first Obsidian Fieldlands theme. Thoughts?

[cashwarrior1]

I also wouldn't call it introduction since it uh.. plays in other parts of the game.. but everyone's naming it after when it first appears so I guess that's the only thing we got

[Latios212]

oh that's fair, I haven't finished the game yet lol

[Bloop]

quickest feedback ever
Nice work on this one! Since this is likely the only name people can look up to find the original, it's probably best to keep it as is.

-m2-3: Maybe it'd make sense to put the C's of beat 1 in these measure as whole notes in a separate layer too? They have pretty much the same function as all bass notes in the rest of the sheet, but just an octave higher.
-There are a few instances in this piece where the L.H. plays a note that's in the R.H. melody (or technically its second voice) as well. Those are currently not that clear in the sheet though. Maybe it'd make sense to either move these to the R.H., or add it to the R.H. and add parentheses in the L.H.? These are the places I noticed:
  -m4: E on beat 3
  -m6: F# on beat 3
  -m12: C and E on beat 3 (parentheses option: I'd add them to the E and delete the C)
  -m14: D and F# on beat 3 (parentheses option: I'd add them to the F# and delete the D)
  -m15: If you go for the parentheses option, I'd add an F# to the L.H. on beat 3 in parentheses as well.
-m12: There's a G below the C in the R.H. on beat 1 too.
-m13: I hear the E in the L.H. on beat 3 here as well (should still be playable, even though the R.H. is in that area as well)
-m19: The rhythm on beats 3-4 R.H. should be a quarter triplet as well. Also, maybe you could tie over the C in the L.H. to a half note as well, instead of adding a rest?
-m20-21: I hear an F# in the C-Eb-C chord on beat 3. This chord ties over into m21 as well for about a half note.
-m21: I hear a D# on beat 3 in the R.H. as well (like the third note
-m24: Rhythm on beats 1-2 R.H. should be a quarter triplet as well. It's probably best to remove the An on beat 2.5 from the L.H. and put it back in the R.H. Also, this A octave also ties over into m25 for about a half note.
-m27: I hear a D on beat 1.5 in the R.H. second layer too (the D just above middle C)

[Latios212]

quickest feedback ever

sorry I'm slow to respond u__u had a lot of things to do

Nice work on this one! Since this is likely the only name people can look up to find the original, it's probably best to keep it as is.

Thanks! Yeah I'll just leave the title as is now. Hopefully an official soundtrack release one day will clear things up

-m2-3: Maybe it'd make sense to put the C's of beat 1 in these measure as whole notes in a separate layer too? They have pretty much the same function as all bass notes in the rest of the sheet, but just an octave higher.

Yep!

-There are a few instances in this piece where the L.H. plays a note that's in the R.H. melody (or technically its second voice) as well. Those are currently not that clear in the sheet though. Maybe it'd make sense to either move these to the R.H., or add it to the R.H. and add parentheses in the L.H.? These are the places I noticed:
  -m4: E on beat 3
  -m6: F# on beat 3
  -m12: C and E on beat 3 (parentheses option: I'd add them to the E and delete the C)
  -m14: D and F# on beat 3 (parentheses option: I'd add them to the F# and delete the D)
  -m15: If you go for the parentheses option, I'd add an F# to the L.H. on beat 3 in parentheses as well.

Yeah, I thought about this a bit. I wanted to opt more for "how to play this with two hands" rather than preserving the voices since it's easy to play but writing it with the voices explicitly like they are in the original can get a little weird looking. I edited m. 4 and 6 with parentheses. For m. 12 and 14 though, I explicitly wanted those lower notes there to keep the melody in octaves to differentiate it from the first iteration. I added parentheses in m. 12 and wrote the E in the RH in m. 12 and F# in the RH in m. 14. I didn't change anything about 15. It still doesn't have the same separation of voices as in the original but I'd prefer to keep it apparent to distribute between two hands. Let me know if you still think any of these places should be changed.

-m12: There's a G below the C in the R.H. on beat 1 too.
-m13: I hear the E in the L.H. on beat 3 here as well (should still be playable, even though the R.H. is in that area as well)
-m19: The rhythm on beats 3-4 R.H. should be a quarter triplet as well. Also, maybe you could tie over the C in the L.H. to a half note as well, instead of adding a rest?
-m20-21: I hear an F# in the C-Eb-C chord on beat 3. This chord ties over into m21 as well for about a half note.
-m21: I hear a D# on beat 3 in the R.H. as well (like the third note

Got these!

-m24: Rhythm on beats 1-2 R.H. should be a quarter triplet as well. It's probably best to remove the An on beat 2.5 from the L.H. and put it back in the R.H. Also, this A octave also ties over into m25 for about a half note.

Ah... this is a bit more awkward to play now changed though

-m27: I hear a D on beat 1.5 in the R.H. second layer too (the D just above middle C)

I don't think I hear this?

Thanks for the feedback, files updated accordingly ^^

[Bloop]

Yeah, I thought about this a bit. I wanted to opt more for "how to play this with two hands" rather than preserving the voices since it's easy to play but writing it with the voices explicitly like they are in the original can get a little weird looking.

Yeah I see what you mean: my reasoning for keeping the voices clear is that if the player wants to play the accompaniment softer than the melody (like it is in the original too), it's clear for them what is actually part of the melody and what isn't.

I edited m. 4 and 6 with parentheses. For m. 12 and 14 though, I explicitly wanted those lower notes there to keep the melody in octaves to differentiate it from the first iteration. I added parentheses in m. 12 and wrote the E in the RH in m. 12 and F# in the RH in m. 14. I didn't change anything about 15. It still doesn't have the same separation of voices as in the original but I'd prefer to keep it apparent to distribute between two hands. Let me know if you still think any of these places should be changed.

Yeah originally I'd probably have liked the bottom octaves in the R.H. too, but I think what you have now works as well: listening to the original, those E and the F# sound a more accentuated than the bottom note of the melody, so I think it's alright to have those hide in the accompaniment part too.

Got these!

You only missed this thing about the chord in m20 beat 3:

-m20-21: [..] This chord ties over into m21 as well for about a half note.

I don't think I hear this?

It's a bit soft yeah, but I do hear at the very least something happening on beat 1.5. It's a bit clearer for me listening at full speed (if you happened to listen to it slowed down).

Also, I just noticed that the rhythms in m13 and 15 on beats 3-4 are quarter triplets as well. It's sometimes quite hard to hear the difference between the two, lol. Everything else looks great!

[Latios212]

Yeah I see what you mean: my reasoning for keeping the voices clear is that if the player wants to play the accompaniment softer than the melody (like it is in the original too), it's clear for them what is actually part of the melody and what isn't.

Yep makes sense! I'd still prefer to keep it since I think it still works if the performer accentuates the melody as written, and it's not too difficult to interpret what's the melody here d:

You only missed this thing about the chord in m20 beat 3:

Also, I just noticed that the rhythms in m13 and 15 on beats 3-4 are quarter triplets as well. It's sometimes quite hard to hear the difference between the two, lol. Everything else looks great!

Whoops, got these!

It's a bit soft yeah, but I do hear at the very least something happening on beat 1.5. It's a bit clearer for me listening at full speed (if you happened to listen to it slowed down).

Hmm yeah it's quite soft indeed... that said I think it makes sense to write something in here to fill in beat 1.5 like in the other measures. But I feel like if I strain to hear something there it sounds more like an F, so I've written that in for now.

Files updated, thanks again

[Bloop]

Hmm yeah it's quite soft indeed... that said I think it makes sense to write something in here to fill in beat 1.5 like in the other measures. But I feel like if I strain to hear something there it sounds more like an F, so I've written that in for now.

I still hear a D personally, but I guess that's something to have a third opinion on :p

Everything else looks good, so I'll approve!
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[Static]

This looks pretty great, don't have much to add:

• m12 RH beat 1: Maybe put another arpeggio marking here
• m23 RH: The second and third notes are missing an inner piano voice (E to D).
• m26 RH: Missing a D under the F

[Latios212]

m12 RH beat 1: Maybe put another arpeggio marking here

I think I'd prefer to not; the chord is slightly broken but I think it makes a bit more sense not to roll it, in line with m. 4.

I've added the other things though, thanks for catching those!

[Static]

All looks good, I'll accept now

[Zeta]

This submission has been accepted by Static.

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