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Given that the middle voice that Goldenscruff pointed out wasn't in the original, it seems to me that you've already made this your own arrangement, rather than a simple edit. Definitely defer to Latios tho

Wonderful job sticking through this one, everyone! It was well worth the effort from the looks of these.

No way--welcome back Yugi! Hope you're doing well. It's always cool to see an old forum dweller show up again. Cool arrangements.

Cheers and good luck, Toby! Also Oricorio thank you for hosting that warmup game, it was fun to watch. Well done BDS and Raeko.

I was considering this yesterday but I really think that the elevated post/time commitment is too much for me right now. Would be a blast, but if Toby wants in I think he'd be a better pick than I!

I would also endorse MSF if he is interested in going for it!

(I would also be interested in playing locally again sometime)

The Honkshoo Trombonist has always been my favorite arranger

I'm not sure if that's what you meant as to "restructure" the piece, but I don't think it's necessary to split the sheet into little phrases (as say: BotW's "Field (Day)", up in the main site) since the cutscene plays linearly, and all the 12 individual tracks serve mostly as to tell the game where to cut to the next section of the piece

Totally agree haha--that would not be an accurate representation either, and I see why what I said made you think that. All I meant was to show which sections repeat in which order, and arranging them in order to represent how the piece comes across in game. For example, in the video you linked above, the first eight measures of the piece repeat, until Cece starts talking about her trends being built on tradition, at which point it proceeds to measure 9. I think adding a repeat bar after measure 8 would be an appropriate way to indicate that.

I belive this happens so players aren't left on mute while reading the dialog, and repeating the climax of the piece wouldn't feel quite right. When the cutscene finishes, it plays the last two measures (m27, 28) and completes the track.

To use this example as well, what I think you could do is to write out the section with the strings entirely, and then the section without the strings, which is the section that repeats until the last two bars. And I agree with you that it should jump from measure 18 to 21! You could also take out the fermatas in the first section of the track, since they're not reflected in the game itself or the official soundtrack.

Since you asked about the official soundtrack, KHInsider has that too. Disc 6, track 29. But I'm pretty sure it's just going to reflect what we're already talking about with the cutscene progression. Thanks for taking the time to go over this! I think it'll make for a more accurate sheet, and it's one that I'll be printing off whenever you're done with it!

Big fan of this arrangement, Gu. I don't have any quibbles with individual note picks, but I want to talk about the overall structure of the piece. This is one of many pieces in Tears of the Kingdom written dynamically--that is, assembled from a number of smaller snatches of music into a cohesive whole that changes based on what is happening in moment-to-moment gameplay. For example, the game's soundtrack assembles these parts differently than the YouTube video you linked above:

Couldn't find the official soundtrack version of the track isolated (sorry), but Cece and Reede starts at 7:14:13. You'll hear some differences, starting I believe at measure 19 of your piece.

KHInsider has the receipts with this gamerip: while the soundtrack boils the in-game music down to ~300 pieces, there are actually over 1000 in the game's files. "Cece and Reede" consists of 12 individual tracks; you'll find them at the above link, tracks 310-321.

I think a way to write this piece in a way that's truer to the original would be to make clear what phrases go where, and how they flow into each other. For instance, in the above gamerip, tracks 315 and 317 are versions of tracks 316 and 318, respectively, with backing strings added to the piano piece. From my memory of this section of the game, I think these strings are added in as the cutscene reaches a more emotional pitch. Showing the progression would really make this arrangement a winner.

I'll wrap up by saying that I recognize that this is a lot of work to restructure, and if you'd like, I'd be happy to help--I have a file on the game that's fairly close to this section of the Hateno sidequest, and I could play the game and tell you exactly what sections of this piece develop and when. Irrespective of what you decide, thanks for reading. I think this arrangement is really lovely.

Congrats to Kricketune on a well-earned retirement, and thanks for the work over the years! And Cash and Radiak, welcome to the updater team. Always appreciate what you guys have cooking.

Fantastic arrangements here, Cash! Agnus Colony in particular clearly had a lot of care put into it--I always like how clearly your love for the pieces you're arranging shines through.

These two in particular are standouts in part because of how many people criticized the game for dispensing with the bombastic, hair-raising area themes from the earlier games in the series. I love these two pieces because of their quiet energy and how clearly they drove home that the more subdued character of the music was a conscious choice, not a result of the composers losing their touch. They never stopped bringing the A-game, it just looked a little different.

Glad to see you again Slow! This was a fun throwback to read. If you don't mind me asking, how far did you get into Animal Well? My best friend and I started getting into some of the more obscure secrets, and we're not sure how much more there is to experience from a time investment/reward ratio perspective

I think with respect to measure 82, goldenscruff was suggesting arpeggiating the bottom two notes of the three being played, not the top two. That is to say, the left hand takes the G2 and B3, and the right hand only plays the high B. A 10th isn't impossible to hit, so you could technically leave off arpeggiating this--typically it's implied that a pianist who can't hit it will arpeggiate it anyway.

Awesome arrangement btw, I look forward to it being published!

Much respect to you guys for getting something out despite the pressures you're under right now--thank you! These are great sheets. The Splatoon ones are hilarious.

I like it! I'm unable to check note accuracy on my computer right now so I'm hesitant to say you're all clear on the run at the end of measure 16--probably save that for the updaters--but I think what you have there is both elegant and captures the spirit of the original.