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Oh yay! I'm glad it's familiar for you. Your original suggestions definitely helped.
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Thanks, I'm happy to hear that! The sheet wouldn't be where it is now without your help. *high-five*

Sorry for not responding originally when you made these changes, but looks like you've implemented them now!  This sheet sure is a tricky one...

I'm happy to approve now, but I've just got two small things I can spot.
-I think when I suggested removing the parenthesis on beat 2.5 in bar 14, you accidentally also removed the one on beat 2 which should still be there.
-The copyright/url isn't aligned to the bottom margin.  (You may also need to bring the systems on page 1 up a bit to accommodate for it.)

Really looking forward to getting this one accepted!

- m. 5 missing B harmony in RH first beat

I agree with this.

- I think the RH of m. 2/4 should all be thirds

I agree with Gav that there isn't a high Bb below the D in the RH of bar 2 (at least not that I can hear.)  That being said, I can hear Bb Bb D beneath the RH in bar 4, in addition to the lower third pattern (Bb C D) that Gav has already written in.

I'm pretty confident the C# is there and I like the color it gives the otherwise distant interval between LH and RH

I can't hear this C# either.  I think you're just hearing the C# from the previous dyad bleeding through.

In addition, I don't hear the final F# note in the LH of bar 8 at all.  It sounds like a B to me.


The sheet looks good though aside from these slightly fiddly transcription things.

Sweet, no worries! Accepted!

I don't know what your usual margin choices are, but I'd recommend 0.5 on the right and the top to match the bottom.  Also, the url should be aligned to the bottom margin.

All the notes and stuff look good though!

I've got some new arrangements to post here

Dark Daybreak: [Musx] [Pdf] [Midi] [Mus]
Where the Egg of Dreams Hatches: [Musx] [Pdf] [Midi] [Mus]
Grahf, Ruler of Darkness: [Musx] [Pdf] [Midi] [Mus]
lost... Broken Shards: [Musx] [Pdf] [Midi] [Mus]
The One Who is Torn Apart: [Musx] [Pdf] [Midi] [Mus]

[The Loser]

The Loser
Just two things, everything else looks great:
- Beat 1 of measure 5 should either have its voices separated or be flipped downwards (right now it looks like there's something missing beneath)
- It would be nice to write in a high Bb in m. 14 to capture that high chime in the original.

Should now be fixed.

Don't Be AfraidIt looks great! Just a few things that you don't necessarily have to add:

• I think it's worth adding the pickup
• That pattern in m10 and m18 sounds like there's a B and F on beat 4.5, but it is understandable if you intentionally omitted that

I've added the pickup; I hope you're happy because I had to redo the distribution for the whole sheet because of it.  In all seriousness I think it looks better now so thanks for making me do that haha.

Also I added those extra notes in 10 and 18; I'd just missed them when I was writing it down earlier.


Thanks for checking, you two.  It's much appreciated!

It's been a while (again).  I've got some new arrangements to post here but first let me get the replacements I made for the recent project up here.  It's all Final Fantasy stuff, from VIII and X.

Don't Be Afraid: [Musx] [Pdf] [Midi] [Mus]
Fithos Lusec Wecos Vinosec: [Musx] [Pdf] [Midi] [Mus]
The Loser: [Musx] [Pdf] [Midi] [Mus]

Bravely Forward: [Musx] [Pdf] [Midi] [Mus]

Sorry for taking a while to get back to you on this.

I don't think i hear this at all. There is a c, but I'm pretty sure it's the harmony, not the melody. My main justification for this is the consistent downward motion of the phrase. Upward would sound different to me.

Yeah, listening again I think it's fine.

That's actually what I had originally, but I really liked Static's suggestion:

I understand changing the bass note on beat 1, but the changing the top note I don't understand at all.  It makes it sounds completely different to the original and is well... just wrong.  I don't get it at all.

I did initially, before removing it. The main issue I had was that there were two ways to differentiate it.
A) What is written is the 2nd part, and a simpler version is the first part. I decided against this because the buildup from the previous section I have would stop in its tracks if I simplified it further, as the rising complexity of the intro before the simplicity of the piano part would take a giant dip in the middle.
B) Keep what is currently there as the 1st part, and write something else for the 2nd. I decided against this because I had issues coming up with something substantially complex enough without being either too difficult to play or too similar to what is currently here. Simply adding a 4th below harmony to the first layer felt really cheap and ineffective, so I just left it as a repeat. Does that answer your question?

Sounds like you've tried it out and it didn't work so well, so I'm happy to leave it as is.  I just wanted to make sure we'd explored the option, that's all.

Other stuff I haven't mentioned is fine, although maybe Static could weigh in on the harmony in 9-16 that we were unsure about.

Thanks for checking!

- The staccatos in m15 LH should be below the noteheads rather than above.

Good catch.

- Very minor, but the "cresc." in m16 is pretty low, instead of being closer to the middle between the staves. I only bring it up because I worry that someone might interpret that as "cresc. LH only," so I would recommend moving the "cresc." up a bit (and if you're keeping dynamics aligned, there's some space to move the dynamics in m19 slightly upward too).

Yeah that is very minor.  I moved it a little but honestly I don't think this is very important at all.

- Since you have the white space for it, you might consider increasing the space between the two staves in each system (or only some systems), which could allow you to place the dynamics in m20/24 between the notes instead of being offset to the side. m24-25 are also a little vertically crowded with the slurs.

I don't think opening up the staves is worth it just to centre the position of one dynamic, and, once again, the existence of white space is not an argument in favour of making comically spaced out layout choices.  Bars 24-25 are a little cramped due the slurs, I agree, but the following two bars on that system are much less dense, so it's not as easy as just opening the staves up until 24-25 look perfect.  In any case, I've added a little bit of extra space there to alleviate the issue slightly.

I think you're right on both cases and I've put up new files.  Thanks for checking!

Made the suggested edits, thanks for checking. 

Regarding the subtitle, I actually had already moved it lower than my template before I submitted it.  I then lowered it again at your request but forgot to mention it in my previous post.  I'll lower it once more but I'm not going to bring it down any further than this.

All good points.  I've updated the files.

Unless we're thinking about different things in 35-36 and you were suggesting writing the RH with two layers, in which case I'd prefer not to.

Thanks for checking!

In the beginning section, would you want to notate separation between notes at all? The original is clearly separated with the 16ths, but without direction it's hard to tell that it should be that way from the sheet.

I've added in a direction which I feel is probably sufficient.

But also in measure 15, you've got two quarter rests on beat 3 in the left hand and I can't tell why. To me, seems like a typo.

I'm not really sure what the issue you're seeing is.  Yes, it should be two crotchet rests, because the bass doesn't do anything on beats 2 and 3.  Maybe there's some miscommunication.

Also in measure 15, the staccatos so close together between the staves gives me pause. It's not technically a problem, but I feel like a bit more space here might go an aesthetic distance.

Personally, I don't think it's much of an issue but I've widened it a little anyway.

Actually on the subject of spacing for aesthetic distance, you've got a lot of page space to use. It's good to use the white space, aye, but I'd suggest definitely giving everything plenty of space to breathe as well. Page 2 especially could use with a bit more space.

I'm not entirely sure what you want me to do here.  I don't think that comically spreading the staves out to fill up the white space simply because it's there is a good idea (having massive gaps between staves is itself a problem), but I have spread it out a little more.

What a cool song! Also this looks wonderful; lots of love for the contrabass.

I think that's it from me though; I love the song, the ledger lines, everything. What a great sheet!

Thanks!  And thanks for giving it a look.

Looks good!  While I was fixing the v26 articulations I also noticed that the url, mini title and page number weren't correctly aligned to the margins so I fixed that also, which I hope is alright with you.

Accepting now!

Generally looks pretty good!  Did Nobuo Uematsu actually compose this?  I know he did the main theme that it's based off of but I wasn't aware he'd done any of the other tracks in Brawl.

With regards to the arrangement, the one thing I'd suggest is changing the bass note in the chords for bars 3-4 to an En, like this:

Spoiler

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My reasoning is that those two bars are lighter on the bass compared to the pattern in all the other bars, but if you keep the bass note as a C like you have you lose the contrast that those two bars give in the original.  Also, you're missing the En anyway so there's no harm in adding it.  You could also add the En in for all of the other offbeat dyads, but I assume that you thought it'd be too annoying to play like that, which is fair enough.

Everything else checks out, although I need to fix some articulations afterwards I think.