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it's back!

Title info from here. The OST titles aren't uploaded on youtube (this is the only channel that has uploaded the soundtrack), but I have the OST myself and found that this is the correct title.

[[MUL] Celeste]

After our 5000 sheet milestone last month, we were hoping to get to 10,000 by the next update. Unfortunately we're not quite there yet, but here's a bunch at least!

[MUL] Celeste
"Summit (No More Running Mix)" by PlayfulPiano

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

[MUL] Genshin Impact
"Le duc sous l'eau" by Latios212

[NES] Mega Man 2
"Quick Man Stage" (Replacement) by LeviR.star

[GBA] Mega Man Zero 3
"Cannon Ball" (Replacement) by Olimar12345

[SW] New Pokémon Snap
"Melody Player" by Tobbeh99

[PC] OneShot
"Puzzle Solved" by Francesca Minasi

[N64] Paper Mario
"Huffin' and Puffin'" by Static

[NDS] Pokémon Black Version & Pokémon White Version
"Pokémon Center" by goldenscruff

[3DS] Pokémon X & Pokémon Y
"Kalos Region Theme" by Latios212

[Wii] Rhythm Heaven Fever
"Screwbot Factory" by ThatHiddenCharacter
"Screwbot Factory 2" by ThatHiddenCharacter

[SW] Super Mario Bros. Wonder
"Dark Forest (Normal)" by Bloop

[NDS] The Legend of Zelda: Spirit Tracks
"Zelda's Lullaby" by Cashwarrior1

[SW] The Legend of Zelda: Tears of the Kingdom
"Sky Islands" by Cashwarrior1

[Wii] Wii Play
"Title Screen" by XiaoMigros

[accept]

Agreed, I'll accept!

Ah yeah, so it's just about the G and Bb in m6 then. I'd prefer keeping them lower as to have them consistent throughout the sheet (as I can't move them up as comfortably in m10 and in m31 for example), so that the player doesn't have to slightly change the accompaniment every two bars or so, and so that the arrangement sounds a bit more cohesive (i suppose it's a small detail but still)

Ah yeah I forgot the L.H. could take over some things too, that works!

Looks good, though did you have any thoughts on these?

-m18: The dot from the R.H. F is a bit squished between the staff line and the Eb, maybe you could switch the placement of the two layers (so the bottom layer is on the left instead of the right)? Also, maybe it's easier for the R.H. to take the Bb on beat 2 instead of the L.H., as it's already playing that Bb on beat 1 and 3 too.

[approve]

Nice, then I'll approve!

I removed these (and the last few notes in m20) so that it would be easier to jump from m20 to 21, but if you think it wouldn't be too demanding I can add them. I left it for now though.

I think it's fine, you already left some space for the player to jump up in m20, getting the grace notes isn't that much harder compared to just getting to the C ^^

• 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!

-pickup + m1: There's some more harmony in the brass arpeggio, and the R.H. C on m1 beat 1 is a bit finnicky to get, maybe you could have the L.H. help out a bit here like this?
You cannot view this attachment.
-m14 (and similar): It's a bit hard for the player to have the R.H. run on beat 4 end on the chord on beat 1 of the next measure (increasingly getting harder the bigger the chord ends up getting). Usually for quick runs/scales it's required for the thumb to be on white keys instead of black keys, for lighter key weight and easier finger movement. This means the thumb will have to play the C and doesn't have enough time to comfortable get the lower notes in the chord on beat 1. You'd either have to keep the end of the run as a single note Eb, or change the run to something shorter that doesn't require the player to switch positions (something like a 16th triplet starting on Bb on beat 4.5, or 32nds starting on Ab, in both cases maybe still with an Eb on beat 4 to indicate the 'start' of the run). Also, whichever run you end up keeping, in m24 beat 1 it's probably easier for the player to leave out the bottom Eb in the R.H. as well.
-m17: I think I can hear the notes goldenscruff mentioned here too (maybe the C from beat 1 goes to Db in beat 2?). In beat 4 I can hear the (L.H.) strings rebow too.
-m18: The dot from the R.H. F is a bit squished between the staff line and the Eb, maybe you could switch the placement of the two layers (so the bottom layer is on the left instead of the right)? Also, maybe it's easier for the R.H. to take the Bb on beat 2 instead of the L.H., as it's already playing that Bb on beat 1 and 3 too.

This is looking very good! Just a few tiny things I noticed:

-The bass + drums part starting in m5 is on the difficult side of things, but should be doable: if you want though, you could leave out the E on beat 4.25 so it's a little bit easier to play that ending part.
-m21: You could add grace notes A# and B before the R.H. C here too

[accept]

Awesome, then I'll accept!

Only two small things I noticed:

-The accompaniment part in m15-16 seems to break for the echo effect for the melody, but I assume you kept the L.H. the same for consistency?
-m20: I hear a C below the Eb on beat 3 too

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!

[approve]

Awesome, then I'll approve!

oooohhhh paper mario, nice choice ;3

-m5-6: I think G# instead of Ab's might fit a bit better here? The scale seems to be a kinda double harmonic scale, though with some exceptions later on. I'm mostly doubting because of the Ab going down to G in m11-12, which you could still leave as Ab, but the scale seems to be more E-focused in m5-10.
-m20: I hear C-B-Bb in the R.H. top layer in beat 4 (instead of B-Bb-A). It will be a bit hard to hold that B in the bottom layer though, maybe it's just best to leave that one out?
-m21 and similar: The sitar arpeggios here sound like they're a full phrygian scale down like in m2, so the third note from the top should then be a semitone lower. I think you can add the last two notes too and start the chromatic organ voice on beat 3 instead of beat 2, which gives the player a little bit of time to jump back to that too. Maybe you could also limit the pedal marks to one measure instead of two, as it might start to sound a bit muddy after two bars (especially with the bass run in m24)