Messages

No it's definitely understandable that you'd both feel that way. Any attempt at converting dubstep to piano would have to be pretty stylized since any kind of pitch bend or microtone present in those growls would be impossible to play normally. I suppose catering more to the piano's strengths with utilizing pedals and perhaps more arpeggios/scales instead of random block chunks would be more natural to play (and listen to), but at the cost of changing the entire mood.

This was more of an experiment if anything, and I personally would have no interest in performing this myself. That being said, I feel like there is still value for archival purposes as Ike mentioned, and there's probably someone somewhere out there who would test it out. I think there is no great harm in posting it if there are more benefits than drawbacks, but I guess it would still go against the spirit of the site where accuracy is one of the biggest concerns (and many would probably argue that there are more drawbacks anyways, especially if you include the time it would take to check and polish this sheet by staff/community members)

I've thought about copying over some of this work over to a sheet for "Those Who Sow Darkness" in case this was the consensus since it's nearly the same thing except more calm and foreboding, but I'm not particularly interested in doing that at this point in time. Still, that is an option for the future, provided that it's not too repetitive or heavily reliant on the ambience noises.

I apologise that you've had to wait a long time for this sort of post, but I kept coming back to the sheet in vain trying to work out if I give some feedback that would fix these issues.  I should have said something sooner.  The main point is that I'd like to get your thoughts on the sheet and what I've said in this post.  I'm definitely happy to have more of a conversation about it, but these are my thoughts at the moment.

That's okay, thank you for trying anyways!

it begins

And so it ends, it was worth a shot lol. I'll leave this open to see if anyone has any last comments regarding the merit of this sheet as a concept (or if someone can magically make it more representative and it could turn into a collab)

[[XML]]

This says that the Maestro Font (which is Finale's default notation font) is not installed, which is very odd. Uninstall/reinstall finale and that should be fixed.

It's actually saying that Finale Maestro isn't installed, which is a new SMuFL-compliant font that's part of Finale 27. I tried downloading the mus file and encountered the same problem as I did when looking at scores created in Finale 27 first, and downloading Finale Maestro would still pose an issue because time signatures, slurs, and possibly articulations are messed up

Regardless of all of that, XML exports should still work, but if you need a link then here you go: [XML]

[RWBY]

Looks like I got possessed after all, so here's my actual final sheet of the year:

RWBY

Treasure *new*

[Original]

[PDF]

[MUS]

[MIDI]

Solo Piano

The latest soundtrack unexpectedly came out today, and I had the motivation to crank this out. Happy New Year!!

it bothered me that the video wasn't available so I edited this to include a public link

[5. Fire Emblem: Three Houses - Shambhala (Area 17 Redux)(Rain)[SHEET]]

My own Top 5, and like every year I've done this it includes a mix of piano VGM and other miscellaneous stuff

Five

5. Fire Emblem: Three Houses - Shambhala (Area 17 Redux)(Rain)
[SHEET]

This is mainly here because it took more experimentation than the usual sheets I do, and I thought it was unique enough as an attempt at translating dubstep to piano. Maybe it still doesn't quite hit the mark, but I thought it would be funny and cool to have a sheet of it

[close]

Four

4. Kirby Star Allies - Wish-Granting Palace
[SHEET]

I definitely underestimated this track but I'm happy with the end result thanks to MSF and Radiak once again \o/ . In some ways this was harder than other sheets ranked higher in my list as dealing with overtones and other tiny details was A Lot

[close]

Three

3. Shovel Knight - Le Bouquet Magique
[SHEET]

Wait, why am I putting this here when it's technically an old sheet and I already put it in the 2017 Arrangement Highlights thread? One, I haven't really done much this year apart from a few bigger projects, and two this underwent a lot of revising and I won't be revisiting it again aside from final updates to the transcribed duet version. the third reason is that I just really adore this piece

[close]

Two

2. Super Mario Odyssey - Jump Up, Super Star! (NDC Festival)
[SHEET]

What's another year without at least one completed transcription? I really liked the NDC Festival version of Jump Up, Super Star! over the original and I thought it would be awesome if anyone ever played it live, so I got to work (ever so slowly). There's a lot going on (especially with the rhythm section) and it was very challenging at times, but I'm glad I continued on and finished it

[close]

One

(playlist version for the original tracks)

1. RWBY Piano Collections
[SHEET]

This may be considered cheating because it's 18 sheets, but the majority were only done for the purpose of packaging them together so I'm going to count it. I tried to diversify the arrangement styles to be more than just "power chords go brrr," but personally I could only come up with so many ways to adapt rock songs to piano. Even so, I'm proud of myself for actually finishing this instead of letting it rot half-way complete (and with a full-page drawing to boot!). I don't think I will actually print this out for myself, but I designed it with the possibility in mind
Get ready for the Volume 7-12 collection book--coming to you never!!

[close]

To spice things up this year and add some holiday cheer, I'm also including a list of some highlights from other arrangers :3 . Tbh it's mostly a list of songs that I liked the most out of the ones that landed on site, but they are all very clean and nice to listen to (or otherwise attempt to play). Some of these are already featured in this very thread

?? ?? ??

"Balance Is Restored" from Final Fantasy VI
Arranged by Static and Whoppybones
Sheet | Original

26 pages is a heck of a lot to go through, especially when some sections are pretty involved. The presentation/formatting side is also excellent

[close]

?? ?? ??

"Blue Bird Lamentation" from Zero Escape: Virtue's Last Reward
Arranged by mastersuperfan
Sheet | Original

I think this builds up nicely to the grandiose/emotional part at the end all without being too complicated to play. All around it's a super clean sheet!

[close]

?? ?? ??

"The Heritors of Arcadia" from Fire Emblem Echoes: Shadows of Valentia
Arranged by Libera
Sheet | Original

I'd say this is my favorite credits song from the franchise (out of the ones I've heard), and I felt that this was both an accurate and engaging arrangement of it that's ultimately satisfying to play. Well done!

[close]

?? ?? ??

"Kindness-Steeping Street" from Kirby Star Allies
Arranged by Radiak488417
Sheet | Original

Nothing much to say other than that this is an awesome transcription of a nice track :>

[close]

?? ?? ??

"Miror B's Retro Groove" from Pokémon Colosseum
Arranged by Kricketune54
Sheet | Original

I wasn't familiar with the original arrangement of this song but regardless I'm glad that it was replaced with something more up to our modern standards. There's a nice balance between the bass and piano parts, and it's definitely lively as the tone suggests

[close]

?? ?? ??

"Title Theme" from The Legend of Zelda: Tri Force Heroes
Arranged by Cashwarrior1
Sheet | Original

I started my own arrangement of this a few years ago and didn't get very far, so thank you Cash for actually finishing and submitting this! I think the different layers mesh well together and it's just a very fun piece in general (at least to listen to, I haven't attempted to play this)

[close]

?? ?? ??

"Zant Battle" from The Legend of Zelda: Twilight Princess
Arranged by Bloop
Sheet | Original

Bloop did a great job with the arrangement and I was really impressed with how they approached everything as a whole. It progressively gets more chaotic and having to deal with microtonal music is no joke (especially when there are some sections where it changes mid-phase)

[close]

And another shout out to Levi for replacing all of the Mega Man sheets by the end of this year! sans Boss unless there will be an update in the next few days [had a brain fart oops] It's come a long way since 2018! Here's to another year with some great sheets

Congratulations on completing your weekly goal! And way to finish it off with this beast of a sheet lol. I didn't look over it too closely, but I have a few things to say:

this is a mood haha

You cannot view this attachment.

[close]

• but really, m125/126 just seems like the same pattern from before except it only consists of the first 3 beats. I think this is closer:
  You cannot view this attachment.
  I don't think it's worth switching to 3/4 for two measures and then 2/4 because it's a small syncopated section
• m126 pt 2 also beat 4 sounds like it's sustained longer than beat 3, so either no staccato or a tenuto staccato would fit better imo
• m171/172 don't know if you already considered and decided to omit it, but you could add the low echoed melody part on beats 3-4
• m177-181 I took a picture and informally wrote what was changed:
  You cannot view this attachment.
  
  • m177 is missing an F# in between the G/E and it just sounds like a straight sixteenth-note scale instead of some freeform rhythm like the later parts (for the most part anyways... I think there are a few 32nd notes in there but they don't add much and are mostly only noticeable when slowed down a lot)
  • m178 I think there is a missing G in between the F# and A, and I think this should also start a little earlier to incorporate the B and C# from the following measure because it gets really crowded. If you write the first A# as a half note, that would make the run come in too early but it would look cleaner
  • m179 I think this is just a continuous scale so each note should be a letter apart (i.e. instead of the bigger gaps like the C# to the F# as the current 2nd/3rd notes, it sounds like there's a D and E in between). I also think that the peak note is a D instead of a C#, or you could put mordents on the C#'s instead since that part is really fast. If that is too hard then it's fine if that's omitted though
  • m180 similarly I think there are some missing notes here too, although each note is not completely neighboring the other. And then I think the highest note should be an A# instead of a G
  • m181 maybe you could add a B grace note to the C#

That's it, awesome job from the both of you!

Thank you, I appreciate it!! And using the DPCM channel was my biggest motivator for even writing BIG SHOT out in FamiTracker. There are other songs that I like more but the vocal parts made it an interesting experiment

I wouldn't be able to tell you exactly how long it took to finish JUSS because I would focus on one part/section for a bit and then stop working on it for weeks/months. It definitely took over 100 hours though. Having a jazz ensemble play it was the goal, so hopefully that will actually happen sometime next year!

[[PC] Deltarune]

Gotta get these sheets in before the year ends so I can put one of them in my Top 5 list for 2021

[PC] Deltarune

BIG SHOT *new*

[MP3]

[NSF]

[Original]

VRC6

I posted this a few months ago on Discord, but I actually ended up modifying this a while back to include the WOW Earthbound sample and to fix the harmony part in the World Revolving section so that it would start earlier. Also, if you haven't already seen Branflakes's cover it's very well done! They brought out harmonies I did not hear at all (tbf I use mono audio, but still...), and it makes me wish I included them in mine because it feels richer. If like me you couldn't hear some of them in the original, somebody uploaded a sample without the center panned instruments

Attack of the Killer Queen *new*

[Original]

[PDF]

[MUS]

[MIDI]

[MP3]

Small Ensemble

I've been holding off on updating this thread because I wanted to do some edits on this sheet, but it's been 3 months now and I still haven't so I figured that I might as well get it out there

Game Main Theme (Piano Sketch) *new*

[Original]

[PDF]

[MUS]

[MIDI]

[MP3]

Solo Piano

This is just a small thing I liked from the unused tracks that were teased during the 6th anniversary stream


[SW] Super Mario Odyssey

Jump Up, Super Star! (NDC Festival) *new*

[Original]

[PDF]

[MUS]

[MIDI]

[MP3]

Big Band

This one is a few years in the making and is only possible because of the isolated Smash tracks that split it into several sections. I still wouldn't call it fully accurate (maybe like 80-85%?), but it's easily better than it would have been otherwise. I just wrote a repeat in the finalized sheet, but I have a file with the full improvised parts written out here as a MUSX file. And then individual parts can be found here

That's it from me for the end of the year unless I become possessed!

[[PC] Deltarune]

These have been sitting around for nearly a whole month oops. Also Merry Christmas to those who celebrate it, or just Happy Holidays in general!

[PC] Deltarune

Vs. Susie *new* [MUS] [MIDI] [PDF] [Original] I also gave Lake a partial make-over. I say partial because there are still some things that are off to me and I'll make more changes another day, but there are enough changes to be significant. Also there are quite a few unsavory ledger lines, but since most of them are octaves I wasn't sure if it was outright better to just switch clefs frequently instead     Lake [MUS] [MIDI] [PDF] [Original]

I too have feedback that I haven't gotten around to posting, so here's some additional stuff that Kricketune didn't already cover:

- Not sure if this really matters but the performance note is outside of the margins
- I don't think specifying each pedal is necessary if it changes every measure, so you could show the first few, hide the rest, and put "simile", or you could hide/delete all of them and just put "con pedale" at the start. If you would still rather show pedal markings, then I think it would make more sense to use the triangle hooks instead of the line since it implies that it stops there instead of only momentarily. Actually looking through it more, it seems like there are some spots where it should be either extended longer than one measure (m9-10, 11-12, and 13-15) or shortened to half of the measure (m20-21)
- I think it is fine to leave 5 systems on the first page provided that the pedal markings are hidden and the first system is moved down to add more space below the composer/arranger text since it looks pretty cramped. Otherwise you could do what Kricketune suggested
- I also think this is in D minor, but even if it isn't I think those A#'s should be written as Bb's. There are a lot of 5ths going on in the bass motion and writing it as Bb instead of A# makes that more clear. Also there are some measures with both A and A# (e.g. measure 11 or 22). I would also probably put Db's instead of C#'s in measures 3-4
- m3/4 LH beat 1 C# sounds more like Bb
- m9/11/13 RH I think it would be better if those quarter notes were written as half notes since there's a pedal there
- m15 I think there should be a double barline at the end here since it's switching to 4/4 for a significant amount of time
- m19 RH I do hear that D on beat 1.5 2.5, but maybe you could make it more clear that it belongs to the chord hit so that it won't be mistaken as part of the melody
- m20 LH last note sounds more like C than G
- m22 RH beat 4 sounds like there's also a Bb here
- m25 RH I think the F's should be G's instead

[Formatting Guidelines]

Hi and welcome :3 . For future reference, it would help if you put an mp3 or youtube link to the song

- This doesn't quite follow the Formatting Guidelines, and if you use MuseScore then this guide by Cacabish is a big help with the conversion process. There's a lot that I won't cover in detail, but the most noticeable things are the missing tempo marking, dynamic, measure numbers, and copyright
- If you're going to put a key signature, then I think it would be better off in D minor instead of D major/E minor
- I think it would be better if those chords in the LH were spread out so that they aren't so blocky/muddy. One way to do it is to write the tonic + 5th in the left hand, and the 3rd, 7th, and 9th in the right hand. Even if you decide to keep everything the same, you're still missing the tonic in those chords and you could have the RH play the top note so that you could play the full 9th chords. The missing notes are the following, and all of them are at the bottom:
   - m1 missing D
   - m9/15 missing C
   - m13 missing Bb
   - m17 missing C#
   - m19 missing D#; I think there's also a B# here but I'm unsure...
- I think this piece repeats in the game, so you should add a repeat bar at the end
- m3 there's this high pitched E that comes in, albeit it's quite soft
- m5 LH I think the chords should be rearticulated here since 8 measures is such a long sustain on a piano
- m5+ RH it sounds like there's an additional octave above that's rolled. If you would like to add a roll marking to each note, then you could just leave it in or write it the first few times and put simile starting measure 7 or 9
- m9-12 and 15-16 RH, the D#'s and A#'s should be spelled as Eb and Bb respectively. This way they are following the chord's spelling, and there aren't any sharps that collide with naturals
- m13-14 RH, similarly C# and G# should be spelled as Db and Ab
- m19/20 RH there are some missing harmonies here. I personally hear A#-F#-tied G#-F#-B# for each quarter note. Also it sounds like there should be a fermata at the end

I did everything except the dynamic marking because I don't know what you'd want to put for that. Feel free to modify it to your needs (e.g. like changing the LH back to the way you had it before or removing the roll markings)
[MUS]

That works great imo! For the last 4 'beats' you could also do something like this if you feel like it, but I'm totally fine if you wanna keep it as is:

That works too I think! I guess the most important thing to me was that the four notes in m109-110 (2nd in m109 and first 3 in m110) were the same length. I'm not too sure about the change in m112-113 though, because I do feel it in a 3/4-kinda way (qE--8thF# qG | qF# qE qD) like you had before I think. However, it's very weirdly timed too, that even the violinist and pianist couldn't agree on it, so I'm not 100% sure either way lol.

Okay, I'll just keep these the same then

-m124-125: I hear something like this in the L.H.:
I think this makes it a bit more clear how that middle octave is moving (I believe I hear it as an octave on beat 2 of m124 too), while the B-D# dyad just plays once (also in m124)

I still hear the middle part rearticulated (as well as the F# on beat 2 of m124), but I added an A# there. After listening to it again, I think it also plays twice in measure 125 too

-m133: I hear a low F# on beat 1 here in the L.H., though the chord is not rolled. The player probably had big hands lol.

Yeah that's an awkward stretch for sure, and I guess anyone who can't play that (myself included) could either roll the whole thing or omit the F# so I added it

-m137: I also also don't hear the G# on beats 2 and 3

It sounds like there's an E playing instead of a G# on beat 3, but yeah there's nothing on beat 2

-One last suggestion which you could think about are the dynamics: you have everything very clearly written out, but with a few exceptions, almost the entire piece shifts between just piano and forte. Maybe by stretching out those extremes to ff and pp (or even fff and ppp), you can give some parts some more personality.

I decided to replace p with pp in m9/58/117, ff instead of f in m68, fff instead of ff in m150, and p instead of mp in m157

-m8: this is not the second half, but I just noticed the hairpin continuation should start a little bit more to the right (at the start of the first note or just a little bit before)
-m121 and 123: I think beat 2 and 3 in the L.H. are the same as A#-C#-E-F# chords
-m134: I don't hear the upper F#'s on beat 2 and 2.5 here
-m136: I also don't hear the middle B on beat 1
-m143: The L.H. note on beat 3 should be an octave B (an octave below the one on beat 2)
-m157: I believe the L.H. here is also an octave lower, as well as just a dotted half.
-m160: You can add the mordent on beat 1 here too
-m163: Good news, I can hear the Fx on beat 2.25, so the pattern is completed
-m166: I believe the L.H. note on beat 2 is an octave E, and beat 2 and 3 are an octave lower.
-m167: I hear a G# below the B on beat 3.5 in the R.H. too
-m173: I believe there's not a B on beat 3 in the L.H. here. You might wanna consider if the B in the R.H. is actually the delayed B in the L.H.
-m175: I'm not sure if the second beat is really rolled, as it's not as pronounced as other rolls.
-m189: I think the low G# can go in a second layer as a whole note, I can hear it in beat 3 and 4 still.
-m192: I think you can use forte as dynamic marking here, it's not necessarily loud in the total picture, but you can hear how much attack the pianist uses on the high note.

I think/hope that's it for all the detailed stuff! I'm still blown away by some of the things that happen in this sheet haha, again, nice job!

Done, and thank you! Other than that, I also got rid of the staccato on beat 3 of measure 135

what a beautiful piece, never expected something like this to be in a game, haha. Very nice work figuring all this stuff out! I'm going over the first 4 pages now:

Technically it's only in the soundtrack and not in the actual game (afaik), but yeah it's still a surprising, yet lovely arrangement of Waltz for One. Thanks btw! :3

-m9: I think the A# in the L.H. should be a F#

I still hear an A#, but I'll put down an F# too now that you pointed it out. When I play-tested that chord beforehand, I already took the A# with my RH and played the D# with my LH, and it still works out with the additional F#

-m27: The violin slides to the C# at the end of this bar, maybe instead of A# you could use B on beat 3.5? Or possibly 2 sixteenths A# and B

I decided to go with the sixteenth triplet A#-B-B#

-m82: this is horror
I think I hear something like this, or at least this order of notes:
~snip~
Maybe it's worth thinking about writing m81-83 as a cadenza? There's not really a clear pulse, so maybe giving the player more freedom in these 3 bars could work.

It's certainly a struggle ;-; . How's this?
You cannot view this attachment.

-m89: I don't think I hear something new on beat 1 here, and I also don't think I hear the top C# on beat 2.

The missing C# is more clear than beat 1, but I got rid of both because it's hard to tell if I imagined the beat 1 chord or not

-m95: Also don't hear the bottom F#'s in the L.H.

I think I just lowered the F#'s an octave so it wouldn't interfere with the melody, but it doesn't add much so I got rid of them

-m111-112: i'm breaking my brain over this rhythm what
I think I hear something like this?
~snip~
I'm not sure what the composer originally intended, but I hear the melody in this kind 4/4-ish rhythm (with the last note a little bit longer for classical-rubato-purposes). If you'd rather keep it as is, that's fine too, because I'm not 100% sure either way.

I ended up modifying that section up until the fermata. I kept measure 112 (110 now after the cadenza change) the same since I feel like the triplet motion is more pronounced. Then I wrote out the RH in m111(109) as a triplet in 2/4 time since the pulse sounds the same between those two measures, and then I wrote measures 114-119(112-117) in 2/4 so that the G natural starts on beat 1

Lastly, maybe it's an idea to specify pedal marks for places where it's ambiguous how the pedal should be used. A few examples are m9-11 ("should the pedal be lifted at m10 or not?") and m75-76 ("do I re-pedal every chord, or somewhere halfway?")

I would rather leave it to the performer's discretion given that it's a very expressive piece and I'm not even completely sure on what it's supposed to be in the original

-m3: I think the rhythm in this measure should be somewhat similar to the one in m5. The rubato makes everything a bit weird, but I feel the B-C# dyad on beat 2.66 more as a early 3rd beat, than I feel the R.H. E on beat 3 as a late 3rd beat.
-m4: The dyad on beat 2 gets restruck on beat 3 too (a bit softer)
-m5: I don't think the chord on beat 2 is rolled in the original, definitely not as much as in m1 though.
-m55: I think you can still add the mordent on beat 1 here, taking octaves with the 1st and 4th finger isn't that uncommon.
-m76: Instead of 'dim to p' at the end here, you could just use a decrescendo hair pin to signify that the last note should be softer.
-m86-87: I hear the bass notes being doubled an octave lower too
-m90: I also don't hear the E and F# in the L.H. here.

Alright looks good! Last thing I would suggest is to flip the lower layer in m. 173 upwards.

Got these too \o/

So I didn't get this done by the end of October, but at least I finished it before the end of the year. There's more that I could've done with it, but I'd rather move on. This is a cover for my transcription of the New Donk City Festival version of "Jump Up, Super Star!"

maybe the next one will be a certain deer by the end of January or February

Oh got it. That feels a bit weird because the D# from that voice wasn't present earlier in the measure like in 170. Would that be too messy to write in too?

I thought it would look too cluttered, but ultimately I decided to keep the violin melody up an octave since it's not unreasonable to play. That way it's more consistent and less messy too :3

I fixed the other two points as well

The phrase where the E starts on beat 4.5 of m6/14/20 messes with my brain

- missing dynamic
- idk what happened but the measure numbers are off

Spoiler

You cannot view this attachment.

[close]

- it sounds like there's a missing Bb on beat 1 in the bass for m17/19/21
- the 7th/9th dyads of measures 18, 20, and 22 sound like they come on beat 1 instead of beat 3