Messages

Double-check the rhythm in m. 55. Feels like the second half should triplets (rest, G, B). Beyond that, good arrangement! Clever way to arrange the percussive elements for piano.

It makes more sense for the A#s to be Bbs (fits in with a C7 chord, and the flats later on in the piece).

It recently noticed that this one was missed when we did the big Shin Onigashima update. Putting it up here now.

Bump?

It took me a while to figure out what that meant.
Fixed.

*Thumbs up*

Finished with Kid Icarus! (I had actually finished most of it a while ago, I was just procrastinating on the Ending). Some of the songs still need some small touches, but other than that it's set.
I've also started throwing together some of the Retro Medlies from Smash games; since I already have most of those songs arranged anyway, it's a simple matter of stitching the songs together.

I believe there might be some slightly different formatting rules regarding medlies, so if anything needs to change let me know.

Listening to the piece, that doesn't sound like a ritardando in m. 14 at all, but about two beats of rest.

Priortize vertical analysis over horizontal.

I always prioritize horizontal over vertical. Always. I'll try to briefly explain why I was taught this; (A.) any group of notes, of any spelling, played together is a chord and can be given a name. (B.) Harmony is a product of counterpoint, so making any melodic movement clear is more important to the performer, to better visualize the movement of the piece over time. And (C.), composers don't write vertically (generally). Music exists over time, after all, so proper musical analysis has to take everything in temporal context. Hope that helps you understand where I'm coming from.

Tobbeh99: The rest in parentheses doesn't exist in the original; the C/A middle voices are held for a half note, but on piano that would conflict with the A in the bass. I was going to ask about that, but I think I'm just going to replace it with the half note.

Some interesting roadmapping; it does cut down the page count, but there are a few things I'd tweak elsewhere in the arrangement.

Measures 1 and 12, should be D# rather than Eb to show the upward chromatic motion (leading to the E).
Also Measures 1 and 12, I feel like there should be a rest in addition to the cue note, for clarity's sake.
You don't need the Coda symbol next to "Al Coda", nor the word "Coda" next to the symbol.
If we're going to make the last note 8va, make the other instance 8va for consistency and the barred line isn't necessary (since it's just one chord).
Is there a reason the Coda staff is so much smaller than the rest? It doesn't save any space.
Since the common practice is to skip the repeat after a D.S., a note to play it both times through would be helpful.

Here's a PDF of the further changes I made.

Trivia: "Hiromi" is the in-credits nickname of the game's composer. She worked for a company outside of Nintendo, and her true identity is to this day unknown. Kenji Yamamoto was the sound designer for this game and composed the music for the sequel, so he is often credited with the music. Still, I can't help but wonder who this "Hiromi" truly is.

I'll workshop it a bit more. Is it alright if I withdraw the submission to have more time to work on it?