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I published my first slow drag today--D-Reamy D-Rag, which you can listen to and view here!

EDIT: I guess I may as well mention that I've written a piece for an instrument other than the piano: the trumpet. Beware: as this is an exercise to improve trumpet embouchure, and trumpet players should play it without changing their fingering at all, it basically has only trumpet C's, E's, and G's in it.

[Arranging:]

From all your replies, I believe "layering" means the use of what Musescore calls "voices"--correct me if I'm wrong. Thus, layering can help me display notes with stems in both directions in one staff.

Assuming my guessed definition of "layering" is correct...

Arranging:
- First measure: Lower the accompaniment Cs to below their respective dyads. This gives a "fuller" texture otherwise not capable from one instrument, and also solves part of your clashing problem. In addition, let the bottom voices hold out with the use of a second layer.

If enough people agree, I could use a second layer to put quarter notes on the lowest C, Bb, Ab, and G in Bars 1-2--this is a direction I'm not completely for or against, and I'd let a live pianist get away with that.

- Measures 13 through 15: Like with the introduction, let the bottom voices hold out by use of layering. This is reflected in the original, as well.

I am more reluctant to implement this use of layering because this is what I hear in the Youtube and .nsf versions:

EDIT: On several other listens, I see your point, WaluigiTime64--where the heck are the solid enough B flat below Middle C (in Bar 13) and the A flat below Middle C (in Bar 14) (approx. 0:08-0:09 in the topmost video) coming from when I listen to the soundtrack? The closest I see in the .nsf are the 16th notes in the accompaniment.

As those bars already repeat their B flat and A flat below Middle C several times in my transcription, I don't think a pianist could play the layered version (where the B flat and A flat would also be held).

In response to your new thread title:

GaMetal exposed me to Etrian Odyssey III's soundtrack, so I've listened to some of its battle themes. Although I generally like the way they combine consonant tunes with rhythmic edginess, for some reason, I tend to be more strongly attracted to the dissonant ones.

...Shucks, the song I know best is still the one with a GaMetal remix, "Their Own Brand of Justice". I've listened to "Unrest ~ Hoist the Sword with Pride in Your Heart", but I do not remember the tune...

One more tiny tiny thing: Maybe an expression text?
It'd be really nice to have one for this awesome battle theme.

I think something like "Allegro" would work well enough for the main tempo marking. Perhaps a more specific direction would be neat at Bar 29 (where the music gets quieter and fuzzier), but that's up to you!

I published another video game theme today! This time, it's for a fan character of mine, and you can listen to it and read more about the character here.

[Formatting]

Fixed the sheets' triangle wave channel transcription, then updated all 3 files. My replies to Pianist Da Sootopolis's comments are below in blue:

Decent job, but there's quite a few things which need fixing.
Okay, here goes nothing. Glad I had coffee earlier.. (hehe I'm not sleeping)
Quite a few of these remarks are going to be personal preference for various reasons. Things you must/really should do will be bolded, and things you may want to consider will be italicized.

Formatting:
- Lower the first system, raise the musical direction marking (good on you for having one, by the way!).
Musical direction marking raised.
- The interpretation note at the bottom of page 1 is redundant; most skilled pianists (which you would have to be to play this sheet in any case) would know to emphasize a melody line over octave tremolos. If you must make sure it is quieter, use a different dynamic in each staff, placing them above the top staff and below the bottom staff.
I tried setting the upper staff to mp and the lower staff to f starting at Bar 21. I kept hearing the upper staff's dynamic in Finale Notepad, so I stripped the extra dynamics. I did remove the interpretation note, though.
- Standardize your systems; you've got 6 measures in the second system and 3 in the fifth.
Measures per system have been made more consistent.

Arranging:
- First measure: Lower the accompaniment Cs to below their respective dyads. This gives a "fuller" texture otherwise not capable from one instrument, and also solves part of your clashing problem. In addition, let the bottom voices hold out with the use of a second layer.
I wish I knew how to put in a second layer, especially with Finale Notepad...the accompaniment Cs now reflect the actual triangle wave part, though.

- Measures 1-4: Replace the hairpin with a cresc. marking (for aesthetic reasons)
It was easier to transfer the hairpin through MusicXML.

- Measure 4 (a): Replace the f p with a Fp (forte-piano). This makes it much clearer what you want. Better yet, since you have a crescendo before hand, you could do a sfp (sforzando-piano).

fp added. I don't like a sfp as much because I think that's too open to interpretation. (I normally interpret the sf part of sfp as increasing the dynamics about as much as an accent would.) I want to make sure that the initial dynamic is forte.
- Measure 4 (b): Get rid of the top c on the octave on beat 1.5. This allows for a cleaner texture in that little "passing" moment; the bit where the dominant note is repeated in different octaves. To allow this to be clearer to the performer, along with the fp/sfp (depending on what you pick or if a Mod deems it unnecessary), I would eliminate the octave; if anything, I would put it on the downbeat to give contrast.
The top C in Bar 4, beat 1.5 exists in the .nsf, so I left it in. However, it turns out that the lower note in the octave doesn't, so I removed it.

- Measure 8, beat 2: make the C-Db tremolo a trill.
Done--trills don't transfer properly in MusicXML between Musescore and Finale Notepad, so I had to manually add the trill marking in.

- Measure 9: Bring your LH down an octave to give both a better texture and a playable sheet
I used the triangle wave channel instead of some square wave channels now, so the LH is now about an octave lower

- Measure 12: The 3 note sequence leading into measure 13 is a 16th triplet.
The .nsf has an approximation of a 32nd-note sequence there, so I've left that section alone. (The .nsf's precise note ratio is 3:2, but I believe that's just part of the limitations of writing accurate Famicom music in Famitracker at 180 bpm.)

- Measures 13 through 15: Like with the introduction, let the bottom voices hold out by use of layering. This is reflected in the original, as well.
Again, I wish I knew how to layer with Finale Notepad...

- Measure 20: Make the last note of your RH match the value of the last note of your LH, since they're ending in sync and there isn't an obvious lingering of one voice while another drops out.
Done.

- Measures 21 through 23: This is where your sheet suffers most from cluttering. Drop it down an octave to not only detangle your hands, but also give a different timbre to the melody while you have the octave accompaniment.
Also, I know I said it already, but delete the performance mark (and replace it with two dynamic markings if you're so inclined).
As before, the performance mark has been deleted. I'm generally not a fan of changing the octave voicing of musical lines, though.

- Measure 24: Drop the chromatic line down an octave for the same reason as above.
I didn't previously realize this bar had such ugly hand collisions. I'm not a fan of changing the octave voicing of musical lines, though, especially prominent accompaniment lines like this one. I assigned all chromatic line notes to the RH, but as reflected in the MIDI, the chromatic line must be emphasized.

- Measure 28: Rewrite the RH part an octave down with an 8va sign, and hide the whole rest from the other treble staff for a cleaner transition. Also, increase the spacing a little on this system, as measures 29 through 31 are cramped. You have the same problem in the following system, albeit not as cramped.
RH put under a 8va sign. It's now more readable.

- Measure 32: Ditto to the above.
Again, I'm not a fan of changing octave voicings. Here, it's performer's interpretation whether s/he wants to put the chromatic line in the RH and the accompaniment in the LH at this point or to cross over instead.

That's about all I can think of right now. Hopefully this can help speed things up.

Btw, sorry if I come off as pissed; you did a good job! There's just some stuff that needs reworking.

"Wait, this wasn't my favourite heavy metal song..."

Granted, but every other game crashes and burns because of it. Congrats, you just put all but one video game company out of business, arousing the anger of gamers worldwide.
Good luck.

I wish this specific wave of rain would be sent somewhere that needs it and this area gets a break for a week or two.

Granted. That wave of rain's now augmenting a hurricane, because what's a hurricane without driving rain?

I wish my iPod Touch's internet browser wouldn't crash as often.

Banned for inaccurate colours in avatar

(shucks, I just admitted that I've heard of RWBY)

Rick Jones (Marvel Comics: A-Bomb)

Sasha Blouse (Attack on Titan)

Whoops, misunderstood the rules.

Jace Beleren (Magic: The Gathering)

(Yes, that's a blank above. Guess I haven't pressed Ctrl-V yet before posting here...)

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.