[GCN] Tales of Symphonia - "Kratos" (Replacement) by Francesca Minasi

[Francesca]

Bumping for arranger, are you still around to work on this one?

Yes! I have updated the files.

• You could move the dynamic down a bit so it's more centered between the staffs.
• from m9-16 LH I do hear 5ths or 3rd's of the LH chord root note currently present. For example G's above the C's in m9, and C's above the A's in m10 and A's above the D's in m10.
• m13 to m16 this is not really a viable in the current octave if you choose to do two melody octaves from m9 to the end, but I do hear some held notes like the following (screenshots of m13 and m16)

I moved the dynamic and added the notes. I kept the melody octaves up until m13, where the held notes start. Does that work?

[Kricketune54]

I moved the dynamic and added the notes. I kept the melody octaves up until m13, where the held notes start. Does that work?

One final thing from this feedback for m11 - would consider putting parentheses on RH beat 1 as that is going to be a bit difficult to play considering the LH's notes.

Couple other final points:
• I think moving m10 up to the 3rd measure system looks a bit cleaner for the sheet's measure distribution. So 4-3-4-3-3 overall
• m15 RH would look a little clearer on beat 1 with the layers moved like the attached image:

[Francesca]

One final thing from this feedback for m11 - would consider putting parentheses on RH beat 1 as that is going to be a bit difficult to play considering the LH's notes.

Updated! Also, I put parentheses on the low G in m9 upper staff, because it coincides with the one on the lower staff.

Couple other final points:
• I think moving m10 up to the 3rd measure system looks a bit cleaner for the sheet's measure distribution. So 4-3-4-3-3 overall
• m15 RH would look a little clearer on beat 1 with the layers moved like the attached image:

Updated. Though, the systems are now actually 3-3-4-3-3, as they're 16 in total.
Also, I wanted to mention that the E pedal in m16 is a bit complicated to keep, as the hand would have to stretch up to a 10th. Should I change that? And should I also implement some phrasing throughout the whole arrangement?

Thanks for your feedback!

[Kricketune54]

Sorry for bit of a wait, I'm sort of just getting back into routine...

Updated! Also, I put parentheses on the low G in m9 upper staff, because it coincides with the one on the lower staff.

Good catch

Updated. Though, the systems are now actually 3-3-4-3-3, as they're 16 in total.

Good count, this looks good.

Also, I wanted to mention that the E pedal in m16 is a bit complicated to keep, as the hand would have to stretch up to a 10th. Should I change that?

Yes... for this I would assume the player is just going lift after playing both E's (and from my own attempt). This is a case where I think I'd be okay leaving the phrasing as is for consistency with the original track, but if you would rather not, you could remove the lower E from that 2nd layer and make it an 8th note length the first layer

And should I also implement some phrasing throughout the whole arrangement?

By all means if you want to add them feel free to, I think it would go well for the RH

[Francesca]

Yes... for this I would assume the player is just going lift after playing both E's (and from my own attempt). This is a case where I think I'd be okay leaving the phrasing as is for consistency with the original track, but if you would rather not, you could remove the lower E from that 2nd layer and make it an 8th note length the first layer

The pedal works, I've left it as is.

By all means if you want to add them feel free to, I think it would go well for the RH

I've added phrasing in the upper clef, though it's all just legato.

Thanks for the feedback!

[Kricketune54]

Sorry for a bit of a change - looking at m15 again at the PDF, it is a little confusing looking from what I recommended. My new suggestion would be to orient it as follows (will need to manually move that second layer dot for the dotted quarter)

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Given that's on me though, I will give you the approval.

One additional recommendation I will make is to add the treble clef into m8 halfway through. This will allow the slur to go a bit lower.

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[Francesca]

Sorry for a bit of a change - looking at m15 again at the PDF, it is a little confusing looking from what I recommended.

All good, updated.

One additional recommendation I will make is to add the treble clef into m8 halfway through. This will allow the slur to go a bit lower.

Yes, that works. Updated.

Thank you for the feedback!

[Bloop]

Notes all seem good to me! There's just some arranging decisions I would've done differently.

-While writing this in 6/8 isn't necessarily wrong, you could also write it in 3/4 with all note values doubled (so the l.h. in the first measure would be quarter, quarter, triplet 8ths). If you feel strongly about feeling it in one beat, you could even keep the tempo marking as dotted half note = 38. Whatever you prefer though! I'll use the original measure numbers for now.
-Usually legato slurs don't end and start on the same note, like they do in m5 and other places. It'd be best to either move the end of the slur one note back, or the start of the slur one note forward, or even alternatively, leave out the slurs all together and write "legato" or "legatissimo" at the start of the melody.
-m10-11, as well as m12 beat 6: All these notes should have their stem direction flipped.
-m11: I don't think you necessarily need the parentheses around the low E in the R.H., as the R.H. can easily take that note.
-m13: Personally I think the melody loses a bit of power when leaving out the bottom octave here. You could still add it, with these little changes:
    -m15: The dotted quarter note G would have to be removed, because moving it down an octave brings it in the same octave as the L.H.
    -m16: There will be an overlap between the melody and the dotted quarter notes E and F#. These dotted quarter notes could be changed to A and B. I hear these notes softly in the strings in the background too ^^

[Francesca]

-While writing this in 6/8 isn't necessarily wrong, you could also write it in 3/4 with all note values doubled (so the l.h. in the first measure would be quarter, quarter, triplet 8ths). If you feel strongly about feeling it in one beat, you could even keep the tempo marking as dotted half note = 38. Whatever you prefer though! I'll use the original measure numbers for now.

Unless there is a specific reason to write this arrangement in 3/4, I find 6/8 to work well and the notation to be clear either way; as to why I decided to go for the latter, it seems to me that a slower ternary tempo is more adapt for the track, compared to a rapid binary one, but I'm open to other considerations.

-Usually legato slurs don't end and start on the same note, like they do in m5 and other places. It'd be best to either move the end of the slur one note back, or the start of the slur one note forward, or even alternatively, leave out the slurs all together and write "legato" or "legatissimo" at the start of the melody.

That makes sense! I thought of that too, but decided to phrase the melody that way because I had seen it done in many books of classical arrangements (though, some stuff was notated quite strangely on those too). I ultimately decided to push the start of said slurs one note forward, because placing a legato or legatissimo expression mark might weirdly contrast with the periodic lower staccato.

-m10-11, as well as m12 beat 6: All these notes should have their stem direction flipped.
-m11: I don't think you necessarily need the parentheses around the low E in the R.H., as the R.H. can easily take that note.
-m13: Personally I think the melody loses a bit of power when leaving out the bottom octave here. You could still add it, with these little changes:
    -m15: The dotted quarter note G would have to be removed, because moving it down an octave brings it in the same octave as the L.H.
    -m16: There will be an overlap between the melody and the dotted quarter notes E and F#. These dotted quarter notes could be changed to A and B. I hear these notes softly in the strings in the background too ^^

Yes, updated!

Thanks for the feedback.

[Bloop]

Unless there is a specific reason to write this arrangement in 3/4, I find 6/8 to work well and the notation to be clear either way; as to why I decided to go for the latter, it seems to me that a slower ternary tempo is more adapt for the track, compared to a rapid binary one, but I'm open to other considerations.

My original thinking was having the ternary beat shown in quarter notes rather than 8ths helps with the song looking slower, but I think either way works. Probably easier to just keep it as is ^^

Everything else looks good, so I will accept!

[Zeta]

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