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Since its written in the Baroque style, all non-slurred notes are played detached (I put hidden staccatos on all of them). I'll put an expressive text for clarification.

Could just be me not being very familiar with the Baroque style, but I think the placement of the "detached" text directly underneath the slur seems confusing. Think there might be any better way to convey this? At the very least, it'd be better moved down and not so close to the slur.

I find it falls better on the hands with the lh up the octave. There's less jumping and less need for large intervals. It also has the call and response going between hands and then it comes together in one hand in measure 7, which I find really satisfying (and more musically inclined, probably)

For what it's worth, I'm inclined to agree with goldenscruff since it feels like the lowest voice drops out suddenly. I'll leave it up to you though!

Looks good other than that; though it sounds to me like the middle voice does play a few more notes in places you have it empty:
- In m. 2/6 beat 1-2 I hear the third voice playing C and G (underneath the RH notes)
- In the last measure beat 4 I hear a D under the melody

[approval]

Looks awesome, thanks so much! Not sure if you saw the thing about the pedal marks but if you could grab those too that'd be great.

Sorry, missed that! I updated the files with that and the spacing from above, lemme know if that looks okay.

Oh huh, do we normally ever use 8vb? I don't recall seeing it on most sheets on the site and I've never put it in a sheet of mine before.

Arranger's choice, though personally I always opt to do so because I don't see any downside in disambiguating.

I think that's an approval from me

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Perhaps using measure numbers rather than a Segno marking is best, since I've never seen those used to jump forwards rather than backwards in a sheet

Yeah, I think the D.S. would be confusing to read as such. I think "To measure 3" or something would suffice, or including a performance note as a text box in order to explain the structure.

"Sludgy Groove" works as a tempo indicator but the way the intro names are laid out, it reads as the name of the looping part so I would suggest removing it or finding some other way to work it in.

The first intro is missing a tempo marking. Also, make sure the 1./2. in the endings are shifted left a bit to be roughly above the beat 1 noteheads.

(Thanks for reformatting this one and sorry about the delay! I've had a lot going on lately and have been slow to reply on subs)

Ah yes thanks! Updated that~

8va (which would also be an 8va, if you want)

- Not exactly sure what you meant by the parenthesized bit but I've shortened the 8va.

whoops I meant to say 8vb. It's fine either way though and the position looks good now

- m. 17 is a bit cramped on top, could space the systems out a bit more and sacrifice a little space somewhere else to make up for it

- Yeah I'm not really sure what to do about this, I could put an 8va under the whole LH here but I don't like how that looks later on in the sheet and I'd prefer to keep it consistent. If you have any suggestions I'd appreciate them.

I think the notes and everything are fine as they are, I'd just make some manual adjustments to the heights of systems on the first page. See how you like the attached file~

Other than that, I don't think I have anything else!

No, 180 still seems right to me?

Very sneaky Vegetable Valley remix.

Kirby is the king of sneakily reusing material to no end but never making you tired of it

This looks really good! A couple of comments on the arrangement:
- I would suggest removing the D from the second chord in m. 35; it clashes with the Eb in the left hand a lot especially since there's pedal
- Not sure if I'm imagining it, but a D on top of the second chord in m. 36?
- m. 37 first chord - I think I hear Bb instead of C?

A couple of presentation-related things (let me know if you need help with Finale)
- Dynamics in m. 1/9/33) are all a bit displaced a bit far to the right
- 8va (which would also be an 8va, if you want) could be poked left a bit in m. 24 (both the start and end of it)
- m. 17 is a bit cramped on top, could space the systems out a bit more and sacrifice a little space somewhere else to make up for it

I meant to submit this a while back and it fell down my priority list. But it's time now, and I made some improvements to the sheet today!

[accept]

Sounds good! The changes look good to me so it's time to accept ^^

Why don't I remember this track despite definitely playing Wii Play? ;-; It's so cool and so evocative of the era. Sounds like something from MKDS which makes total sense given the composer...

It's not a big deal but still seems like playback is treating this pickup as a 4 bar measure. Just is a weird playback delay.

Hasn't this always been the case with pickup measures in Finale? Not that it's necessarily desirable.

Other feedback before I finish up, this looks really good. Nice work keeping the left hand in pretty narrow ranges to make playing easier
- The rolled chord at the end of m. 8 sounds to me like it actually falls on beat 1 of m. 9 instead
- Conversely, it does feel like the first note of the 16th run in m. 15 is actually held over from a strike at the end of m. 14!
- I think the last LH note in m. 9 is actually a Bb instead of a D, but I guess I'm fine leaving it as a D to keep the fingering simple? Wasn't sure if that was intentional
- I don't think the ties in m. 12 LH beat 1.5 are needed since the pedal is already here to sustain notes
- The A octave in m. 18 beat 2.5 sounds an octave lower - e.g. the melody dips down here instead of up
- I'm not sure I hear the first RH G in m. 19... it isn't as present as the other notes. I think I hear an Ab in the harmony here, does that sound too weird? vs. just keeping the G or maybe just omitting the RH here

Sorry I missed that before! Files are updated with those fixes

m17 I'm hearing Dbmaj7 sound for the first beat and a half-ish, and would change RH to CFAb. I hear a harmony m17 b4, might be Gn or Cn in upper LH, but either sound a bit off to me, and its fine without it.

-m17: I think I can hear the notes goldenscruff mentioned here too (maybe the C from beat 1 goes to Db in beat 2?). In beat 4 I can hear the (L.H.) strings rebow too.

C sounds right on beat 1. I think the beat 2 just sounds like Db being held over. I do hear harmony on beat 4; I think C works fine here too.

-pickup + m1: There's some more harmony in the brass arpeggio, and the R.H. C on m1 beat 1 is a bit finnicky to get, maybe you could have the L.H. help out a bit here like this?

Looks great to me!

-m14 (and similar): It's a bit hard for the player to have the R.H. run on beat 4 end on the chord on beat 1 of the next measure (increasingly getting harder the bigger the chord ends up getting). Usually for quick runs/scales it's required for the thumb to be on white keys instead of black keys, for lighter key weight and easier finger movement. This means the thumb will have to play the C and doesn't have enough time to comfortable get the lower notes in the chord on beat 1. You'd either have to keep the end of the run as a single note Eb, or change the run to something shorter that doesn't require the player to switch positions (something like a 16th triplet starting on Bb on beat 4.5, or 32nds starting on Ab, in both cases maybe still with an Eb on beat 4 to indicate the 'start' of the run). Also, whichever run you end up keeping, in m24 beat 1 it's probably easier for the player to leave out the bottom Eb in the R.H. as well.

I've been looking at this run. Playing through I was doing thumb on Ab which isn't bad, but another option could be thumb on Gn, and turning 4 over 5 for the Eb: (2,3,1,2,3,4,5,124 (Eb) or 134 (Cmin)). Either way the bottom Eb in m24 b1.0 seems unreasonable to play. I think including some fingering in m14, what ever you decide, would be a good idea.

Thanks for giving these some thought! Here's what I think after reviewing your suggestions:
- I'd prefer to keep these runs as-is, which should be doable if we make the following adjustments...
- I think the G in m. 15 isn't too bad to hit whichever fingering you use, but since there's already a G in the left hand and this section is suddenly more subdued, I'm fine just leaving it out. I've added finger numbers to outline a normal Eb major scale.
- For m. 18 and 23 the left hand is free to help out, so RH thumb on the Ab is easy and hitting the chord in the next measure is much less of a hassle. I don't mind leaving out the lower Eb in the RH chords in the last measure; it doesn't make much of a difference either way.

Thanks again for the careful consideration! Files have been updated~

Sorry for the wait - writing a help guide for how to do custom section splitting like in fanfare collection sheets has been on the backburner for a while now.

The main tool I'm aware of to help with things like this is this one:

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Ignoring any symbols it offers you to create, it'll create a break in the system like this:

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From there, you can use the Page Layout Tool to change the width of the first/section sections of the system, and add performance markings accordingly to label the intros. You'll also need to adjust the measure numbering. You can also set up custom (hidden) repeat markings to make playback play only the first intro before jumping to the loop, and then jump to the second intro after the loop finishes.

For this sheet, I imagine you can fit both intros on the first system so this should be sufficient to achieve that. Feel free to ask for help or further clarification on how to make any of this work!

Awesome! Just a final couple of things:

- LH of m. 20-21 has notes flipped down when they shouldn't be

Beat 3 of 20 and beats 3-4 of m. 21 as well

And with measure 44 having a lot more stuff in it, I think it'd even things out visually to move m. 43 to the previous system.

That's all, I'll accept after the above are adjusted! Great work!

[accept]

I think they just appear that way because of all the accidentals, but as I've changed those measures it should look a bit better now. I've always aligned pedal markings with the left side of notes.

Oh interesting, I feel like I've been centering them with the notes...

Yeah that sounds good! I can't think of many other sheets I submitted that have giant rolled chords like this other than perhaps Corridors of Time? But it's easier to read there compared to the ones that were in this sheet.

Yeah, Corridors of Time was what I was thinking of. Gritzy Desert too, but the runs there are even smaller and also are fine as is.

Changes look good, I shall accept