Messages

[Baby Bowser's Lullaby]

Baby Bowser's Lullaby
- Some of the arpeggio markings seem a bit too close to the notes/accidentals.
- m5 beat 1: Ab should be a G# (Amaj9(b13)sus4 chord).
- m5 beat 3: Eb and Gb should be D# and F# (Emaj9(b13)sus4 chord).
- m14 beat 1: Eb should be D# (D#dim7/A chord).
- m14 beat 3: Ab should be G# (E7b9 chord).
- m18-19 RH: The middle notes should be spelled as sharps rather than flats (En, D#, Cx, D#, C#, Bn).
- Copyright info should be within the page margins.

I've made all the fixes for you, and am accepting.

[Maya Fey ~ Turnabout Sisters' Theme 2001]

Maya Fey ~ Turnabout Sisters' Theme 2001
- I know a lot of articulations are messed up bc you use v26, but if that staccato in m19 LH Layer 2 is on top for you, it should be flipped around.
- m26 LH Layer 2: The note on beat 3 should be a rest (the previous note is not tied)

The Steel Samurai, Warrior of Neo Olde Tokyo
- m11-12 RH: The top voice here sounds like it should be quarter notes whenever there's 2 8th notes in a row on the same pitch.
- m24 LH Beat 3.25: I would actually move this G up an octave. That way you don't have to restrike the note so quickly

[FFV - Battle 2]

FFV - Battle 2
- I personally think it looks weird when half rests are positioned on the top line of the staff... I like to have them floating above the staff at least (otherwise it looks more to me like a random bump on the staff than a half rest). But that's just me and if you think it looks fine, then it's fine.
- The dynamic in m9 is too low and could be moved upward.
- m13-20 and m21-30 sound like they have similar intensity to me so I wonder if giving them both the same dynamics (whether mf or f) would be appropriate. That said, if the increase to forte in m21 is for effect, that's good too.
- Was it an intentional decision to raise m4 LH beat 3 up an octave? Assuming yes but just checking.

- I actually prefer the bump over having them just floating there, so that way there isn't a random line protruding from the sides of the rest; I just don't like how that looks.
- Fixed
- Yeah, I just wanted m21 and onward to have some extra energy, even if it isn't necessarily that much louder (or louder at all).
- Yes; it's easier to play when jumping from beats 1-2.

[FFV - Library of Ancients]

FFV - Library of Ancients
- Repeat numbers could be left aligned with the notes.
- You could do something with the percussion with the last four measures (either writing out percussive hits or low C's) to make it more interesting, but up to you.

- Done, also just changed to 1 and 2 for simplicity.
- Interesting; I might have done that if I arranged this from scratch, but I think I want to keep the simple quarter note pulse going for most of this sheet.

FFV - Sealed Away
- I think m. 3-4 might make more sense as one 6/4 measures instead of 4+2?
- I'm hearing the bass as F in m. 13 and Bb in m. 16.

- Personally, I don't hear those extra 2 beats as part of a triple-meter measure, but rather just what it is - an extra 2 beats. I think 2/4 makes more sense in this specific case. 6/4 implies a triple feel like 6/8.
- Oops, yeah. Fixed

FFV -
- Yeah, I agree with no courtesy accidentals here because the keysig is blank and this song very noticeably does some unusual stuff.
- Second chord in m. 13 sounds like it should have a G instead of F in it.
[/quote]
- m13 has been fixed

All files have been updated, thanks for taking a look!

[good]

Looks good to me

[Fight On!]

Fight On!

• m37 RH: There should be a D above the C on the 2nd dotted quarter note.
• m39 RH: On the 3rd dotted quarter note, there should be a D above the C, and the A should be a G.
• m41 RH: There should be an E above the D on the 2nd dotted quarter note.
• m43 RH: On the 3rd dotted quarter note, there should be an E above the D, and the B should be an A.
• m55 RH, Layer 1: Whenever this simple syncopated figure shows up, the first note should be a bit shorter. I'd recommend just a quarter note followed by an 8th rest.
• m18, 24 LH, Layer 2: The last dotted quarter note G should be a quarter note D (third line) followed by an 8th note G (first line).
• m28 LH: The end of this measure should look like the rest of it (get rid of that middle note).
• m38 LH: The last two 8th notes should be F and F# (below the staff).
• m42 LH: The last two 8th notes should be G and G# (first line).
• m51, 60 LH: The bass has a cool pattern here that you might want to include instead of, or alongside, the guitar part you have now. Up to you.
• m57 LH: The 4th quarter note should be D (third line).
• m58 LH: The 2nd and 4th quarter notes should be E (third space).
• m59 LH: The last two notes should be B (second line).
• m65 LH: The last two notes should be A (first space).
• m66 LH: The 2nd and 4th quarter notes should be E (third space); the last 8th note should be a C (second space). There is no B, contrary to Maelstrom's image.
• m68 LH: The last 3 notes should just be two notes: a quarter note and 8th note, both G#s (first line).
• In general, whenever you have that quarter note-8th note pattern in the LH, the quarter note should be played staccato. You could write them all in or use a simile or two, but they shouldn't all be normal length.
• Page titles and numbers aren't all within the page margins, or aligned with each other.
• Copyright text size is too small.
• On Page 1, the composer/arranger info should be below the title; you can move the systems down and closer together to do this.
• I can help you out with the formatting if you need it; just focus on the music first and I'll edit it at the end.

So, some general LH things; I really think that you could spice up this arrangement by including some 5ths and/or octaves whenever there's notes just repeating for awhile. It really brings out that classic rock shuffle vibe, but I also just think its more fun to play. (And this is my own bias here, but writing stuff that emulates the drums is also really satisfying to hear and play imo). I know you're working with Commander6's arrangement as a framework, but don't feel like you can't experiment some more. You made a lot of improvements to the RH, I'd just personally like to see some more in the LH.
(My feedback above applies to the transcribed bass line as you have it, but feel free to replace it with other parts if you'd like)

[Encounter]

Encounter
The only suggestion I have would be to make sure the string melody is on top in m25-28 Layer 2; it should be A-A-A-B-C-D. I know this will make the chords less dense in 25-27, but I think adding a crescendo into m28 would work really well as voices get added in.

[accepted]

accepted

I got the rest of your changes done I believe, but I'll have you judge the staccatos I added in.

Looks great, I'd just put some in m14; that one stuck out to me the most.

[Cackletta, the Fiercest Foe]

Cackletta, the Fiercest Foe
I had indeed used the track name from 3DS version, as I found multiple names for the GBA version of the track and didn't know which one is official. I have now changed the name to "Cackletta Theme"
Adjusted

Looks great, nice S slur by the way. Those are so useful in places like this. Approved.

Showdown with Cackletta!
Similar to above. Changed the name as mentioned
Changed
I have changed some of the enharmonic spellings in mm. 1-4 to match mm. 18-19. They might not be easy to read though. I have also add some courtesy accidentals in mm. 10-17.

Cool, I'll be approving this one too.

Edit: The commonly used GBA titles are just that; commonly used. They're based roughly off of the Mario & Luigi Sound Selection Album "English" titles (here), which are direct translations of the Japanese titles. The "English (American)" titles would appear to be closer to the 3DS titles though I haven't played it. So while both are fine, I think it might be easier for users if, whenever people submit sheets of the 3DS remake, to use the newer titles so it helps keep everything distinct between the two games - just my two cents there.

[approval]

- Done.
- I made beats 2 and 4 go up an octave. However, I also brought the whole line down an octave. I kept m25-32 as is since I felt that the m17-24 pattern only worked best when there were always full chords in the RH to fill the silence.
- Done.

Looks good, and gets my approval.

[Title Theme (Diddy Kong Racing)]

Title Theme (Diddy Kong Racing)
- I would change dynamics at m9 to give that section an extra burst of energy; maybe start at mp and then go to mf in m9.
- Starting at m11, I think the melody could use more articulations, mainly staccatos.
- The first note in m49 RH should have a mordent
- The last chord should have an accent on it (both hands), and maybe a crescendo in the previous measure leading up to it.

[Picori Festival]

Picori Festival
- You might want to include those grace notes in the melody in m1-3.
- The accompaniment part in the original has this kind of airy, old fashioned dance feel to it because it's mostly just open 5ths; in contrast the accompaniment you have gives the song more of a "piano étude feel" (idk how else to really describe it) with the 3rds included. I think it sounds too heavy. You don't need to get rid of all the harmony, but removing the 3rds in the LH whenever there are triads sounds closer to the original to my ears. The RH usually has the 3rd anyway, and when it doesn't the 3rd is easily implied due to the relatively simple chord progressions.

Other than that, looks really nice

[Battle to the Death - Final Fantasy VI]

Battle to the Death - Final Fantasy VI
Everything looks and sounds great. Just one quick question—if there is a D.C. with a pickup measure (and the final measure has full length), is it a customary assumption that the player should go back to the measure after the pickup? I can't find anything about this online.

Yes it is

Terra's Theme - Final Fantasy VI
- Not sure if it got messed up importing into v26 but the Layer 2 tie in m17 RH should be flipped downward.
- The repeat ending numbers should only display "1." and "2." instead of including 3 and 4.
- I think the Layer 1 tie in m33 RH would look better flipped downward, although it's fine if you want to keep it upward.
- m39 dynamic is really close to the barline and could also be moved upward.
- Not super fond of the way m55-56 LH sounds, particularly the fifth on beat 3. I hear where it comes from... I just don't think it sounds great on piano. That's just my take, though.
- D.S. at the end is almost touching the eighth notes on beat 4. (Maybe another v26 import error? I see the last two eighth notes flipped upward, but maybe they should be flipped down instead?)

As much as I would like to answer this, it's probably best left to Maelstrom.

It gets kinda confusing sometimes because so many remixes are carried over, but this is actually from Smash 4, not Ultimate.
Also, if you're interested we have a (somewhat old and outdated) sheet here of the original track from DKCR. I think it's in pretty good shape. The Smash arrangement is pretty similar to the original.