Messages

- I can have it set as Dotted Quarter = 132 at the beginning and Half = 100 at m. 9, does that work?

That works yeah, though now that I think about it, maybe you could also add an 8th = 8th marking (like a metric modulation) to make sure the player knows the tempo pretty much stays the same.

- not for playability, I just felt those specific beats needed more emphasis and that if all the notes were accented, wouldn't that essentially mean none of them were? I'd like to hear your thoughts

The accents could also more of an articulation thing: seeing them all accented makes sure the player tries to play them accented too.

- grace notes sound fine with me, how's that?

That's good yeah!

- I moved some of the whole notes around. That should be playable, right?

It's definitely a bit more playable, but something like the R.H. in m21 is still on the hard side, and for example in m29 I personally can't really hold the low B for the whole measure, unless you want the player to use a pedal throughout some of these measures? If you do expect the player to be able to hold a tenth, I'd again suggest moving some B's to the L.H. instead, where the player can just use the thumb and pinky, instead of the R.H. which needs the other fingers for the melody too.

Everything else looks good though!

Man, what is with this series' music

no idea i haven't played the game but i'm here for it lol, thanks for taking a look!

• m33 RH beat 1 sounds like Dn on top for 1.0-2.0, and Eb for 2.5, and then top note for 3.0 and 3.5 is Fn. 4.0 is Eb and 4.5 Dn.

Fixed this!

• m34 RH notes 1-4 sounds like Fn on the top instead of the Eb. 5-6 hearing F# on top, but 7-8 hearing Gn and then same for 9-10, then 11-12 is G# as well as 13-14.

I think I hear something like this too, but it seems to be slowly pitch-shifting upwards anyway, just to add to the chaoticness. I raised all top notes so the starting point is correct, but I think it might be better to keep the R.H. all in half diminished chords, and imitate the chaoticness by having it rise a bit higher than it does in the original
if that makes sense

• LH m36 and similar instances of this pattern, I'm hearing the 6th note of the figure F# as Gn

I'm pretty sure that's still an F#, though in the recording it might be a little bit in-between cuz it doesn't seem to be tuned a bit weird. I hear it a whole tone below the G# at least.

• m39 RH quater note hearing G# and An

Ah yeah, on closer inspection the minor seconds before that in m39 as F-Gb (instead of E-F), and I heard Bn-Cn (instead of A#-B) in m41 beat 5

Also, for some reason there's a double barline at the end of m61, despite the measure attributes saying it is a normal one. Does this show up for you too?

Awesome, thanks!

Seems to me though it should be "Rain Code" not "RAIN CODE" for the title. Wikipedia seems to say latter and the VGMdb link also says "Master Detective Archives: Rain Code"

The title on the Nintendo site and the developer site stylize it as RAIN CODE though, so I'm not really sure what the best source is in that regard?

[approve]

Awesome, then I'll approve Seasource!

[approve]

Awesome, I'll approve!

I added some constant offbeats to match the rhythm of the snare and made them minor seconds to get the texture of the guitar. Also added some extra rhythm to the LH to vaguely match some of those record scratches and the ghost notes.

That works pretty well yeah! I think it's fine to re-beam beat 2 and 2.5 though, as un-beaming it doesn't necessarily make the rhythm much clearer.
 
The rest looks good like this though!

[approve]

Awesome, I can approve!

[Deku Toad Battle]

Deku Toad Battle
-Bar beat 2.5 I hear Bn -> Bb/A# rather than Bn -> Ab.
-Bars 20/22 beat 3 I don't hear the G here in the left hand.  It sounds like there is a gap like in bars 19/21.
-Bar 43 beat 1 I hear the F in the LH restrike.

Fixed all of those! I also noticed I kept the measure numbers for the first cadenza-ish measure (which is just 6 measures without barlines), so edited them to be measure 1.

and there are even two spots where the second tuba note at the beginning of the measure is further subdivided to 32nd length at m27 and m31

I think at those places the note actually just falls on a funky laid-back beat 2.25, as trying to count 32nd's at this speed doesn't seem feasible. The song in general seems to be in a sort of 16th-swing-y vibe, which probably delayed the tuba note a bit, or just the attack of the tuba took a bit too long.

All other changes look good! One small thing I noticed:
-m2 and 14: The quarter rest in the second layer should be two 8th rests (similar to the rests in m4)

[Seasource]

Seasource
-I think the key signature could be C#m instead (4 sharps)? Most of the piece is in a phrygian mode, but the part at 37 is pretty clearly in C#m.
-m1-3: I hear the guitar crunchies at beat 4 as minor seconds (A#-B, B#-C#, and D#-E)
-m6: I hear the B# on L.H. beat 3.5 an octave lower
-m8: I hear the Dn on L.H. beat 3 an octave lower
-m5-12: If you want, I think you could add an octave above the L.H. for some more metal power (except for when there's a shout on beat 4, as that would probably clash with the R.H.)
-m16: You could write the Bb power chord on beat 4 as A# too, as you used A# in m8 and 12 too
-m17: The B's on R.H. beat 4.25-4.5 should be one 16th note later (so starting on beat 4.5)
-m18: I don't hear the R.H. B on beat 1, and hear R.H. beat 1.75 as a B instead of A#
-m19: Also hear the Gn-A on beat 4.25 starting on beat 4.5 instead
-m20: Maybe you could add bass notes below the fourths in the L.H. too, to make them full power chords?
-m21-28: I feel like you could add some more drive in the L.H. here: the guitars seem to be playing some more dead notes or other in-between notes to fill it up, and the drums are going wild too. It seems to continue in a sort of similar rhythm as in the m13 section for the uneven measures, at least
-m30, 32 and 34: Instead of double sharps, it's fine to use naturals here. In 30 and 34 you could give the B's a cautionary accidental, or you could even write the B# in the measure before as Cn, because it chromatically descends to the B.
-m34: I think I hear a Dn on beat 2 instead of the G# (the Dn below the G#, not the one in beat 1.5)
-m37: This section is quite jumpy for the L.H.: especially measures like m39 span a very big section of the piano (3 full octaves). Maybe you could try to keep parts a bit closer together? I'm assuming the player will use a pedal here, so that will help to make the section sound grander already.
-m52: The guitars (L.H.) also plays B# on beat 4.5
-m53-56: If you haven't already, the same things as before apply to here

[Bubble Crab Stage]

Bubble Crab Stage
Sorry for the wait on this one! Seems like the original youtube vid got taken down, so I used this one for now:

-The half note = 100 bpm is a bit weird when the piece starts in 6/8. In 6/8 we usually use dotted quarter note tempos, but maybe because of the time signature switch you could put in an 8th note bpm too? Or put a new quarter note tempo at m9
-m9, 13 and 15: The 8th rests on beat 3 can be written as a quarter rest, like in m11
-m10, 11, 14 and 16: You left out some accents in the R.H. chords on 8th notes, was that for playability? They sound similarly accentuated in the original
-m12: I don't hear the bass playing the G# on beat 4, I only hear drums there
-m15: I don't specifically hear the top C# and D in the R.H. on beat 2.5 and 4
-m17: You can tie this top B in the L.H. over into m18 too
-m21: I hear the ornament in beat 1 as C#-B-A-B, but I don't think there's an articulation that corresponds to that, so you might have to write it out as grace notes or a 16th triplet.
-Although, the above thing does make the middle voice a bit harder to play, but in general the middle voice has some pretty awkward spots. It's impossible to hold the R.H. low B in m25, and I personally can't stretch from A to C# in m26 L.H. Maybe you could make this middle voice an optional one? In which case I'd suggest moving some of the R.H. B's to the L.H., as it usually plays a G or a B there, which is a bit easier to get to or to hold than it is for the R.H. I'd also put the D in m31 into the L.H. then.
-I hear a D above the R.H. in m37, and an E above in m40

-In most bars, the second tuba note is on the same beat as the guitar (on beat 2.75 instead of 2.5), probably best to check these throughout.
-m2 and 14: The staccato in the L.H. beat 3.5 should be above the notehead.
-m6: You can keep the L.H. guitar part in the R.H., and maybe write this bar in the bass cleff for easier readability. Same in m10
-m7: I think I hear an An instead of Ab as grace note before beat 3 in the R.H. Same in m11
-m19: Maybe instead of just Ab's for the guitar, you could do C and Eb's and put them in the R.H.?
-m24: There's a low Eb in the guitar from beat 2 on here too

[Opening Theme]

Opening Theme

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.

I think 12/8 would work fine here too yeah. 12/8 vs 6/8 is like 4/4 vs 2/4, in which it's sometimes hard to really distinguish between the two. Like cash mentioned though, the melodic phrasing seems to fit 12/8 a bit better.

Anyway, the feedback! (i'll keep to the 6/8 measure numbers for now)
-m1-8: I hear some extra notes in these measures: in m1-4 I hear an additional F below, and maybe even an F and G in-between the C's. In m5-8 I think I also hear an F between the Bb's. In m2 there is a C above the F in the L.H. too in the ooowwaaaa voice (professional musical terms here lol) that is held over into m5 too
-m16-17: I hear the melody a bit different here:

-For m26 until pretty much the end of the track, maybe you could add staccatos to the L.H. and R.H., or add a "staccato" marking? In the L.H., I hear all (low) Eb's legato.
-m37: I hear G's in beat 4 and 6 in the R.H.
-m40-41: In the R.H., I hear m40 beat 6 and m41 beat 1-5 one step lower (so Bb's should be Ab's and Ab's should be G's)
-m42: The Eb-F in beat 3-4 in the L.H. should be C-Eb
-m47-49: In the R.H., from m47 beat 6 to m49 beat 1, all notes should be one step lower.
-m57: The bass clef clashes with the 8th rest.
-m81 and 89: Maybe you could add a courtesy accidental to the Bb in the R.H., since it's right behind the Bn? Or alternatively, you could write all Bn's in m74-89 as Cb's instead, since they all move down to the Bb

I'm doubting about whether it's worth it to keep the higher octaves in m26-46 (the ones on beat 1 every 4 bars): it's a bit awkward to have the R.H. jump around and have the melody switch between L.H. and R.H., and the effect doesn't really last as much as in the original. Using a pedal wouldn't work with the staccato melody and bassline. You also already left it out in m50 anyway.
Also I wonder if it may sound better to leave out the R.H. part in m82-89 and put the bass back in (so similar to m50-57)? It's unfortunate to remove that R.H. part, but the section sounds a bit emptier without a bass to fill it up.

[approve]

Awesome, then I can approve the Title Theme!