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Hey, thanks for all the notes! Sorry this took a bit

• The tempo at the beginning is quarter note = 89, I'd also put the ritard in m4 since it's a longer slow down.
• In these music box sections in m1-m8 and m141-end, the LH plays a grace note earlier. You could just add a grace note and tie it to the quarter notes, or put a performance note about it.
• m13, 15, etc lh b3.5 - The strings play an E here.
• m20 lh - I think the bass not being here loses a bit of momentum, omitting the dyad in b1 for the bass works fine imo but that is up to you. I'm hearing the bass play Bn on b3 and that could be included below the third.
• m27 lh b1 - I'm hearing Cn.
• m35, 36 rh - I'm hearing these eighth notes as quarter-eighth triplets.
• m39-40, 55-56 rh - These are harmonized by thirds below
• m43 - I'm not sure why the 2nd layer is in the treble clef, it'll be easier to read in the bass clef. Is b3 layer 2 supposed to be played by the rh or the lh? You could also put the dotted half En in the lh.
• m46, 50 lh - Again, I think the lack of bass on beat 1 loses momentum here, and this time it feels more interrupting of the waltz rhythm. b3 I'm hearing Bn. I also think the Bn on b2 distracts from the D#-B movement and should harmonize b2 with a third above instead.
• m50 rh b3 - I'm hearing this as staccato.
• m51 rh b3.5 - I'm hearing this as an eighth triplet.
• m51, 52 lh - b1 I think this can have an octave above and b2 and b3 should be lowered an octave. Then since the synth bass goes low you can harmonize m52 with an octave below.
• m53-60 rh - The original is down an octave and I"m assuming you put it up because this section is lighter? I think it should stay in the original octave and making this section pianissimo would communicate that (or an expressive note if you wanna be fancy lol).
• m53-58 lh - Same comments as m37-42 except since this part is lighter it's fine to leave the bass where it's at (plus, moving it down in that earlier section will make this feel lighter by comparison).
• m59-60 lh b2-3 - I'm hearing G#-B dyads in 59 and E-G# dyads in 60.
• m64-66 rh - m64 b2 should be staccato, m65 b3 should not be staccato, m66 b3 should be staccato.
• m65-66 lh - Any reason the upbeats aren't harmonized like the rest of the section?
• m68 rh b1 - I'm hearing C-D grace notes.

Believe these have been fixed!

• m37-42 lh - The notes on the downbeats could be down an octave (maybe m39 and m40 are fine) to match the original. Also all the upbeats have harmonies, though I'm not sure what you're currently notating (I'm assuming its the string parts, but why is it only one note then?).

I'm gonna be honest and say I picked a piece pretty out of my skill level, did not realize what I was getting myself into until after I submitted whoops. I was trying to follow the strings since to me they sound the most prominent but I unfortunately have a hard time hearing the low notes properly especially amidst all the layers so for now I've tried to just fill in the chords somewhat, though I don't know if I've got it right.

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

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

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

Fixed these!

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

Didn't know if these should've been sixths or thirds, I have thirds for now to keep it as the same pattern. 

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.

Added this as part of voice 2 in the first staff, it defaulted to the following when I did the ctrl+shift+up which I wasn't sure if you meant.

Fixed!

(I'm using Musescore to Finale Notepad for updating and have to manually put in slurs so I'll add them back for the final submission)

I'm also responding late because of being busy with college, haha.

One quick comment I'd like to add, grace notes usually are given slurs from the start of the grace note to the note that they are gracing on.

Added these in

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.

m41 57 b1, I hear Cn in bass

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

m82,114 b2 RH I hear as dotted crochet.

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.

Made these changes

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

Changed m35 b3 - m36 b3, but wasn't sure about moving the F in m32 an octave down, feels like a really big jump to get to the a3 on b2.

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

Kept this as Bn also to avoid too big jumps.

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)


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

Changed the LH to these, I think the extra F on 81-84/113-114 felt a bit busy so didn't include those. Added just the C on 75 and F on 76 so there's a common note between the chords and a small ascending line.

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

I think to me it feels a bit out of place to just have the one tremolo here, so I don't think it's super necessary.

If you want to add the style of m117-132 LH, to m21-37 I'd be happy with that.

I think I'm gonna keep the original LH for 21-37 since the accordion line(not great at identifying instruments so sorry if that's not what it is) feels the most prominent with the root b1 and same diads b2-3 pattern

m13,15,17. I hear the LH as GnBn b2.0 En b2.5 Gn b3.0

I think I hear b3 as gn + bn, other than that changed them.

m9 I've counted it as 162 bpm.
m14,m18 I hear D#F# and F#A diads in the LH. I would probably add a third above what you have notated in m16 and copy that to m20.
m19 I hear thirds underneath b2-3. (I also hear a Bn b2.0 but keeping as diad as fine)
m16 I think the A G F# line is in here (with Gn F# crunch). I don't think you should notate the Gn. I'm thinking An  F#An  BnD#F#
m27 Cn in Bass
m32 F#1 in bass
m33,34,36 b1 I hear the bass down an octave
m35 can give top of LH to RH. LH just plays An b1-2 Bn b3
m36 b2-3 I hear as low En.

Fixed these

m16,20,24,28,35 b1-2 An b3 Bn in bass

m20,28 I can hear a LH line go |A    G G F#  | (m20 doesn't need the quaver Gn)

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.

I'm leaning towards removing the octaves. It also frees up room for the LH that I talk about at the bottom of this reply.

m43 I'm hearing pipe organ as |E F#G#B E F#|G#  F#  E  |
m44 I can hear the guitar go up at the end of the bar G#AB

m48 RH Grace notes I'm hearing AnBnAn
m51 RH b1 I'm hearing F#GF# grace notes

m64 I'm not hearing the RH grace note

m96,128,136 I'm hearing LH as Ab maj not Fn Maj

m99, 131 RH b1 is probably more accurate as a grace into Db Cn quavers

m108 I hear the grace note as going up to the note (Db, not Fn, unless it was meant for the bottom line). You could have both Db and Fn as a grace note here.

m133-138 The LH could use some Diads (Add a third underneath in b2 and b3).

m136 Could use a rit.

Edited these

I can hear the bass E. guitar you are transcribing m85-132, but I think it would be better to transcribe the horns b2 and b3. Having the broken triads doesn't give a S w w pulse of the waltz feel of the piece. That might make m117-132 a carbon copy of m101-116, but you could definitely arrange the chords to be bigger.

m37-68 also has a similar problem. Here's what I'm hearing/how I would arrange the LH here. Even separating b1 from b2-3 an by octave sufficiently delineates strong and weak pulses.

For 37-68, switched between single note lines and diads between phrases as sort of build ups. Left some measures like 40, 43-44, 46, and 50 closer to what I had before since I wanted to try to retain some of the movement direction in the original piece.

Mainly did triads as a waltz bass line for 85-116. For 117-132, I wanted to try to keep some of the electric guitar motion since I was spreading out the chords, though I can switch it to have the same notes on b2 and b3 if that's better.

m45-46 I'm hearing the guitar copy m37-38, and the pipe organ is playing a third above. ie: I would bring the bottom line of RH up a sixth.

Fixed, not sure if the octaves on 47-48 should stay as is, be removed, or be extended to measure 52.

m101,105,109,117,125 I hear as the top line RH as F Bb not F Db.

m118 RH Cn seems to have lost its tie.

m124 I hear the top line stepping down |Dn Cn Bb| with an optional turn on the Cn.

Fixed these

m117,119,125 The bottom line needs a crochet rest. In general we add rests so that each voice line in the bar has beats for the full bar (or rarely a half bar in 4/4).

Added in

m120 b3 I hear as an Eb in the top layer, and b2 looks messy. Other than replacing the Fn in the top layer with a rest, I suggest this to clean it up, but am open to other suggestions/solutions that properly import.

Put the Bb on b1 as a half note, though I think it makes the Db Eb on 3 sound a bit sudden/off. Let me know what you think.

Thanks for all the notes!

Sorry about the delay, just reupdated!

- I think I've got the formatting fixed. The clef changes for 9 and 141 are a measure early because it causes problems with importing from Musescore to Finale Notepad otherwise, so someone else would need to fix that for the final version.

I can sometimes hear what you have notated for the LH. I think notating the LH as a waltz baseline where appropriate, would be better at capturing the feel of the song. The tempo is slow enough that 8-10th jumps are well within the realm of playability.
I would be prioritising the Bass note (where playable), then everything playing on b2 and b3.
I personally find the guitar more prominent than the pizz strings for the LH. Where it is less busy (eg m13-36) you can notate both as thirds where they are different.

Updated the left hand mainly for measures 21-36 and 69-84 since those felt the most waltzlike. I don't have the waltz line in 85-100 for variation, but if it should be there for better accuracy I'd be happy to fix it. Otherwise, made some other small adjustments throughout for better accuracy.

There are also quite a few notes that could do with staccatos. eg RH m21 b2 & b3

Added in various scattered staccato notes for the right and for the waltz parts in the left.

m101-132 Instead of octaves, I think it would be good to include as much of both of the melodic lines as possible.

Made measures 101-116 into chords that combine both melodic lines. Not fully sure on whether the notes for 113-116 and 129-132 are right, I have a hard time hearing them. For measures 117-132, I tried to write the melodic lines separately, but I'm not sure about the playability so would appreciate any ways to do it differently.

m133-139 I think the RH should be up an octave, but I'm ignoring the timbre shift going into m132, which depends on what you do with the above comment.

I like having the octave as is for variation, but if it really should be higher I can change it.

I think I got through all the other note and rhythm fixes mentioned and added rits at the beginning and end.

Updated!

Edited it down to one page. I'm not sure if I'm able to fix the notehead on my end since I'm uploading from Musescore into Finale Notepad, and I get this when I try to import it which I don't think I can edit.

Thanks for the notes! Didn't look like I could get it down to one page unfortunately, but I think I fixed the other formatting stuff.

One of the new tracks I really like! Kept the left hand fairly simple due to how I heard it but would be very open to expanding if I can figure out how to balance it with good playability.

Heyo! Want to get more into the arrangement scene and maybe hope to submit a couple pieces!

Ancient History - Night in the Woods
[PDF] [mid] [mus] [Source]

I think this one's fairly complete. Pretty sure I hear it in 12/8 but I can be convinced that it's 6/8 pretty easily.

Creator - Minecraft
[PDF] [mid] [mus] [Source]

Mainly looking for feedback on this one! Looking for notes on:
-Overall accuracy/playability
-Left hand adjustments/expansions (it's harder for me to hear the lower notes and writing chords scares me D:)
-Any articulations that may be helpful
-Anything else!