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I think that's fine, but in that case, you might consider explicitly clarifying it with an "optional" above the RH just to avoid confusion.

Done and done.

I think here I had the idea that shrinking those chords actually implied that they didn't have to be played, because A) they're not really part of the melody, B) they're pretty soft in the original, and C) it's a quick jump back up to A5 if you do decide to play them.

What do you guys think?

Sorry for the wait on this one, checking now!

-Regarding the opening chords, yeah they're slightly sharp I think.  The best approximation I can see is F-B-F for the first chord and then Gb-Bb-Gb for the other one.
-In the bass for the first four bars, the An on beat 4 actually comes in on beat 3.75.  This also holds for the final eight bars as well.
-For the chords in 9-16, the top note seems to always be an En (rather than a G for half of them.)  Also, I think there's a Cn in those Em chords also.
-For the crazy voice thing, it looks pretty good except for that I think there should be an An semiquaver on beat 3 of bars 18/20 before the Bn.  (You can keep the Dn grace if you want to.)
-Instead of just sustaining those 7 chords in the final eight bars, here's a suggestion to try and mimic the sirens rhythm and create a little bit more interest at the end:

Spoiler

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You could also add the siren pitch in if you want to (it's an A).

And that's about it!

Made some changes over Discord with Libera. Thanks!

[Dr. Mario - Title Screen (No Percussion).mp3]

Dr. Mario - Title Screen (No Percussion).mp3

Rest of my feedback:
- Beam the D and C together in m. 10. A time signature 9/16 generally implies a 3+3+3 rhythm, which makes sense here.
- I also think the triplets in m. 39 should be sextuplets like the others.

...that's it! Everything else looks awesome. Good job getting the notes down for this one.

Got it! Thanks for checking it over!

- A courtesy C# would be appreciated in m3 LH. You could also put one in m8 RH but the LH is already playing a C# so it's not necessary.

A courtesy C# would not be needed. Look, I'm all for courtesy accidentals when the time is right, but beats 1 - 2 of the left hand in measure 3 are no different than they are in measure 1, so there should be no reason for the performer to assume the C4 is still natural from measure 2. If they do, it's their own fault for ignoring music's basic fundamentals.


Off-topic, but now that you guys know I've been helping him, I think this submission process would go even more smoothly if things are explained a little more thoroughly for Splatoon Inkling. He's just starting out, and I can't be here all the time to help him format his sheets, so please feel free to give him some tips here and there, like these:

- courtesy accidentals can be toggled with the P key
- use a Tempo Tapper to determine the tempo of a song easily
- to switch layers, check the bottom left corner of the screen:

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I'll pop in whenever I can; good luck sheeting, Inkling!

[arcade games of the 80s & 90s]

I think it would be a good idea to assemble a set of arrangements from arcade games of the 80s & 90s, and possibly later. Classic Namco games, like Pac-Man and Galaga, have limited representation on the site, and games everyone knows, like Street Fighter II: The World Warrior, have a ridiculously low number of sheets.

This would give our arrangers a wide variety of games to choose from, as many different franchises and companies have graced the arcade industry at least a few times. Less-daring arrangers could take on early 80's titles with simpler soundtracks, and seasoned NSM veterans could arrange whatever they want. I believe that this update has a clear enough theme while still allowing for plenty of variety.

EDIT: 2222th post FTW

Great, thanks for the tip. How does that look?

I don't think the notes in the beginning are short enough to warrant staccatos; slightly shorter than an eighth note (their indicated value without staccatos) is already short enough. Sure, they're not prolonged, but they're not bouncy, either.

- I see where you're coming from, but I also feel that the notes in m. 3 have a ever-so-slight separation between them, and that it should be somewhat clear that they ought not to be slurred. Should I use tenuto markings for that measure to get the message across?

For m23 and m25-26, I would use a bracket to indicate that only those three notes are part of the triplet (i.e. the kind of bracket you see in a quarter note triplet). For m27-29, the consecutive sets of triplets within each beat should be sextuplets instead.

- I figured it was already understandable enough what the rhythm was to be, but I trust you. How do I add those brackets to non-quarter triplets?

What a feat! Thanks to everyone who made this possible!

You want to know what my New Year's Resolution is?

To finish all of my WIPs!


341st

[NES] Mega Man 5 - "Dr. Wily Stage" (Replacement)

[ZIP]

This sheet here has been rotting in my "Unfinished" folder for a very long time, after I decided at a point that I was not ready to take it on. Returning to it, I spent several hours trading parts between hands until I got something I was satisifed with, and here it is. Mega Man 5's OST is one of the more unfit soundtracks for arranging, so I'm not sure which one I'll be taking on -- probably "Dark Man Stage", we'll see. Enjoy!

Super job on this piece! I'm not familiar with Color Splash's music, but I really like this!

If I may ask, how exactly did you end up with the rhythm/tuplets you have for the intro? While it doesn't look wrong it doesn't look the most intuitive (although the original is indeed strange...)

Great question! I thought I'd get asked this straightaway, so I'll give you an answer straightaway ~

The Process

The first phase of arranging this piece was a night session, about 2 1/2 - 3 hours long, and during that time I pieced the intro together through exhausting trial-and-error. The most important (and also difficult) part was determining a tempo to go off of; it took me a great deal of time to conclude that the melody was neither 8th notes nor triplets of 8th notes. This was hard because the bass notes in the first 6 measures were sustained, and I had no percussion line to use as a reference.

I then tried to see if the tempo was different than what followed m. 9, and saw success, but only for a few minutes. It was at this point I realized that m. 9 itself was the key to the entire puzzle: it had consistent rhythm in both lines. After using a tempo tapper and playing the original in reverse down through m. 9, and eventually past even that, it turned out that the tempo was constant throughout the entire song, though the meter was not.

Once I had the overall tempo set to 120 bpm, I came up with this lineup for the time signatures in the intro: [4/4, 3/4, 5/4 - 4/4, 4/4, 5/4 - 4/4, 3/4, 5/4, 9/16]. I also decided that several of the rhythm groupings were actually quintuplets, and that worked out pretty nicely. The only measures at this point that weren't finished were m. 3, 5, and 9. Switching the meter to 3/4 and using triplets was too fast, and switching it to a compound 9/8 and using no tuplets was too slow, as well as unnecessary. When I interpreted the melody line reverb as part of the rhythm, I finally settled on nonuplets spanning over a 5/4 bar, which I helped prove using the chromatically-rising bass line in m. 9, the key to the puzzle.

The rest of the sheet was no piece of cake, but at least I knew what meter I was in.

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Yes, I have considered the idea that the first passage is more of a rubato one; I just think that everything in this song is very intentional, and urge anyone to check over my rhythms themselves. I have confidence that the way I have it is the best way to write it out.

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Got it

Should that be "___ Zone Act 1" or "___ Zone, Act 1"?