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This goes pretty hard, feels like I need to go chop wood or run around in the forests of Eastern Europe

the ladies like to chop things yes, but not wood:

Spoiler

[close]

• There is no tempo mark on this sheet. Without it I'm also not really sure I understand why 3/2 was chosen over 6/4. It seems like the beat is much easier to follow in 6/4?

Yeah I had a hard time figuring out if I preferred it in 3+3 or 2+2+2, and chose 2+2+2 at first. It sounds like it just switches between those two or does both at the same time. Now I got the idea of just keeping it mostly vague and not beaming 8ths in 6+6 or 4+4+4, but just 2+2+2+2+2+2, that solves that issue hahaha.

• Credit should be to CD Projekt Red, and for year 2015

woops looks like i totally forgot to check the copyright, my bad

• for the 2nd RH tremolo in m1, I think I'm hearing F#/En instead of Dn.

I didn't notice the higher choir voice at first, but I think I'd rather keep it as is to imitate the slow rising effect and still have time for the L.H. to jump down to the low G in m2.

• m27 LH it sounds like the Ab comes in an 8th note beat earlier than in the original, though seems like that screws up your upper LH layer. LMK if intentional phrasing

I think I still hear it as I currently have? But I also arranged the bass notes to imitate the percussion hits, so I'm going to call it intentional phrasing haha.

• m35 RH you could add a Cn grace note on beat 1 (to the upper Dn)

Ah yeah, same thing on beat 4!

• m35 LH I guess depending on time sig decision could end up getting rid of top layer LH 8th rest (the second one)

I think I'd rather keep it to fill up the beat, since it's on beat 2.5

Reuploaded the files, thanks for taking a look!

- m. 10 - any reason why the LH beat 1 is written out with explicit 16ths and the rest in tremolos?

This is to indicate that the tremolo afterwards isn't an unmeasured tremolo, but a measured tremolo in 16ths. I've usually seen this in some classical sheet music (like this one)

- I'm not too sure about a few chords in the m. 41+ section - do you hear a B in the RH of m. 41/45/49/53?

I don't think so no?

- m. 50 - I hear the beat 2 small note as a C# instead of G#?

Ah yep, you're right, same in m42!

Files are reuploaded, thanks for taking a look!

[accept]

Awesome! I made some edits and reuploaded the files (fixed some formatting things too), so I'm ready to accept!

Looking pretty good! Mostly just some elaborate maybe's:
-Maybe you recould rewrite "Performer's Note" to "Performance Note" instead? It's what we use in the formatting guidelines at least. Also, the text box for the performance note is currently outside the margins
-m1: I hear a C instead of a Db in the 5th note of the second and fourth set of 32nds (the last note of the R.H. parts)
-m2 and 3: Maybe you could use 3/2 and 2/2 as time signatures, since you're counting the beats in half notes?
-Maybe as for key signature, I think Gm would make a little bit more sense? The piece doesn't really like to stay in Fm for too long, but there are some cadences in Gm that do seem to stay in key (Aø - Eb7 - D+ - D - Gm in m7-11, as well as the II-V-I back to Gm in m17-19). I don't think you'll have to respell much, it mostly will just get rid of some naturals but might add a few Ab's. The only respellings you could consider are the Db to C# in m8 (the Eb7 acts as an augmented 6th chord here, a chord type I had never heard before college), and the F#'s-Db's in m19 to Gb's and Eb's (as the descend towards F's and Dn's afterwards). This last one you could do even if you keep the key signature in Fm.
-I don't think the courtesy accidentals in the R.H. in m5 and 14 are necessarily needed: all the chromatic runs make it pretty easy to see which note you'll be ascending too, and the notes are in a new system, which resets the accidentals a bit more too.

[accept]

Awesome, then I'll accept!

[accept]

Alrighty, then I'll accept!

Looking pretty good! Mostly some playability things I noticed:
-m9: You could move the R.H. E on beat 2.5 down an octave (like in the original) and put it in the L.H.: the L.H. can easily get there, the R.H. part becomes a bit easier to play and it brings out the melody voice a bit more.
-m19-20: You could actually put the 16th note part of the L.H. in the R.H. instead, I personally find that a bit easier to play and you'll be able to have some space for the L.H. to take a break from the 16th workout. If you wanna keep it in the L.H. though, that's fine too ^^
-m21: The Bb-C 9th on beat 3.5 in the L.H. is quite hard to reach for me in this context. There isn't really a good way to work around that though, so maybe you could just put one of the two notes in parentheses (probably the Bb)?
-m34: It sounds like the L.H. part also plays the triplet + quarter note in beat 2-3, instead of just holding a half note.

Looking good! Maybe you could write the L.H. in treble clef instead of bass clef, since it's all in ledger line territory?

Looking pretty good, just two tiny things I noticed!
-m6 and 14: I don't really hear the lower R.H. notes in beats 3-4.5 (the C, E and D), and they're quite hard to get to after coming from beat 2.5 too. Maybe you could leave those out? You could then also add accents if you want those notes to come out a bit more
-m18: You could also write the tied L.H. G's in beat 3.5 and 4 as a dotted quarter note, if you prefer that

• m2 and m18 RH beat 1.0 might've said this before but staccato dotted 8th notes are not typically used, as they are a bit ambiguous as far as length goes. Usually, these are written as staccato 8th, followed by a 16th rest or an 8th note without a staccato and a 16th rest

I don't have a musical reason to disagree with this, however I like the fact that it makes the music cleaner by having less stuff on the page. a dotted 8th and 16th are very recognizable compared to having a space in between.

For my personal take btw, I also use dotted 8ths with staccatos. My thinking is that staccato doesn't necessarily mean "50% of the note value", but rather "play this note short/detached". Also, the difference between a 32nd note in length won't make that much of a difference at this tempo. tl;dr it's fine as is ^^

[approve]

Out of curiosity, is there is a specific reason to spell it all out (other than just being less terse and more explicit)? I've seen a couple pieces of music where it's just "al niente" as the conclusion.

It personally felt a bit weird to have something stated as "moderately strong to nothing". You can probably assume it means to decrease in intensity, but it feels more logical to have it specifically written out. It's also one of the two things that Behind Bars recommends, the other being a hairpin with a circle at its end, but with the recommendation to specify the meaning of the circle if it happens more often.

Anyway, I'll approve!

[accept]

Awesome, then I'll accept!

[approve]

Fixed a couple of last things + formatting and got the approval over discord, so I updated the files and will approve!

Just two tiny things!
-m17: The courtesy accidental in the L.H. isn't really needed here, the Bb's have been Bb's for this whole sheet already, and since there's a modulation there's not really a need to further indicate accidentals.
-m40: Instead of just "al niente", it's best to use "dim. al niente" instead

Thanks for the lightning fast feedback, Bloop! I was not expecting feedback that quickly!

I happened to be looking at it and decided to leave my comments haha, you're welcome!

[accept]

I'm still pretty sure I hear this one

Ah yeah I can kinda hear it now!

Everything else looks good, so I'll accept!