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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 ^^

Sounds good then, I've added those notes in

- The pedal markings in m. 21/etc seem a bit far to the right

I think they just appear that way because of all the accidentals, but as I've changed those measures it should look a bit better now. I've always aligned pedal markings with the left side of notes.

- Have you considered writing out the downward rolls as runs instead? It's pretty awkward to try and be sure you're lining up the accidentals with the right notes, and laying them out as runs would also give people an idea on the intended timing as well as help determine fingering easier. (Thinking back, I feel like this applies to a few of your other sheets too...)

Yeah that sounds good! I can't think of many other sheets I submitted that have giant rolled chords like this other than perhaps Corridors of Time? But it's easier to read there compared to the ones that were in this sheet.

-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.

I'll just leave it, so that way the performer can decide whether or not to leave it out.

-m21: You could add grace notes A# and B before the R.H. C here too

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.

Thanks for checking!

something like [...] "Mid-Boss / Proto Piranha"?

This seems like a good idea, it's apparently what the Japanese tracklist does as seen here on the Mario Wiki.

-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.

Makes sense, yeah. I think it should be G# in m11 too since it continues the scale from m9.

-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?

Fixed

-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)

Changed all this stuff too, I think that section sounds a lot better now.

Thanks for taking a look!

Some parts I intentionally adjusted the octaves of since I thought it sounded better or was easier to play

Somehow it's been 8 years and I've never submitted a PM64 sheet, figured it had to happen someday

i'm sorry to accuse you of doing that. pilotwings transcribers unite

All good! It's totally understandable


Also, while I'm here and since I forgot to mention in my last post... congrats everyone! I joined just before the 3K milestone, so it feels surreal that over 2K sheets have been submitted and checked since 2016. It's been a really fun time contributing here all these years and seeing the site grow as new arrangers join

The only reason I made a comment is because there is a rule against plagiarism on this site.

The arrangement of Flight Club I submitted recently is the same one I posted to the forums in 2017, as you can see here. The files linked in that post are still the 2017 draft, evidenced by the http url, Engraver music font, and some incorrect chords. It's such a short and simple piece that any two arrangers' sheets are bound to look practically identical anyway.

Edit: I can't read lol

lmao m26-27 is this going to be the first sheet on site to (almost) contain "The Lick"?

I feel like there's got to be some other tracks that have it, but I can't think of any off the top of my head...

• I feel like the pulse of this is easier felt and read with the tempo written as half note = 93.

Typically jazz pieces like this are written in 4/4 and given tempos in quarters, even if they can be felt in halves. I've seen charts with tempos of 300 or greater lol. It's more of a stylistic choice than a musical one, but I'd prefer to keep it in this sheet.

• On the recurring rhythm for m4 RH beat 4.0, I hear a Gn above the current Dn.

I hear that too, but this is a really weird case. That Gn is actually not being played in the keyboard part, it plays over the bass channel. It's essentially a weird overtone/distortion thing that's there because of how the sample was compressed. If you listen to the PS1 version here, which is 99% the same MIDI sequence, you can see how it's "supposed" to sound. Or you can check the SPC file here. I don't think it's necessary to include.

Yeah that sounds great, added that to m32.

Regarding the swing/triplets thing, I used to do that a lot myself, but a lot of swing music (especially at faster tempos like this) isn't actually exact triplets. It's more of a general feel, so I would prefer to leave it as is.

I arranged this myself and the notes still hold up, only comment I have is about the positioning of the D.C, I feel like it should be a little higher up to be clearly visible

Yknow I think I'm just gonna replace that with a regular repeat sign, since it's only 8 measures long. Idk why I used a D.C. there

As you can see above, the only non-extended SNES version upload on youtube is very crusty-sounding, so here's a clean MP3 rip from Zophar's domain

Title/composer info

You do not talk about flight club

Looking good! (I'm getting Chrono Cross vibes from this one...)

Me too actually... that electric bass + acoustic guitar combination...

- The title only has the quotation marks poking out of the margins if you put it on one line - thoughts about that? Regardless, it seems a bit odd to me to have the subsequent mini-titles on two lines since there's more than enough space there

I had made it two lines for that very reason, but if you think it's fine then I'll make it one line.

- Hearing this for the second layer in m. 20:
You cannot view this attachment.

Yep, I hear that too

- It sounds to me like the melody in m. 25 has an E on top that's resolved to from the previous ascending notes? I similarly hear the top melody a third up frmo what you have in m. 29-30 as well. It's a bit hard to tell though.

I also hear this, as well as a D in m26 and 30.

- In m. 34, beat 1.75 RH sounds like it could just be a Bb like the surrounding phrases?

Still hear Db there

I'm not really sure I hear the A on beat 2.25 prominently at all; maybe omit it for ease of playing as well? Also, while I do hear beat 3.25, it seems that beat 3.5 and 4 (along with some other notes in this line) are more pronounced. Thoughts about maybe adding some accents in this line and similar?

I'm hearing both of those notes, but I do agree they're less prominent. I think adding accents would help highlight the more important notes so the reader can make more informed simplifications if they want to, but otherwise I'll leave that part as-is.

Also discussed m23 with Latios over discord, and we decided to add the restrike in the melody on beat 4.5.

Files should be good to go, thanks for checking!