[SW] Fire Emblem: Three Houses - "Gazing at Sirius" by Bloop

[Zeta]

Submission Information:
Series: Fire Emblem
Game: Fire Emblem: Three Houses
Console: Nintendo Switch
Title: Gazing at Sirius
Instrumentation Solo Piano
Arranger: Bloop

[Bloop]

i love playing this song lol, the chords are so satisfying

In places where the R.H. doesn't have anything to do (like m1-6) I know it's possible for it to play the missing F5's on beat 2, but I left them out for consistency. There are a lot of small notes which are all optional to play.

[Latios212]

Ooh, great sheet! I had never really stopped to think about this piece before, but knowing Rhea, this piece has a lot of depth to it...

In places where the R.H. doesn't have anything to do (like m1-6) I know it's possible for it to play the missing F5's on beat 2, but I left them out for consistency.

You could always just have the left hand play F4 instead (on top of the existing triad). I think the resulting 4-note chord is pretty comfortable to play and doesn't add a lot of difficulty (don't think it's too reliant on hand size either? It's just a good position). But if you want to keep triads that's fine too.

- In m. 33, I think beat 2 RH should be an F octave and the Ab is part of the LH dyad instead.
- I can sorta get why the high notes are small to indicate they're somewhat embellishments, but is there any reason for the lower voice harmony in m. 47+ (and LH in m. 63+) to be small notes? I don't mind the use of small notes for embellishments in general but they seem unnecessary here. They're just part of the music, intended to be played, and already differentiated by being in a different voice.

[Bloop]

You could always just have the left hand play F4 instead (on top of the existing triad). I think the resulting 4-note chord is pretty comfortable to play and doesn't add a lot of difficulty (don't think it's too reliant on hand size either? It's just a good position). But if you want to keep triads that's fine too.

Oh I don't dislike that actually! Incorporated that in m1-26 and m79-86, in m39-58 the jumps make it a bit harder to play, and the extra voices in the R.H. start to get in the way too.

- In m. 33, I think beat 2 RH should be an F octave and the Ab is part of the LH dyad instead.

Hmm, that would make sense theoretically (I do hear the F in the harp on beat 2), but I would've suspected that the low F would have a similar attack to the piano notes afterwards too, but the Ab seems to have that attack instead. I think I'd rather keep the low Ab in the R.H. and the F in the L.H., so that it's easier to have that Ab accentuated.

- I can sorta get why the high notes are small to indicate they're somewhat embellishments, but is there any reason for the lower voice harmony in m. 47+ (and LH in m. 63+) to be small notes? I don't mind the use of small notes for embellishments in general but they seem unnecessary here. They're just part of the music, intended to be played, and already differentiated by being in a different voice.

I admittedly have used them a bit more in this sheet than I've done in others, but I wanted to show that these voices are not necessary for the arrangement to sound good, while keeping them available for more advanced players that do want to include them if they choose to. I don't play the L.H. small notes in m63-78 for example, and don't play the R.H. small notes in m63-70 to contrast them with m71-78.

Files are updated!

[Latios212]

Hmm, that would make sense theoretically (I do hear the F in the harp on beat 2), but I would've suspected that the low F would have a similar attack to the piano notes afterwards too, but the Ab seems to have that attack instead. I think I'd rather keep the low Ab in the R.H. and the F in the L.H., so that it's easier to have that Ab accentuated.

Ah, I mostly just meant to point out that the melody is supposed to be F here voicing it in this way makes sense to play!

I admittedly have used them a bit more in this sheet than I've done in others, but I wanted to show that these voices are not necessary for the arrangement to sound good, while keeping them available for more advanced players that do want to include them if they choose to. I don't play the L.H. small notes in m63-78 for example, and don't play the R.H. small notes in m63-70 to contrast them with m71-78.

Alrighty, fine by me!

Nothing more from me I think, this looks good ^^

[Kricketune54]

• m15-16, 25-26,  you could add to the RH (as a bass clef) that low F that comes in at about beat 3 of the previous measure, and have it played for two bars.
• m41 RH and 45 I am hearing beat 1 as an Eb half or dotted half, and not hearing that Gn on 2-3
• m49 and m57 RH if I'm understanding how the layers have been done, I think I hear a Cn on beat 3 that could go under the Fn

[Bloop]

• m15-16, 25-26,  you could add to the RH (as a bass clef) that low F that comes in at about beat 3 of the previous measure, and have it played for two bars.

I like adding that F yeah! I didn't put it in the R.H., as it's a bit weird to have the hands cross to take the low F with the R.H. and the high F with the L.H. I also added a cresc. and decresc. swell for extra effect.

• m41 RH and 45 I am hearing beat 1 as an Eb half or dotted half, and not hearing that Gn on 2-3

I hear the Eb too yeah, but I can also still hear the G on beat 2

• m49 and m57 RH if I'm understanding how the layers have been done, I think I hear a Cn on beat 3 that could go under the Fn

I think I originally left it out because it was already on beat 2 in the L.H. anyway, but I added one in beat 3 for the L.H. too!

Updated the files!

[Kricketune54]

Yeah I can hear that Gn now for m41 and 45. Other stuff looks good, and I have nothing else to add. Accepted

[Zeta]

This submission has been accepted by Kricketune54.

~Zeta, your friendly NSM-Bot