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Messages - Th3Gavst3r

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I'm not sure this courtesy is particularly necessary, but it's not a problem.  I can accept with or without it.
Took it out. Is it not necessary just because of distance from the last accidental?

Same comment about the left margin as in the other one, otherwise looks good!

Margins - the left margin should be a bit bigger or the staff should have a left margin so the staff braces aren't poking out of the 0.5" space on the left.
Finale whyyy

The same comment about the margins applies over here too.
Fixed them

- Use dotted eighths instead of 16th-tied-8th in m. 1-3
Less busy yes

-The bass in bar 1/3 should look like this I think:
I think these would be better written as Bn, since it's chromatically ascending and maintaining the D-F harmony above it. Also wouldn't need courtesy accidentals.
Went with Bb in the RH over Bn in the left. Added a courtesy Bb on LH in m3

-You might want a courtesy natural on the first left hand C in bars 2/4.
Changes from above make this unnecessary

-All those three beat left hand chords should be written as dotted minims/halves.
Less busy yes

-I'd recommend standardising the top, right and bottom margins all to 0.5.
I forgot about this one, curse the old template

-Any reason the final RH note is a quaver?  I'd at least write it as a minim.
Not particularly. Changed to staccato quarter

I'd recommend a courtesy natural on the F in m. 6 RH. The harmony's Fb here so that could be misinterpreted.
Good idea, courteoused


- Dynamic marking in m1 is a bit high up and should be moved down a bit to be aligned in the center between the LH and RH staves. EDIT: Or you could just put the dynamic marking in m1 directly between the notes on beat 1 and move the roll marking back a bit to the left, which might be preferable actually.
- The m5 LH beat 1 eighth rest is one notch too high compared to m1. With that, I would also move the cresc. a bit down so that it's closer to being horizontally aligned with the mp in m7.
Moved it under beat one and adjusted all layer 1 beat 1 rests down slightly to free up some room

- I would move the m3/m7 RH beat 1 eighth rests up two notches so that they're just about touching the bottom of the RH staff. Right now, they're too far down IMO.
Moved them

- You might consider making the LH whole notes in the last measure; I feel like it's a bit strange for the LH to suddenly release as the RH plays the last note.
I prefer it the way it is. In the original, the decay on the strings is short enough that the last note plays alone, and releasing the keys creates the same isolation on that final tone

- I'm not sure if Capcom should be capitalized? I've never written it that way on my sheets, anyway...
They're kind of inconsistent with text because their logo is presented in all caps. IIRC I checked the end credits of one of the games for this sheet, but it looks like most of their branding uses lowercase so I'll switch to that

- The roll markings in m1/8 are still a little too far to the left.
Moved them to the right 1 tick

- The LH Layer 1 beat 1 rests are too high up.
Moved them down 1 tick

- Add a whole note D under the LH in m4?
- You may or may not consider cross-staffing the G/A/Bb in m4 to make it easier to read.
Added the D and shifted the whole countermelody into the upper staff. Also shifted the countermelody into the upper staff in m7, and swapped the hairpin for a cresc. to avoid clutter

- I would suggest lowering m6 LH beat 3.5 (G) down an octave to preserve the contour of the original.
I left the G on b3.5 to avoid dropping into a lower register compared to the rest of the song

- m8 is fine as is, but I thought I'd just point out that, if you wanted to keep consistent with m2/6 beat 4, the G on LH beat 4.25 should be written as a dotted eighth and the F# wouldn't be played until beat 1 of the next measure.
Technically m6 should be some sort of tuplet Bb,C,A but while it sounds natural in voice the rhythm sounds awkward on piano. M8 sounds fine with the repeated F# to me though

- Strange, m9 LH Layer 1 doesn't sound on playback... not sure why. Is this true on your end too? For a quick fix, you could just add the whole note to Layer 2 as well and it'll play back.
Works fine for me, it even makes it into the midi export which is usually the first thing to not work. Must be a weird versioning thing :(

- I think the grace note on the last note works better as a Cn rather than a B.
I agree, changed it

- The roll markings in m. 1/8 are a bit far to the left
Adjusted those

- The sharps on the F#'s at the beginning of m. 2 and 6 are pretty confusing - the previous measures already play F# and this looks like a change when it's the same pitch.
I put those there to point out that they aren't from the surrounding D minor modulation, but it is a little bit confusing. Being the first note of the "key change" it's probably fine to leave it bare

- The LH/RH staves are pretty far apart. That's not in itself a problem, but it looks a little odd with this sheet I think since the LH and RH parts are so close together on the piano.
Put a lot of effort into squeezing things close together. I flipped the LH layer 1 to help with this and moved a lot of the dynamics around. The result is microscopic

- The right end of the slur in m. 8 could be brought down a bit.
Since I flipped LH layer 1, this isn't a problem anymore :D

You've got some awkward overlaps between the LH/RH. Crossing over isn't necessarily a problem, but you have them playing the same note at almost the same time, which will be awkward to play and also confusing for the listener - m. 1 beat 3, m. 5 beat 3, m. 6 beat 4, m. 8 beat 4.
I lowered the double A by an octave in m1b3 and m5b3
For m6b4 I lowered the doubled C on b4 and also the Bb on the downbeat of 3 to help with voice leading, but I left the G on b3.5 to avoid feeling like a sudden drop into a lower register.
M8b4 I just removed the double G since nothing else sounded good to me.

I also added some parentheses on notes shared between voices and got a proper title for this sheet too

Guess who's still needy back?
For my next arrangement, I'll need a blank Finale sheet with the following:
  • Time Signature: 4/4
  • Tempo: Quarter note = 84
  • Key Signature: Natural (C Major)
  • Starting Clefs: Bass RH, Bass LH
  • Total Measures: 14
  • RH Change: Treble Clef @ m5
  • Time Signature Change: 3/4 starting @ m7

Thank you!
Here's a mus, hope you're still planning to arrange it lol

by ped marking I mean just some dynamic that says "con ped." or something to indicate that pedal should be used in the song, not necessarily all the markings.
Ohhh yeah, went ahead and added one of those

Also just found a citation for the title on

m11 b3 has the shamisen (?) playing a G here, wouldn't be hard to add it as a 5th harmony in the LH.
I mainly left it out because it's in the same register as the voice, and doubling the octaves with pedal makes that section in particular even muddier combined with the density from the LH 16th notes

Ped text? You have the hidden smart shapes but nothing to indicate that to the player.
I've never been really sure about the rules for when to apply pedal notation :/
In this case, the pedal points seemed pretty straightforward and writing down two points per measure looked like a lot of clutter to me

Should it be "Composed by the CAPCOM Sound Team" ? I have no clue, just throwing it out there.
I couldn't find an example citation for them anywhere, but they always brand things with "CAPCOM/Capcom Sound Team" so I went with that. I was planning to replace it with the actual composer when they release that info, but for now I added "the" to raise fewer eyebrows lol

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