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In reflection, Thunder on Boss was composed in a metal style, and I was definitely improvising sections and sticking them together. I'm actually not that fond of what dajwxp calls the B section because I think it sounds too much like Bravely Default's "That Person's Name Is".

I published two more pieces today, and they're definitely for different audiences.

The Little March here is a companion piece to the Marche-Sonate and is meant to be the theoretical trio for the older piece's first theme. While using the same tempo, time signature, and tonic, it contrasts in style.

Toccata No. 1 in E Minor here is labelled ("Alla Metal") for a reason--it's a crossover between classical and metal. Unless you're into harsh-sounding metal, I think it'll be one of the most dissonant and unpleasant songs I'll ever compose.

Listened to the linked Youtube video.

Gosh, it's hard to hear the accompaniment starting at Bar 29. The drumbeats tend to overpower it (at least from my speakers). I'm curious whether you ever considered doing something to the accompaniment in Bars 43-44 to take the increased drumbeat rate into account.

In the meantime, I heard at least one high G in Bar 27 and only one high G in Bar 28 in the Youtube video (these contradict the PDF). Also, at least to me, it sounds like there are more middle Gs in the video's Bar 28 than the PDF's.

(I apologize if Sebastian already covered both paragraphs' comments; I cannot read .musx's with Finale Notepad 2012.)

Honestly you'll be better off re-editing things in notepad. It'll be annoying, but it's really a lot easier than re transferring and re formatting XML imports.
Take it from someone who did this for ages..

I've read that Finale Notepad 2012 cannot let me change clefs, and since the first several measures will involve me putting the bass clef back on the lower staff, I'll need to re-transfer. Luckily, I have Notepad++ and the ability to directly edit (Music)XML...

...and I can also change the number of bars per system in the process.

What key and time signature is this in?

I have a feeling it's in swing 4/4 and E flat major but I'm not so sure.

I agree it's in compound quadruple meter (I'd probably end up using 12/8 time), but it swings pretty rapidly between a Bb tonic and a C tonic (leaning towards Bb major-like, C minor-like, F-minor-solo-on-dominant-like, and C-double-harmonic-like). I suspect you may need to rapidly change key signatures or pick a base key signature based on the ones I suggested, then put on a lot of accidentals.

...Great, now I'm looking for input on two transcriptions, not just one.

I'm pretty sure my transcription of Archetype (the Castle Crashers Arena theme) is good enough to submit (after fixing the formatting, of course), but the part I'm the least certain about is the copyright. My transcription is of the original Newgrounds version.

For reference:

My transcription of Archetype
https://musescore.com/user/9996931/scores/2375901

Newgrounds
http://www.newgrounds.com/audio/listen/21749

Castle Crashers

I'm pretty certain the Castle Crashers loop doesn't fade out at the end, and I've heard evidence that The Behemoth extended it. I've only found one gameplay video with the suspected extension, though, so I haven't transcribed it.

Thing-Thing Arena 2

I'm not certain that the original Thing-Thing Arena uses this song, despite the number of Youtube videos claiming that it does--if it does, please tell me!

Especially since Castle Crashers contains only one song that is actually composed by The Behemoth's employees (its Barracks theme is composed by The Behemoth's longtime artist, Dan Paladin), and Archetype is found in Thing-Thing Arena 2, I'm having doubts that the copyright of Archetype belongs to The Behemoth. There's also Newgrounds's IP policy here to consider.

(I've privately talked to Maelstrom before about the copyright, but I'd like to see a consensus here before I put the copyright on the submission.)

[Original Composition:]

Been a while since I've created something new.

Original Composition:
 - Another Random Battle Theme: MID

I can't think of names.

This is a completely original song, and has no affiliation with the "Generic" series. It's a strange space-shooter thing, except for the chorus. I don't know what kind of environment it would play in.

Other than the repeated-note beginning, this one reminds me of Touhou music...or piano transcriptions of it, at least.

Original Compositions:
 - Generic Boss Battle: MUS

This older song reminds me more of Pokemon battle music. Perhaps it's the first several bars' use of a C minor(-like) key, Phrygian-scale notes, parallel 4ths, and a strong walking bass. (Dang, there are a lot of Pokemon songs in C minor(-like keys)...)

After looking at Pianist Da Sootopolis's comments, I re-analyzed my submission and found I've been transcribing the triangle wave channel wrong all along--in Famitracker/NSFImport, it's notated an octave higher than it plays. Due to this, I'll need to fix the files, and I believe it'll take several days to do so (including re-transferring the MusicXML from Musescore to Finale Notepad).

When I transcribe music, I'm naturally prone to agreeing with Olimar12345.

Problem is, every time I recall my music theory lessons, they agree with the OP's 1st method.

(I'm going to submit a C# minor-like VGM transcription soon where every single D has a natural sign on it. Figuring out which key and mode it's actually in won't be fun...)

If you like music that isn't from video games, I've made a concert paraphrase (a spicy piano transcription) of J. C. Heed's march In Storm and Sunshine here! You can take it significantly slower than I indicate.

[Collisions]

Collisions, my friend.

You got a sonicallly sound piece of music, but the forced cramping of 16ths runs within 4 measures of a system, along with little breathing space in between the treble and bass staves, results in many unyieldy collisions of dynamics and accidentals against many of the notes and beams of the score.

Not sure how to solve the collision problem anymore--I did find one more note collision and changed out all 3 files just now to put the collided note in Bar 31 in parentheses and eliminate the hand collision in Bar 11 (and delete the collided note in Bar 12 by eliminating the accompaniment).

Should I delete all collided notes in parentheses?

In the .nsf and my current files, there is a sharp dynamic change in Bar 4--should I change that to a diminuendo instead?

I'm also curious about which accidentals are collided. (The rests are in ugly positions in the score.)

Bars 29-35 do make the hands get very close to each other, I admit.

Looking forward to your full review, dajwxp!

In the meantime, I've published my Fire and Ice Polka, which you can view and listen to here! IMO, it is not one of my better pieces, though...

Bump--I adjusted all 3 files about 2 weeks ago to improve playability. As I suspected, written-out tremolos instead of RH octave passages in Bars 21-36 sound good enough.

I've finally released the first rag I ever composed--the Improv Rag, which you can listen to and view here!

Here goes...my first published VGM loop! ...For video games that don't exist.

Thunder On Boss is an exciting, aggressive generic boss theme. You can listen to it and view the sheet music here! Downloadable content available in Google Drive upon request.

EDIT: I just released It's Only Us Together here! While I'm uncertain about whether this is actually a rock song, and the melody is pretty much unsingable as-is (I cannot hit the highest note in Bar 77 and can barely hit the highest note in Bar 76, but I can hit all the highest notes in the first several bars, and those go lower than Low C), I find it pretty hard to NOT start sashaying to the song.

EDIT June 20, 2016: Just released Marche-Sonate, and you can view and listen to it here! One of my prime examples of musical humour, it convinces listeners that it's a regular march, then reveals that it's actually a classical sonata-allegro.
Also just released Scherzo Infernale here and the march Out of Strife (Comes Hope) here!

This is where you can help me out!

As mentioned above, I'm considering making Kirby Super Star Ultra and Kirby's Return to Dream Land cuts of my transcription of Galacta Knight's theme, and there are a few sticking points I appreciate having addressed first.

First things first: Other than easily correctable octave voicing, are the melody notes in my transcription 100% accurate?

For reference:

My transcription of Galacta Knight's theme

https://musescore.com/user/9996931/scores/2271766

(Bars 1-37 are from Kirby's Return to Dream Land, Bars 38-70 are from Kirby Super Star Ultra)

Kirby's Return to Dream Land

Kirby Super Star Ultra

(I sort of don't like the sound balancing in Musescore Bars 46-51 or ~0:17-0:25 here, but I suspect that the one with the sound balancing I liked the best is now deleted.)

...I hate how debatable Bars 5-12 and Bars 38-45 are.

I'm the most concerned about the melody notes and rhythm in the solos (Bars 25-28, Bars 58-61) and the melody in the fractured measures section (Bars 29-33, Bars 62-66). Kirby: Planet Robobot's version of the fractured measures section sounds nice and regular, but both KSSU's and KRTDL's melodies there definitely jump around.

Second: Should I submit the Kirby's Return to Dream Land cut or the Kirby Super Star Ultra cut first? Galacta Knight's theme first appeared in KSSU, but I actually figured out the intro (Bars 1-4) for the KRTDL cut.

Third: For the KSSU version, what should I do for the intro (first 4 bars)? I suspect I'll use the same LH as the KRTDL version in Bar 4 to simulate the drums, but the first 3 bars are likely going to be pretty boring. Should I do a solid A-C-E chord for 4 bars, attempt to incorporate the guitar pulsing, or do something else?

Fourth: Do you like the arrangement in Bars 13-18 or Bars 46-51 better? ...Or do you evenly split between them and make me use a Bars 13-18-like version in KRTDL and Bars 46-51 in KSSU?

Fifth: Harmonic and accompaniment accuracy may have already gone out the window in my Musescore version, but do any places stick out and need adjustment, and if so, which bars?

I'm not 100% certain I'll ever edit the Musescore version, but all your comments will help me write the NinSheetMusic cuts! (I already foresee at least one LH adjustment in the NinSheetMusic cuts...)