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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.

Hey Instrumaster! Sorry for the wait on this, hope you're still around and interested in getting this piece on the site.

First things first, your formatting is almost perfect, but the title of the piece needs quotation marks--should say "Uranus Stage", not Uranus Stage.

W/r/t measure 16: When you talk about the string of 16th notes in the left hand, that's perfectly possible and not at all unreasonable to play, I don't think it needs to be changed. When you talk about the quick run down on beat 14 of measure 16 (what you've written as a chromatic run in the right hand), I hear two simultaneous notes in the original. Perhaps you could write it out as a glissando in both hands, or even write out the run precisely in triplet sixteenths in both hands? I understand that 8-bit music like this has the potential to make unreasonable demands on someone playing a perfect transcription, but I think this change is still in the realm of making an arrangement both fancier and more faithful, without sacrificing playability.

Other than that, I think this is a solid arrangement of a catchy tune. Thanks for your work!

Good questions!
Not anymore! By default, MuseScore sheets do look pretty different from sheets made from the Finale template we've been using. But we (@XiaoMigros in particular) have been doing a bunch of investigation around matching the same fonts/styles in MuseScore to meet visual parity. You can get a sneak peek of that with @Static's sheet here, where the PDFs generated from the Finale and MuseScore versions look remarkably similar. We'll have more guidance around this to come soon (tm).

They do look quite similar, but I think this is an example of what I'm talking about--doesn't the Finale PDF look a little sharper? Like, a 720p to 1080p bump in clarity? I've always wondered what causes that.

Thank you (and others who I've been talking to as well) for offering to help I'd say these few things for now:
- If you are able to help check any current submissions at all, that would really help as some of our staff (mostly Xiao and myself) are focusing more of our attention on this transition than reviewing existing submissions. You don't have to be an updater or review everything about a sheet to leave helpful comments!
- If you're not familiar with MuseScore already, you can try and mess around with it to build some familiarity and expertise. We will likely eventually rely partially on community support for help engraving with MuseScore so the more members around who are familiar with it, the better. As for actual sheets to submit, after we finish drafting up guidelines for how to format submissions in MuseScore, we'll need people to run through it and see if the process is smooth so we can refine it. That will need to wait a little bit (a few weeks?) until we finish writing that up though!

o7 Orders received!

Thanks for the update, Latios! Sounds like a ton of work for the staff. Kudos for taking it on. I have a few questions about this:

-Are there any differences between Finale's and Musescore's respective formatting that appear to be unsurmountable? If I remember correctly from seeing some MuseScore sheets back in the day, the notation never appeared as sharp and crisp as sheets that were written natively in Finale, for example.

-Down the road, when Finale versions are more or less unusable because of lack of developer support, will the option to submit .mus files be removed entirely? Or is that a bridge to cross when we get there?

-What can the shock troops in the community (me) do to be helpful for the transition process here?