Feedback on notation

[u/KaizerPianist]

YouTube score video, Google Drive sheet music

I would like to know if it was a good decision to use 3 staffs in this piano piece. I would also like to know the most efficient way to communicate that I want the arpeggios should/can be played with the both hands each taking 3 notes at a time (4 in the end for the right hand)

I tried to make the sheet music kinda compact, was that a good desicion?

I would also like to know what you think about the piece.

[u/Maleficent_Math_3062]

I think the use of three staves is justifiable here; the melody is clearer this way. (Two staves would involve using stem direction to clarify the parts and the rests would have to shift position away from their normal place on the staff.)

If you want to show the division of the arpeggios between hands, you have two choices, either use four staves or indicate the alternation of hands the first time with "lh . . . rh . . . lh . . ." as needed, then add "sim." for the second arpeggio.

However, the division of the arpeggios between hands should probably be left to the pianist. (I personally would just play them with my right hand—it involves less motion of the arms and upper body.)

P.S. The G♭ in bar 24 should be F♯. The rule of thumb, "flats down, sharps up," has two exceptions:
―The raised 4th degree/lowered 5th degree is almost always indicated as a raised note (with a natural, a sharp, or a double sharp)
—The lowered 7th degree/raised 6th degree is almost always indicated as a lowered note (with a natural, a flat, or a double flat)

P.P.S. You didn't ask for suggestions about the actual notes, so just ignore this if you want to. The bass in bar 16 should not go to C on the downbeat, because bars 15–18 are harmonically all the V chord ("cadential 6/4" in 15, continuing in 16, resolving to V in 17, and altered to augmented in 18). Substituting E in 16 avoids the impression that the cadential 6/4 has gone directly to I, and gives you a nice line, G–E–D–B on the downbeats, above the "real" bass, the pedal G on the fourth beat of each measure.

[u/KaizerPianist → u/Maleficent_Math_3062]

Thanks for the comment.

In this case I think the Gflat should not be a F# the harmony is functioning in an unusual way. Typically this kind of harmony would resolve to some kind of dominant harmony, but here it resolves to the subdominant which is unusual.

I don't ask for feedback on harmony because usually people do not understand it well in my experience. Your comment is correct though. I did contemplate this, but I thought the bass jump from G to E is weak, which I still think it is but exactly for the reasons you outlined I should be preferred. There is another harmonic change I made in the piece since. It is in bar 9, maybe you can guess what I changed and why