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It looks okay to me at least (see attachment) and has the added benefit of showing it should be played by the RH, but again up to you
Sorry, I meant beat 3. Think I still hear 4.5 as well but it is rather faint.

Oh I looked at that comment before changing the Fn to D, which made it look way more cluttered before. I think moving the Bb to the upper staff is fine, but flipping the beam downward moves the duration information extremely far away from the pitch information, so I think leaving it upwards is better.

Sorry, I meant beat 3. Think I still hear 4.5 as well but it is rather faint.

I still don't hear either, and adding an octave on beat 3 seems out of place in a contour that's otherwise simple and fading out

[Notes:]

Notes:

• m6: Not hearing the Eb at beat 1 RH

I guess the bass already has an Eb, so that one isn't important and I removed it

• m7: Hearing C4 instead of G at LH beat 1, and a C3 at beat 2.5

The C4 does sound better, but I can't figure out what you're talking about with the C3 on beat 2.5. There aren't any notes at all on beat 2.5, and I don't hear any other C3s aside from what's already written

• m9 & 13: The B at beat 1 in the RH sounds an octave lower
• m10 & 14: The Bb at beat 1 in the RH sounds an octave lower

Sure

• m11: I think I hear D4 at beat 1?

Maybe, but that would be very difficult to play coming out of those chromatic 16th notes the beat before

• m15: I hear Bb3 and D4 instead of F4 at beat 1

I guess the Fn can come from the LH on beat 2 instead, but Bb3 and D4 would be impossible to play

• m18: The high LH Bb could be cross-staved? The beam can stay below the staff as to not add extra clutter

If moved cross-staff, that Bb causes a lot of visual clutter with the B naturals on beat 4

• m18: Beat 4 in the RH should have a D instead of F

In the original, it's an impossible D4. When raising it to a playable D5, I thought an octave+3rd on beat 4 was slightly jarring coming from a unison Bb on beat 3, and that doubling the root instead sounded smoother. But you do lose the D completely with that approach, so I've changed it back.

• m23: I hear additional A3s at beat 3 and possibly 4.5

Playing an A3 on beat 1 is impossible, and lowering it to an A2 muddies the rest of the base contour significantly. And I don't hear any new strikes on beat 4.5

Presentation

• m2: Thoughts on making the RH lower layer part of the LH? I think it's most comfortable to play that way and also visually looks better. You could start using the treble clef in m1 as well

I thought it would come across that layer 2 was intended to be played with the LH, but if you use a treble clef that whole part fits comfortably into the bottom staff anyway

• m7: The tuplet number in the LH seems too high up (in the PDF at least)

Yeah it looks like Finale snaps the number to just outside the staff for some reason. I moved it down a little bit

• m5, 9, && 11: Very nitpicky but these markings could be more appropriately centered between staves. The text expressions can also start slightly before the notes

I'm assuming you meant m10 instead of 11? Adjusted all of those

I opened up some audio analysis tools and it does look like that's a C2 in m.16. Plus it shortens one of those crazy jumps so I raised it up. I still don't see a trace of the high G in m.22 though, so I left it the same chord as before

- You could just use one slur going over the phrase in m. 2-3 starting with the grace notes, if you want. Putting the initial slur under the grace notes makes it a bit harder to count the ledger lines. On a somewhat similar note, I'd suggest putting the slur in m. 11-12 over the melody instead of under to correctly capture the descending contour.

Good advice, especially about the contour. I couldn't pin down why that looked strange before. I always thought that grace notes were supposed to have their own slur separate from the phrasing slur, but it definitely looks better with just one.

- m. 6 beat 3 sounds rolled
- The chord in the LH of m. 7 beat 1 sounds like C-Fn-G ascending
- m. 9 LH beats 2-2.5 sound like F#-G

You right

- How about sustaining the LH D through the rest of m. 14 instead of a rest?

Sure, looks good to me

- m. 16 beat 2 LH C sounds an octave up

Sounds pretty similar in bassiness to the C2's on beats 1 of m. 11,12,15,22 to me. And also sounds deeper than the C3 on m.7 b.1

- Thoughts about including the low bass F on beat 4 of m. 18 instead of the D? Or you think that's too much of a jump without much payoff? (Sneaky composers passing this off as a piano solo...)

I did consider using the middle F, but the jump between m.20 and m.21 is actually even bigger so I guess the low F is fine lol

- m. 21 RH beat 2.5 - not sure I hear the upper octave G prominently?

I wasn't sure whether to include it or not. I kept thinking I heard it but when I'd listen closer I couldn't make it out anymore, so it might just be my brain filling in the melody. If you didn't hear it either I'll take it out

- m. 22 beat 1 - I hear this chord with a G on top rather than the C on bottom

This is another situation like the last one where I'm hearing a ghost G on top. On inspection I hear the low C more clearly than the high G, even though in passing I keep thinking I hear a faint G on top

- In the last measure, you could combine the half rests and put it and the quarter rest at normal mid-staff height.

Yeah that looks better

"Title Screen 2" comes from the Pokémon Scarlet ・ Violet + The Hidden Treasure of Area Zero Super Music Collection

I was convinced that the whole ensemble was stacatto in those places, but I think the bass root in the piano is actually the one thing that's held. It does feel more natural for those notes to be held like m1 and 4, so I added the tenutos.

Writing over two systems makes the notes really sparse, so I think it's more readable with the notes condensed together. As for the fermata, I figured the intention was clear with just one, but I guess the convention is to use both staves so it doesn't hurt.

BRING ON NEW SHEETS

Threw in a con pedale, and I think that's a FM9 chord, so I added G-A-C to measure 7 beat 2

Sorry I still haven't had time to address all the feedback. I'm trying to push this back toward the top of my to-do list, but I don't have as much time as I used to

-m32: Maybe you could add a courtesy accidental to the An in the R.H. here, as it could be accidentally mistaken for an A# (you also added one in m42 it seems)

Yeah that's a good spot for one, added it

-m37-38: I think I hear a C# on beat 1.5 of these two bars in the L.H., but I'm not 100% sure.

It's definitely a bit difficult to pick apart from the F#M vocal chords in m37. That said, including both notes together on beat 1.5 sounds too rich, and I like the sound of an F# better than a C# because it creates a stronger separation from the C# on beat 4.5 of the measure before and avoids carrying over the C#M sound. I can hear an F# much more clearly in m28 though, so I'm more convinced that's what's really played.

-m66: Maybe instead of tying the R.H. note to that 8th note, you could just change it to an 8th rest, so it doesn't look like there's a connection between that note and the next line.

Oh yeah, I think that's a good idea! Gets rid of that super tall stem too

-m67: I don't hear the high Eb on beat 2.5 of the R.H., I'm pretty sure that's just an overtone.

I still hear it really clearly, at about the same volume as the E from m66 in fact. It's clear enough that in my ears it overpowers what would be the fundamental lower octave if it were an overtone, and I don't think that's characteristic of piano timbre is it? There aren't really any comparable overtones in the adjacent notes either, so I'm convinced the higher octave is well-defined enough that it must've been played intentionally, and I've still left it in.

m34 RH beat 3.5: I meant an E in the RH. Although, now that I'm listening again I hear that D in the LH too.

Oh right, I totally misread and missed that. Added it

I was hearing those extra notes in the piano part specifically (along with that E in m34). It might not hurt to transcribe those parts as they were performed, even if it is a bit more awkward to play (I think this was a live recording, wasn't it? maybe not, idk).

m44 RH beat 3.75: I think I can make out an F# in m44 but I can't hear anything resembling a C# and it would be difficult to play anyway, so I added just an F#.
m48 RH beat 2.5: I can't hear anything extra in m48 though no matter how hard I try so I'm leaving that one alone.

m12: I know this is nitpicky, but the diminuendo here is ever so slightly not aligned with the crescendo in m10-11

Thanks for being nitpicky, I spend hours pixel-perfecting sheets myself lol. I used the align dynamics tool this time so it should be right

m32 LH beat 3.5: There is a low C# here

Yup I hear it, added

m34 RH beat 3.5: There's an E under the G# here

I hear a D natural in the piano actually. I think the timpanis are tuned to E, but the D natural chromatic approach seems more in line with the low C# you mentioned in m32. I added it instead.

m44 RH beat 3.75: There are some additional notes (C# and F#) under the A#

I don't hear any new notes, all I hear is the sustained F#M in the chorus with those pitches. If anything I might barely hear an anticipatory F natural on beat 3.75, but I don't think it sounds very good played there since F natural would be immediately reiterated on the next bar. Speaking of, I removed the lower G# octave from m45 because I didn't notice it's kind of an awkward position coming from the 16th A#.

m48 RH beat 2.5: I think there's a C# under the F#

I don't hear this one either. I'd rather keep the clarity in the melody line anyway, like it does in m54

m67 RH beat 2.5: I'm not hearing the high Eb here

I hear it pretty clearly myself, and I'm pretty sure it isn't an overtone or anything. Even though it's kind of weird palcement, I think the regular ascending scale sounds kind of bland leading into the most complex voicing of the song. I think adding the octave helps a bit.

m69 LH beat 3: There should be a Db here

Yeah I hear that too. Added it

m74 LH beat 1: I think there's an additional Bb an octave above the low one.

I think you're right that there's an octave, but I think an A1 is too low. The tone down at the bottom of the piano doesn't sound delicate enough to me, so I added an upper octave instead.

m81-81: Maybe put a crescendo here like in m76-77.

I left it out on purpose just like in m21. Most of the phrases in this song fade out at the end, and I don't want the energy to increase into a rallentando/smorzando

If you want, you can disable all those natural signs in the key changes by doing to Document > Document Options > Key Signatures > uncheck "Cancel outgoing key signatures". Unfortunately, this also includes key changes from more to less sharps/flats, but luckily you don't have that here so it won't be an issue. I just think doing this eliminates unnecessary visual clutter.

That's a great tip, I had no idea you could do that! Thanks, looks a fair bit nicer without those accidental clusters

Also nitpicky, but Halo 3 was published by Microsoft Game Studios specifically, not the company as a whole... it's probably fine either way though.

I was going off the copyright credit on the soundtrack boxart. Bungie isn't actually even credited as copyright holders but it feels like they should be on there too ¯\_(ツ)_/¯

Great arrangement

Thanks!