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Great sheet! Only thing I have to mention is m. 1 beat 3 LH: I hear an additional C above the Bb.

I also hear that, added

This is such a soothing piece!

I know right? Even in just 9 bars it has so much of that Mitsuda feeling to it.

In beat 4 of measure 4, I hear a G in the right hand rather than an E.

Did you mean measure 3? If so, I also hear G there, fixed.

Not a suggested change, just something I'm curious about: in measures 5 and 7, why did you use grace notes rather than a mordent?

Good question; grace notes without a slash are meant to be played before the beat rather than on the beat like a mordent would. In the original track, the Eb and F are played before the next Eb in both RH and LH are played together. Hopefully that sort of makes sense

Thanks for checking! The new files are up now.

m182 & m190 & 198 I'm not hearing the Gn
m187 & 195 I'm hearing Cn with the Gn, this might be undertones
m191 & 199 Again I can hear a Cn
m192 & m200 I don't hear an F# here.
m199 I don't hear a Bb

I still hear those spots as I have written. It's a bit harder to hear under the other instruments in m190/198 but it's the exact same string part as m177-184.

m209-216 What are your thought's on dropping some of the LH notes to add in some of the horns. I think that would add more to the build up.

The driving pedal bass is a large part of what gives m177-216 its sense of tension, which is then released in m217. I'd rather prioritize that than the harmony.

m229 I think I hear the Dn written on b3.25 come in before the Horns. Could just be really slow attack of the horns

No, that sounds right to me. The horns come in right on beat 4, and in m221 too. Fixed that, good catch.

m247 I'm hearing a Gn in the LH not Fn. I also think the roll down to the bottom Cn is also too much to play at tempo.

The Fn is a little tough to hear but I'm still hearing it there as part of that C7sus4, same as m239. Adjusted the LH to make it a bit more manageable.

m290-291 I'm hearing some significant add2 (En) in this chord.

Me too, added.

In addition to the above changes, I also added the in-game transition from phase 2-3 as an option since it ended up being pretty trivial to add.

Thanks for the feedback! New files are up.

info: https://vgmdb.net/album/3952

I still don't hear it, is it in the synth or guitar? If you're confident it's there then that's fine, it's not a huge deal.

Sorry for the delay on this. Listening to it again today I don't hear the D anymore, so I changed it to E.

Whoops, I meant E instead of C (so just Eaug instead of E7#5)

I think I still hear the D there, although there is also the E which I intentionally left out to thin out the chord a little.

m17-24 - I hear a recurring A-F# violin every beat in the RH, and I don't think the C# comes in until m21. Also as a side note, the MIDI file quiets down the LH here, though I assume it's meant to be the other way round.

The RH in this section was deliberately simplified so that part of the arrangement wouldn't sound too heavy. since the first phase is supposed to be a very gradual buildup. The important part was to keep the chord progression (F#m, A/C#, Dmaj7, Bm), so the individual notes were not a priority there. Not worried about the MIDI playback since like all my sheets, they're made primarily for performers, but I'll probably clean up the playback once I'm finished making any other edits to the sheet.

m95-96 - Does the top F# wait until b3 of m96 to change?

I hear it that way in the violin part, the F# to G# motion stands out particularly. The same happens in m32.

m100/104 LH - I think it jumps back down to the E# like it does through most of the piece

That part was taken from the in-game loop (around 2:30-2:44 in the video), where the bass voice does not go to E#. It actually stays on F# the whole time, while another bass voice moves to G for mm.99-100 and 103-104, so I wanted to emphasize that motion in the arrangement.

m144/152 RH - b4 the C plays again here as well

Yep I hear it too but I wanted to emphasize the C-Bb-A-Bb motion, so I intentionally left it out.

m251/252 RH - It might be good to drop the chord an octave to reflect the octave drop in the original.

Good idea, changed that.

m278-281 LH - It seems to be more heavily accented on b1 and b3 through these measures rather than the pattern of prior measures.

The bass drum plays on b.1/3 there but I wanted to emphasize the string rhythms there, especially continuing into m.278 where the RH switches to the tremolo. I realized I started the tremolo too early, in m.276, so I adjusted that as well.

I'd say I can't wait to play the finished version, but I don't know that I ever will. This is a very difficult piece, but boy is it impressive!

Thank you, and thanks for the feedback!

In addition to the above, I also hid the half rest in Layer 2 in m.80 RH and changed m.273 LH from Bb to F.

New files are up now.

m33 & m35 RH beat 4.75: I hear a C instead of a D here.

I already have both a C and D there unless you meant somewhere else?

m34 & m36 RH beat 3. I hear a low G# (and maybe a C?) here.

Yup I hear that too


Files updated, thanks for checking!

[[PSVita] The Caligula Effect - "Sadistic Queen"]

[PSVita] The Caligula Effect - "Sadistic Queen"
[MID] [MSCZ] [PDF] [Original]

Only two sheets in and I'm already done with Finale? Well I might eventually convert this over, but the amount of time saved doing the chords, lyrics, and pedal markings can't be understated.

The very original version of this track is actually slightly different from the Overdose one, and it's not on YouTube unfortunately. I had to get it from the soundtrack CD.

[[PS3] Ar nosurge: Ode to an Unborn Star - "Rainbow Temple"]

[PS3] Ar nosurge: Ode to an Unborn Star - "Rainbow Temple"
[FMID] [MMID] [MUS] [MUSX] [MSCZ] [XML] [FPDF] [MPDF] [Original]

It's been awhile since I posted to my arrangements thread since I usually just send them straight to submissions... but I'm back with an experiment to see what I can do in MuseScore and get used to the workflow again - it's sure changed a lot since 2.0. You can compare not only the notation files, but also the MIDI and PDF exports as well. I will likely continue to provide both Finale and MuseScore files for all my sheets going forward, unless I get lazy (also likely).

I'm ecstatic

Hey I used the same pun on my first update post, things have truly come full circle...

It's been so much fun reviewing all the interesting, creative arrangements I've seen over the years, learning of new games and meeting new arrangers along the way... I miss it, but sadly I have much less time available these days.

But just because I'm no longer an Updater doesn't mean I'm no longer a contributor; expect many more arrangements to come.

Thanks everyone for a fantastic few years of updating!

VGMdb info: https://vgmdb.net/album/97176

The soundtrack version (first video) and in-game version (second video) are slightly different, and I arranged the track in a way that essentially combines both of them with a few adjustments. The transitions (m105-112 and m177-184) were taken from the soundtrack version, and the looping points were taken from the in-game version. The in-game version transition from Phase 2 to 3 (at 12:00 in the video) is quite different, but the soundtrack version is similar enough and I think fits better within the context of the arrangement, so I used that.

I may have gone a bit overboard on this one...

• m28 RH 1.0 would this be a Cn instead of An?
• m70 RH I hear the bottom note is a lower octave of the current top note of each of these half notes (En beat 1, F# beat 3)

I chose the notes I did to fill out the chord since it sounds better imo. For m27-42 and m61-80, the upper two voices are the vocals and the lower voice(s) are notes I picked out from the background harmony that would be both comfortable to play and help fill out the chord. It's hard to tell if there is another lower voice that follows the melody, but either way I would prefer to fill out the chords than transcribe it verbatim.

• m79 RH 4.5 you could add that higher D# that plays, maybe correct it to En? Could add the pedal marks here to accomplish this

That sounds good, added

I also fixed several incorrect chord markings

Okay, I think I understand which note it is representing now, but it seems like a kind of weird inclusion to me. Like I would think if there was more incorporation of background parts, there would be the Gn that's struck on beat 1.25 every time for figures like m1 or m2.

The Cn is playing in the same background synth part that I included throughout the arrangement (the one that plays on beat 2, 3, 4, 4.75), it's basically meant to fill out the chord there (D7). The bass part also plays Cn there. The G on beat 1.25 of those measures is from the arpeggiated part that I wrote down starting in m17, which I didn't want to include in m1-16 so I could prioritize the other parts.

• m6, m14 RH 3.0 I don't hear this Cn

I still hear it in one of the background parts, though I guess it's a bit quieter than the rest

• m36 LH beat 2.75 should this shift to Ab and then all of the rest of the notes be Ab until beat 4.75's Fn?

That's actually in a different part where the G# is played on beat 3, but I think it would sound better in the arrangement to do that so I changed it. Added the attack on beat 3 to line up with the G# but also to mimic the drum fill there.