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Here's the original version.

Regarding measure 14, the leap in the melody seems to suggest an Em9 chord, which would be written with an F sharp; I simply wanted all instances of the same pitch within one measure to be written identically.

All changes have been made (still not a fan of the quotation marks). I didn't quite understand what you meant about the accidentals in measure 16, but i fidgeted around with them, and the PDF file seemed fine to me.

I've had a good ol' look over all of it and I should start by saying very well done! It is incredibly accurate and I can see you've taken good care in each moment. I only have a couple of things to critique and then it looks like you're good to go.

- like latios said, you can edit your arranger name to match your profile (unless you really want your real name, I guess)

- put quotation marks around the title as per the formatting guidelines

- listening to the original, it seems that the first note in the right hand (and all of its iterations) are actually dotted crotchets (dotted quarter notes??? correct me, Americans). If you are intending to use pedal to combat that and a couple of other moments (eg. bar 7's held note at the same time as lower octave g flats) then I would recommend putting a 'con pedale' at the start to show that. If not then just go back through and correct it, methinks.

I must have missed the point about quotation marks in the formatting guidelines, but even so, I have to disagree. On top of being unnecessary (and unaesthetical, in my opinion), I've yet to come across a professional edition of a piece that had quotation marks around the title. This is sheet music; I'm not citing the piece in an essay or something.

Indeed, the first note of the right-hand accompaniment motif is a dotted quarter note. However, indicating it seems unnecessary to me, as it doesn't really need to stand out from the rest of the motif (at least, not any more than being articulated seperately and on the beat would cause it to already), which is what writing or doubling it with a second voice would indicate. Additionally, this might cause slight legibility issues from measure 5 onwards.

Concerning the use of the pedal, I must admit I wasn't sure which approach to use. I think it's generally presumed the interpret will use the pedal when and how he or she sees fit (which is what con pedale indicates anyway)—unless the composer really wanted a specific pedaling, and I don't think this was the case for Uematsu—, although I certainly did assume use of the pedal would be obvious in measures 7, etc. (Is it necessary to indicate that the pedal should be used, for instance, in Debussy's "La Cathédrale engloutie"?) Moreover, I personally find specific pedal markings on the sheet are imprecise for more complex pedaling, and unneeded in case of simpler pedaling.

Not to mention the large amount of white space that you can fix by moving a few measures closer together. It would look a lot less empty.

I tried fitting the entire piece on just two pages, but the result was illegible. Since I was obligated to use three pages, I chose to space out the systems and the staves to make the sheet as clear as possible and avoid having the last page half-empty, which I particularly dislike. I actually don't like sheets that are too spaced out myself, but I found I'd rather take up a bit more room and avoid having accidentals or stems clipping, etc. Of two evils, choose the least, or whatnot.

Hi, welcome to NSM!

That's a pretty nice-looking sheet you got there. A couple of quick things to note:
- It would be nice if you could post a YouTube link so we have something to check the sheet against.
- Under your profile you can edit your arranger name so it matches what you have on the sheet.

Thanks for the tip. Here's the OST version for those who're interested.

This may not be necessary, but I'm sorry if I came off as rude. We get a lot of people who don't actually respond.

In all honesty, I didn't know what you were expecting of me when you asked me to reply for confirmation, so I kind of panicked. No harm done.

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