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I'm hearing G# and B# to A and C#, but if you prefer you could write it as G#/D# to A/E to sound less muddy on the piano. Whichever option you prefer, but it's definitely G# for the low note!

Sounds good, I'll trust you on the G#! Also good call on spelling it as a B# instead. I actually like the thirds, I feel it captures the muddiness of the original haha.

Thanks for taking a look/listen!

- This piece is in A mixolydian, so it should be written in A major (three sharps) with G naturals in the melody.

Oh man, I totally meant to add a key signature but I must have forgotten. Done, thanks!

- For the left hand patterns in the even-numbered measures, I think it sounds a bit more chromatic - that is to say G#/D# instead of G/D - but I'm not too sure. What do you think?

That's a tricky spot to hear. I wasn't sure either - neither of them were sounding quite right to me, so I sought a third opinion from a friend and he heard it as Gn/Cn to A/C#. That sounds the most right to me so far... thoughts?

Doesn't surprise me for a 2001 PC game lol

The funny thing is that this would play during the entire lengthy installation process so the abrupt loop was really obvious... imagine listening to this for like half an hour while waiting for the game to install off of several discs haha.

Thanks for the feedback!

This looks really good.

LH m1 b1-2 I'm hearing down an octave
LH m2 b4.5 I'm hearing as Bn not C#
LH m3 b1-2.0 I'm hearing down an octave (goes up to A#)
LH m3 b4.0 I'm hearing as F# (above current D#)

In measure 11 when the second melody goes to the LH, I think it would be better put in a second voice with opposing stems so it is clearer melody went.

Done, according to Kricketune54's adjustments.

• m1 and m3 beat RH 2.5 the D# should be a C#
• m12 LH beats 3 and 4 you could add an octave above to these notes

Did both of these as well.

Thanks to both of you for the feedback!

Honestly 12/8 might make more sense with the melodic phrasing, but that's up to you I feel. Also yeah, switch time signatures in finale is always a huge pain 😩

I think I meant to reply to this and forgot! I was just going to say that I don't have any strong feelings on 6/8 vs 12/8, so I'm interested to hear if anyone else wants to weigh in. Thanks again for the feedback!

two small comments, Ecco the Dolphin is in 6/8 (the bassline accents beats 1 and 4) cue the 3/4 vs 6/8 debate!.

Oh man that's often a loaded debate, but after revisiting this I think you're totally right. That explains why some of those rhythms didn't feel quite natural in 3/4. Is it definitely 6/8 as opposed to 12/8? I encountered some debate between 6/8 vs 12/8 while seeking a second opinion from some musician friends. Regardless, I have it in 6/8 for now (which was surprisingly more work than I expected... Finale did not like that meter change for some reason).

The harvest moon track could be layered to show each layer more clearly, as well as the harmony voice can be played entirely with the left hand pretty easily. Maybe it could look like this?

Yeah I see what you mean about the layers here too. In this case, while playtesting this arrangement I found that the harmony voice was better split between the hands due to the voice crossing and the range of the left hand (it was much jumpier to go from low G to the G-E dyad rather than just between the two Gs). So I reworked the voices in a way that hopefully shows each layer better while still keeping the split between hands.

Nice arrangements

Thank you! And thanks for the feedback, those were both good points

[Ecco the Dolphin - Opening Theme]

Ecco the Dolphin - Opening Theme
[MUSX]

One of the classic aquatic games! Opening Theme seems to be the most commonly used title.

Harvest Moon 3 GBC - Mainland Port/Aquarium/Theater
[MUSX]

Title comes from the (mostly aquatic) locations it plays in-game. The composer for this game is unknown so I just credited the developer/publisher.

(The first arrangement is a little complex but the second is short and simple so I hope they balance each other out!)

Title source

This sounds like an abrupt loop but it's like that in the game too.

This was so cool to look at and see the layouts over the years! Crazy to see how this site and community has persisted through many changes and challenges over the years.

I can't believe I posted my first arrangement over five years ago now, time flies! Happy birthday NSM and thanks to the great community this site has fostered!

There are still some of these left (in m1-7). Also, in m17-23, beat 2.25 has a staccato which I assume shouldn't be there

That should be all!

Oh shoot, you're absolutely right. Now I think I've gotten all of them.

I see where you're coming from yeah, but I think the lining up is already easily visible because they line up vertically, and the note lengths are pretty clear as well (the player probably wouldn't play a single 16th note on beat x.25 any different than one in beat x.75)

Yeah, that makes sense too. Updated all of those spots with the suggested rhythm.

Looking good! In m20 and 24, you can flip the staccatos back to their standard position (notehead side), as the rest below is hidden.

Done!

Looking at it again, maybe in m30 and 32 you could move the D in beat 4.5 to the R.H. too?

Good idea, also done.

Thanks again!

Everything looks good to me except one thing - all the offbeat eighth notes in the last two measures should be Gb instead of Db.

Good catch, fixed. Thanks for taking a look!

The song titles for these are based on where they play in the multiplayer mode - The first track, "2P Match Results", plays on the results screen between matches in multiplayer mode and the second track, "2P Final Results", plays on the final result screen when one of the 2 players wins the best of 5 series. There is an optional loop for the second song since that how it appears in every rip of the OST but it doesn't actually loop in game (something I've tested myself with two copies of the game).

Also, I am very excited to announce that with this sheet, the Tetris (GB) OST will finally be complete on-site!

-In some beats (for example beat 3 of m1 or beat 2 of m2), you have 16th rest - staccato 8th - 16h rest. Maybe those places would look a bit better as 16th rest - 16th note - 8th rest?

My thought for these places was to show where the right hand and left hand parts line up and to make it obvious that the note lengths are supposed to be the same between hands. However, I do see how readablility may be better in some ways with the suggested rhythm so I'm not against changing it, I just wanted to explain my thoughts first. If you think the other way is better I'd be happy to change it!

-m9 and similar measures: I hear an F# instead of an A in the L.H. on beat 4.5

I hear that too now, done.

-m12 and similar measures: I hear an A instead of an E in the low notes in the L.H. However, the L.H. in these measures is quite hard to play at speed. For m12 and 16 you could do something akin to this:
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It's still on the harder side of things but possible, but this won't really work for m20 and 24 because of the high fifths in the R.H.. Another option that does work for m20 and 24 is this:
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It's less true to the original notes, but I think it gets the same feeling across of a syncopation. The L.H. here plays in the empty spaces of the R.H. and holds the low A for filler and to imitate the low A's that aren't currently played.

I definitely see how this part is difficult. I like what you've suggested for the first one - for m16 I had to change the right hand a bit due to the different melody, but I think it works out alright. For the second one, I've made one small change from your suggestion - I think making beat 3.5 an A instead matches up with the original bassline better and doesn't add too much difficulty. Thanks for the ideas here!

-m16: The R.H. B on beat 4.75 should be a C#
-m20: You can write the 16th note + 16th rest in the R.H. in beat 3.25 as a staccato 8th, like in m12.

Both done.

-m22: I don't think it's feasily possible to play the quick fifths in beat 3-4 in the R.H. (except for the very, very virtuosic individuals). It's probably best to just leave out the bottom or top note of all these fifths (depending on what you hear as the melody voice)
-m23: It's a little bit hard to play this run of three fifths on beat 4.25 too, maybe you could just leave out the bottom note of the first one?

-Yeah I definitely agree this part is way too difficult to execute. I think the bottom line is more the melody here since the upper 5ths were added in for the second repeat, and it sounds a little more complete to my ear.
-Taking out the bottom note of the first one works for me.

-m26 and 28: I hear an A instead of an F# in the L.H. on beat 4.5
-m30 and 32: Similarly to above, I hear an A-D instead of F#-B. Also, I think it might be easier to play beats 1.5 to 3.75 with one note per hand instead of switching hands: the parallel fourths are harder to play than just single note lines in both hands.

-I think you're right, done.
-Yeah I did a lot of playtesting in this section and splitting the fourths was definitely easier for m29/31, but it was less clear cut for m30/32. Splitting the two lines for the first part of the measure is fine with me.

-m40: There's a F# on beat 1 in the R.H. here (and a C# too, but I think that might be a bit too stretchy to reach after m39)

Got it, done.

Thanks so much for the super detailed feedback! I know this is quite a difficult arrangement so all the little playability suggestions are greatly appreciated. Hopefully I got everything!