[SNES] Final Fantasy V - "Cursed Earth" by FierceDeity

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Submission Information:
Series: Final Fantasy
Game: Final Fantasy V
Console: Super Nintendo Entertainment System
Title: Cursed Earth
Instrumentation Solo Piano
Arranger: FierceDeity

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[FierceDeity]

For reference:

[Bespinben]

This sheet is perfect. Thank you. Great job interpreting the percussion for piano.

There is one thing I would suggest for measures 22-24. It's common practice to combine two voices into one layer when the two voices are rhythymically in unison. So, for example, in the RH of measure 22, beats 3 &4, you would write the two notes both in layer 1, and then hide the resulting half rest from layer 2 by clicking "h". I think some dynamic variations would serve nicely in these measures also, but that call is entirely up to you.

[FierceDeity]

I try to avoid combining voices when earlier in the measure they had different rhythms/needed to be split so that the voice leading's clearer (which is kinda funny for this piece, seeing as the two voices had identical rhythms before I simplified the bottom one to work for piano). My comp professor's actually made me change things I've written to this way before. Should I still change it?

As for the dynamics, yeah, I think I'll raise it around 23, crescendo into 25, and decrescendo for the last two bars. I was originally thinking that the added voice in the left hand would raise the intensity enough since it's in octaves, but come to think of it, it won't make a significant difference on piano (or even any difference whatsoever on the first beat of 23).

Uploading the changed version momentarily.

[The Deku Trombonist]

What Bespinben said about the voices is quite often seen in piano music. Check out some Debussy and others.

I dunno, but having said that I'd possibly chalk this up to personal preference too.

[FierceDeity]

Fair; my experience with this is more involving double stops in strings (as well as split voices, which are definitely more tiered toward the "once apart, always apart" approach), so I can understand why it might be typical to see it written differently for piano. Fixed.

[Bespinben]

Hate to be super nitpicky, but since you're using this notation now, it would also apply to the LH of m. 23-24. You would still keep the first beat double stemmed as you have it though.

[FierceDeity]

Mehhh. If it's a problem having it kept this way with the other one switched, then I think I'm just gonna switch it back, because my personal preference is 100% to keep this part as two voices. The RH I'd accept because it's actually just harmonizing with the top line, but this is very distinctly a separate voice from the bassline. Going from double stem for one note to single stem on two notes within a single measure just seems like a reeally unattractive way to write that.

[Bespinben]

It's a bit jarring, yeah. I picked up on these silly conventions while scouring through hymnals during my scarce free time on my mission. Here's a good example: http://media.ldscdn.org/pdf/music/hymns/2001-01-2000-christ-the-lord-is-risen-today-eng.pdf?download=true

And if you're gonna change it back, do it quick so I can accept this sheet and rest in peace tonight

[FierceDeity]

Ah, ok. That's an interesting example; I don't actually read much choral music outside of theory classes, so it's funny to think how much my aesthetic must be informed by the stereotypical SATB "every voice is stemmed outward" thing that's probably just for the purposes of analysis.

And you got it. Though "rest in peace" sounds slightly morbid, haha.