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I think it confuses things just a little bit and having the b1 quarter notes be staccato with a dotted half note in the second layer would communicate that just as well.

For what it's worth, I think it would actually sound just fine with completely removing that note, the extra silence brings attention to the melody and the piece is "slowing down" here anyways.

m34 rh b 4.5 - I'm hearing an Eb harmonizing the melody (its not an awkward hand movement either).

m52 lh b4 - Thoughts on repeating the Eb-Bb-Eb here to represent the crash? The bass doesn't play this but I think it'll be a cool effect.

Fixed/Added

I also hear the trill.. but I also think it'd be difficult to play so its up to you.

I finally heard the trill, like once. Still don't think it is very playable, I've added a grace note which I think is a good compromise.

I think the melody should be an octave higher (there are trumpets playing the melody and they are definitely not playing that low) and could split between both hands. Though I also think what you have represents the melody and bass just fine so that's up to you.

I don't think the trumpets are playing the melody here (its the lower horns) and I hear the trumpets play what I have in the RH currently. I do hear them m18 on the melody so I doubled it there.

All this to say, I think the G on b1 should be moved up an octave and both the Bb and Fb on b3 up an octave with how they're voiced currently.

How about I move the whole thing up an octave? I still hear Db Fb as main movement, and now it encloses the Eb of m33.

m20 rh b1.33 - I'm hearing the top trumpet line move up to Bb here (could omit the bottom Eb for playability).

I'm not hearing the trumpets go up. Might be some harmonics with bass Bb, volume/accent shenanigans or drums.

m21 rh b4 - I'm hearing the strings play an F-C dyad here. I'm also hearing a lower F on b3 here that could be placed in the lh.

Did you mean b2 for the LH F? Added the F-C Diad.

m23 rh b1 - Thoughts on including a Db in this chord for more impact?

The FF is there for the impact. I think a Db there takes away too much of the grand openness, Ab fits better, but I'm not sold on this.

m46 rh - The notes for the arpeggio are not entirely correct, I'm hearing it like this.

Those notes are actually the harmony in m0 huh. I swapped the middle two notes of the arpeggio so the melody comes through.

m55 - Any reason why the quarter-eighth rhythm isn't represented here?

What rhythm are you talking about, is it just played in the drums? I can add it to the bottom note of the left hand. I was also thinking if I should add some stuff to m17-24 for the snare drum, only m21-22 needs it tbh.
m25 I corrected the hand marker directions. The Ebs could also be put in the LH staff, but it breaks the visual flow of the melody too much for me. (It's not like there's quaver stem lines showing you its part of the same line)

I just noticed m6 should have a courtesy accidental Ab, and there is extra rest in m8 that I will add in the next revision.

Nice piece.
I don't hear any notes different to transcribed. I think there is a strings doubling the bottom note of the chord down an octave, but that seems silly to include.

The con pedale direction may lead performers to hold the pedal for 2 bars, whereas including some |______| then a simile would probably convey a more accurate pedaling technique.

Wow big piece.

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

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.

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

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.

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

I can hear a kick b4 of m19. Maybe you could add a F# a fitfh below the C# in the LH 

m14 This measure currently feels too open unless you hold the pedal from the previous bar.
I'm not entirely sure but I think I hear an An Dn En in the bass b1, which sounds a bit too crunchy.
Changing the bass to AnDn b1 makes it feel fuller like the original.

m16 I'm hearing the bass as BnEn. The bass rehits on b4 as well, not b3.

m13-16 I think you can add the full strings line to the RH. (An      |F#  An  |Bn      |G#  Bn  |A#)

m28 I'm not hearing a Bn A# crunch, I'm pretty sure the LH has an A# instead.
m28 I'm hearing the approach as from A# to C#: This is how I would write it.

 
m32 I think the missing crunch here is a Gn in the LH

m1 You can add a Con Pedale text to let the performer its okay to add pedal.

m24 I'm hearing the LH as An, F#D# D#Bn

m27 I'm hearing the cello go An Gn, and the accordian doing EG diads. I would suggest just EG diads.

m28 I hear a F# b3 in the piano that should be added to the LH.

m32 Is there a reason why the F# in the LH is not down the octave?
m32 I'm hearing b2 and b3 as the same as in m24 (F#D#, D#Bn)

To have a consistent feel I think m33 and m34 should be diads with the same notes as the current broken diads.

m36 I hear the bass go down an octave b2

In m43 if you can use Ctrl + Shift + Up in musescore to move the LH notes up the RH and hide the crotchet rest that would be better I think.

m52 Instead of the En Bn En small notes, I think adding the accordian  doing Gn F# Gn Bn En would be better.

Can you confirm that the LH is primarily a new part, mapping the general harmony and movement of the original?

m45 You could add an En to the RH b1.0 chord to match the harmony better
m45 I'm hearing b3 as a sus4, so can bump C# up to Dn in b3.0 and add a C# b4.0

m47 What's the bottom voice supposed to be representing? I can't quite hear it in the original if it is there. It also needs to resolve the sus4 on b2.75 or b3.0.

m50 I'm hearing "melt" on b2.25 and "in" on b2.75 as a F# approach note

m53 I hear "me" go up to F# on b3.25

m56 I'm hearing "would" on b2.0, "let" on ~b2.25 and "me" on b2.75, The vocals are a bit loose in rhythm, "let" might be better on b2.375

m59 b3.0 sounds like an F#sus4. I would just change the A# to a Bn and let the guitar resolve it.

m61 This RH is better, but I'm having trouble playing the EGF#. I think the RH would be better off with F# E F# triplets doubling the guitar.

m62 I'm hearing the vocal drop down to a Dn b3.5. Something like this might be better.

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m65 b2.0 and b2.75 I think you can add the strings doing a Gn and F# here in RH.

m71 b3 sounds like an F#sus4 in the original. I would bump the A# up or do this.

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m82 Something like this makes the voices clearer

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m 1 b2.0 (and else where) in LH I'm hearing as An not F# and b2.5 as Bn not Cn. I'm pretty sure it is m3 except the bass note is Cn and not Bn
m13 you can consider an accent on the An of b1.0
m22 I would consider notating the echoey An on b3.
m23 I'm hearing the diads as EnBn and I'm not hearing a hit on b1
m25,33 I'm hearing b1 as B F# not D F#. I would invert the B in m33
m27 I' hearing G B on b1
m30 & m38 b2 I'm hearing as B F# diad, not sure what the A and E are from
m31,35 I'm faintly hearing the GB as an EGB triad, but I don't hear any other triads in this section
m37 b1 I'm hearing as B F# not D F# and b2.5 as F# B not G B.

m5-20 I'm not really hearing the middle note (third) of the strings.

m13,17,19 are still not playable, you are trying to stretch the hands by elevenths. The top of what is considered playable is minor/major tenth, and reducing those stretches is encouraged at NSM.

Some of the F# grace notes (m27,31,35,39) need a Gn there as well I think, the recording isn't super clear. Also an untied grace note as written is not very pianistic.

[if only]

I have google translated your reply.

NSM is moving to definitely accept sheets made in Musescore 4 and potentially from other programs as a stretch goal. Please remember that NSM is 20 years old and at its inception Musescore 1 was not even 2 years old yet, so they picked the then industry standard and stuck with it until it broke.

I agree that it would be easy to create a script that takes all the files onsite, and makes a musescore version of the midi and pdf, if only there was a programmatic way to turn two different proprietary binary encoded and encrypted file types, into Musescore 4 files (which are xml adjacent) that have extremely similar visual appearances, which would all need to be manually checked to make sure that the musescore 4 files are all up to NSM standards.
I personally spent quite a bit of time trying to reverse engineer one of the finale file formats but didn't get anywhere, so I'm not sure if it is worth creating a converter, or just doing 400+ hours of work to convert onsite sheets to musescore 4 manually.

m61 b2 I think you should simplify the vocal to triplets on 2.0 and 2.33, and I think the F# is anticipated on ~2.66. (you could get the LH to do the bottom Dn, or drop it)

m63 I'm not hearing what is doing the F# A, G B. Maybe the strings would be better here? (B C# D C#  F#  E). I think the vocals is also a semiquaver ahead of what you have written.

m71 It sounds like "the" should be E D semiquavers (apologies if this was part of Latios' original comment). With the strings, the chord sounds like F#sus4 and I hear the A# come in on b3.5 not b3.75

m75 I think you can add the piano/guitar Bn, A# on b3.75 and b4.0

m78 b4.5 I might suggest removing the top F# in the strings to make the voicing a lot easier, (leaving just  a minor 7th)

TZP is correct with m82. I would like to leave off the arpeggio and let people arpeggiate as needed but NSM is a bit inconsistent with large intervals for 'playability'. I've been told a ninth is too wide on one of my sheets, and seen published sheets on site with unarpeggiated 10ths, so I said arpeggiate it to be safe.

m60-67 There's some points where you could be more faithful to the guitar, and add in the vocals. These are mostly just suggestions
  m63 add the sextuplet guitar (E D |C# B A# B C# D | A B B B )
  m64 Drop the octaves in the RH so that you can have vocal line B -> A -> D (LH b3.5)
  m66 Add Vocals D (LH b2.0) E (LH b2.5) F# (RH b3.0) A (RH.4.0) D (RH b4.75)
  m67 b3 You can add a grace An before the Bn in the RH
  m67 b4 Change LH to a sextuplet pattern to match the drums

m80 I think you could change the LH to have a low G on b 1.0, 1.75 and 2.5 to match the pulse better.

m81 The RH feels a bit weird, I would suggest putting it up an octave and having m82 b1 being a (broken) 10th

m82 RH I'm pretty sure the vocals is a Bn not An

• copyright info missing developer (check your Pokémon Center B&W sheet onsite for this info)
• m1 and m3 RH I think the staccato on 4.0 is a little unnecessary considering the length. And for beat 4.25, it is technically just 16th length, so you could make 4.5 an 8th rest.
• m1 and m3 the jumps from 3.0 to 3.5 is quite awkward from the added 3rd finger that is needed, I would suggest just doing Dn-F# for 3.5 and 4.5 just like 1.5 and 2.5 as the Bn doesn't add too much.
• m2 and m4 LH the top note sounds like an En for 1.5 and 2.5 - you could keep pattern similar to m1 and m3 by doing En-G# for this

Overall- this is what I'm thinking would work better for the pattern of m1-2, also applying to m3-4 where appropriate
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• m9 RH 2.5 could add G# grace to this An
• m11 RH 3.75-4.0 this tie should be flipped up
• m12 LH 1.75 this En is a part of the RH rhythm - I think the RH also can play it fine and then play 2.5 right after as opposed to the LH needing to finger it

Fixed

• m11 LH top notes also sound like Bn's

I can't hear a top Bn, nor a C#. So I've moved the An from the RH to the LH.

• m14 RH hearing 3.5 as 16th length, and then on 3.75 an En which ties to 4.0 as well (so no 16th rest on 4.0).

I think the En you are hearing are the strings that I have in the LH. I have adjusted the RH rhythm here, as it was incorrect.

• m13-15 RH second voice realistically these notes are not getting held their full length- would suggest either removing this layer, or maybe just adding a single 8th in the first voice on beat 1 that is the current note.

In m10 there were some bass notes that I had missed out, so I have added them.

m44 It would be nice to move some of the LH into the RH, so you can play a Bn in the LH.

Sorry I wasn't specific enough, this is what I was meaning.

Now that there is two lines m125-132, I think you could put the whole of m133-138 except b1 of LH up an octave.

I also meant putting the RH up an octave here as well, if that makes the LH less awkward.

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I don't think the m12-17 chords need the bass and the correct inversion. If only we had three hands.
m15-17 the b1 chords in the LH could use a Gb on top, as I can hear that in the original.

m18 I think these chords would benefit a lot from inverting the Gb on top so the Cb -> Bb -> An bass line is clear.

In m19-20 there's enough freedom with the hands that I think you can add more of the bass here, but if you think it sounds too out place with the surrounding material that's okay.

m16-17 b2.0, b3.5, b1.0, b2.5, I'm hearing these as Db Gb bottom up, and I can't hear the distinct hits on m16 b4.0 and b2.0 m17.

• m7 LH 2nd voice not sure why I didn't spot this sooner but you could just combine these notes into a dotted half note

m7 It is split that way so the pedaling directions are clear.

• m16 thoughts on changing beat 3-4 of the RH to the notes that are currently in the LH for those beats? And then just making the LH a Bb like what is heard in the original.
• m34 LH hearing a Dn on beat 4.5 maybe you could make that in the 1st voice (change from whole note to dotted half tied to an 8th note on 4.0)

Added. I'm not sure if there is a Gb in the LH on b1.0 m35, but there is a kick drum, I've kept it in for now

• m17-19 RH been thinking about this particular section, but I would suggest making the LH part a bit more in line with the bassline and moving the melody back up to the RH/original octaves. Main reason I'm suggesting this is because I think the parts that are currently represented in the RH are not as prominent and it doesn't make sense to shift the melody octave for them.

m17-19 I'm not sure what you mean here. The melody is in its original octave here (I put it up an octave m21 because of the trumpet that comes in), and I'm not sure what part of the bass line you want me to add that the LH isn't already playing.

• m32 LH going to suggest removing upper notes on each half note and doing maybe something like this:

m32 I hear the Db Fb line as prominent, so I wanted that to be the top voice. The Bb on b3 can go into the RH if you are worried about the minor 9th.

. Currently it just sounds a little off with those upper notes

The upper notes are diads in the original. I only did the top note of them because adding the bottom note would likely be too crowded with the melody and the hands. I can look into that if you want.

• m39 RH 1.5 is a Db

Correct, but the LH is playing the same note on b1.0. I couldn't get the melody to sound connected when playing a Db in the RH there so I tweaked it to an Eb so the rhythm is still there.

Sorry for the long wait, turns out it is hard to work, do full time uni, and critique music sheets all at the same time.

Quick note, it doesn't look like your .mus has been updated.

Was a bit confused on what you meant for these two, sorry. m19-20 felt like the LH had very prominent plucked strings, so I wanted to keep the downwards step motion on m20 in particular. For m28 wasn't sure which of the two comments you wanted to implement, went with the quaver comment for now.

What you've done is what I was intending. In m28 I meant to add both, so I did want octave Ans b1, and a Bn on b3 (like in m24) as well.

m35 b1 RH I hear as F# G F# trill. Happy with just Gn grace note here.
m35 b2 I hear the bottom note as dotted chrochet, you could also add a Gn below the RH m36 b1.

m32 b1, m35 b3 to m36 b3 I was thinking put the LH down an octave there

m41 57 b1, I hear Cn in bass
m42 b1, I hear more F# in bass, Bn is fine here.

m44 It would be nice to move some of the LH into the RH, so you can play a Bn in the LH.

I finally decided to commit to something for m75-76 b2-3 LH.
   I'm hearing An Cn Eb (Fn) m75 and An Cn (Fn) m76
(copy your change to m107-108 as well)

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m82,114 b2 RH I hear as dotted crochet.

m81-84, m113-114 I'm hearing something like this in the LH.

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m100 What are your thoughts on including a Bb tremolo in the LH b3 to match the snare drum.

Now that there is two lines m125-132, I think you could put the whole of m133-138 except b1 of LH up an octave.