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However, I noticed while listening that the beginning part still has the melody somewhat accented, so I'm wondering if I should add a staccato or a short accent mark?

I feel like writing the first part as 3/4 would mess up the accents by fitting 3 quarter notes per bar, while I can hear there being accents every 2 notes.

Personally, I don't really hear any accents on the main melody at all in the beginning section, it all sounds pretty dynamically neutral to me. The main reasons I suggested 3/4 or 6/4 are:
-The bar is split into 2 groups of 3 in m4 and m6 by the two dotted half notes
-The second voice in m2 has 3 quarter notes, and starts on beat 4
Feel free to leave it as is for now, we can get a second opinion from the next updater

These have all been updated.

All looks good, except it looks like you changed m8 and m10 LH beat 1 to Gb instead of Bb?

m18 doesn't have a Bb on beat 3.5, however m19 did and I changed that to Ab.

Whoops, that's totally my bad, I meant m16. In m19 I'm actually still hearing beat 3.5 as a Bb (so basically swap beat 3.5 of m16 and m19 lol).

Don't exactly hear what you mean here?

Here's what I meant:
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Like I said before it's hard to hear, but I'm pretty sure it's there.

Everything else looks great to me!

(Copying over my feedback from the previous submission thread)

This is one of my favorites from Deltarune, so wistful...

-Personally, I don't think that notating the delay/echo effect in m1-6 as accented dotted notes portrays the original song very accurately on piano, the effect in the original is subtle enough that I think it'd be better left to the performer to decide whether or not to include it.  A performance note saying "optional dotted 8th echo on melody" or something similar would leave the option open for anyone who wants to play it, whereas writing out all the delayed notes doesn't really leave much room for interpretation.  If you do still want to keep it notated literally, though, then the echo in m4 and m6 should be tied dotted notes, like this:
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-I think m1-6 would be better written out in 3/4, since the rhythmic structure doesn't really change that much between this section and the rest of the song. If you do want to have a different time signature for this first section though, I think 6/4 would work better than 3/2. 3/2 implies that there are 3 strong beats per measure, but I hear there being 2 strong beats per measure because of the two dotted half notes in m4 and m8 LH. That's assuming you don't want to do 3/4, which I still think would be the simplest option.
-In m2, RH beat 4-5 and LH beat 6 all sound like they're part of a separate voice from the main melody; in order to show this more clearly you could either move RH beat 4-5 to the LH, or move LH beat 6 into the RH in a separate layer.
-m8 and m10 LH beat 1 should be Bb instead of Ab.
-I don't hear the Bb on m8 LH beat 3.5.
-m13 RH beat 1 is missing a Bb on bottom.
-m16 and m18 LH beat 1, layer 1 should be Bb instead of Ab.
-m18 LH beat 3.5 should be Ab instead of Bb.
-It's faint, but m18 RH beat 3 and 3.5 sound like they're missing an Eb and Db on bottom respectively, and m19 RH beat 1 is missing a Bb on bottom.
-m20 RH sounds like it's harmonized in the exact same way as m12 RH.
-m20 LH beat 3 sounds like a Bb instead of a Db.

-m64 beat 1: melody note sounds like it should be up an octave. You could include the harmony under it as well (bottom to top Bb-C#-E).

Quick post before this gets accepted, I still think having the Bb and C# here at the very least would be good, to preserve the b9 and 3rd of the chord.

This is one of my favorites from Deltarune, so wistful...

• Personally, I don't think that notating the delay/echo effect in m1-6 as accented dotted notes portrays the original song very accurately on piano, the effect in the original is subtle enough that I think it'd be better left to the performer to decide whether or not to include it.  A performance note saying "optional dotted 8th echo on melody" or something similar would leave the option open for anyone who wants to play it, whereas writing out all the delayed notes doesn't really leave much room for interpretation.  If you do still want to keep it notated literally, though, then the echo in m4 and m6 should be tied dotted notes, like this:
  
• I think m1-6 would be better written out in 3/4, since the rhythmic structure doesn't really change that much between this section and the rest of the song. If you do want to have a different time signature for this first section though, I think 6/4 would work better than 3/2. 3/2 implies that there are 3 strong beats per measure, but I hear there being 2 strong beats per measure because of the two dotted half notes in m4 and m8 LH. That's assuming you don't want to do 3/4, which I still think would be the simplest option.
• In m2, RH beat 4-5 and LH beat 6 all sound like they're part of a separate voice from the main melody; in order to show this more clearly you could either move RH beat 4-5 to the LH, or move LH beat 6 into the RH in a separate layer.
• m8 and m10 LH beat 1 should be Bb instead of Ab.
• I don't hear the Bb on m8 LH beat 3.5.
• m13 RH beat 1 is missing a Bb on bottom.
• m14 and m16 LH beat 1, layer 1 should be Bb instead of Ab.
• m18 LH beat 3.5 should be Ab instead of Bb.
• It's faint, but m18 RH beat 3 and 3.5 sound like they're missing an Eb and Db on bottom respectively, and m19 RH beat 1 is missing a Bb on bottom.
• m20 RH sounds like it's harmonized in the exact same way as m12 RH.
• m20 LH beat 3 sounds like a Bb instead of a Db.

Whoops, my bad, I misread m67-70. The chords there to me sound like G-A-B-D-F# bottom to top on beat 1 and 2.5, and the same chord up a whole step on beat 4.

The video linked in this thread is pretty poor quality and has a lot of noise, which might make hearing notes unnecessarily difficult. Here's a better quality video:

I might take a closer look at this later, but here are a few things that jumped out at me:

-The chords in m17-18 should be C-F-A-Bb-D from bottom to top, and the chords in m19-20 should be Bb-Eb-G-Ab-C (same voicing down a whole step).
-The simplified voicings in m23-34 and m27-28 are missing Abs on top, and I don't hear any Fs in these chords (since they're just the same as the ones in m19-20).
-You could include the 9th in the LH chords in m67-70.
-m57 RH beat 1.25 the note sounds like it should be on beat 1.5 instead.
-m60 beat 3 and similar could use a mordent.
-m72 and m76 RH beat 1 sound more like As than Bs to me.

Looks like you forgot to change m3 and m27 beat 1 to a dotted 8th + 16th, unless you disagree about those spots?

For the composer info: I can't find anything saying that Ando arranged this, so I think it'd be better to just do "Composed by Jun Ishikawa and Hirokazu Ando" (even though I'm 90% sure this is just Ishikawa)

-I'm hearing m1-2 RH beat 2 and m3 RH beat 1 as a dotted 8th + 16th instead of triplets. The same goes for m25-27.
-m21 and m23 RH beat 4.333333 should be Ans instead of Bbs

Everything else looks great, glad to see a new Kirby game get added to the site!

Inquiry for Radiak: Is the entire organ part an octave up? It might be that technically it was written an octave up but because of the soundfont sounds more like how Lat and NineLives put it, especially because I can kinda sorta hear all of the notes m62 b3.33 to m65 as an octave up from what they've written.

The sheet has the melody in the correct octave as far as I can tell, it's just that one note that's up an octave. Here's a link to the midi conversion, the note is in m42: https://drive.google.com/file/d/1r6FsBBmBFT9js0JEkWreYPSUxgEtZdJe/view?usp=sharing (yes i know it's in 4/4 that's how the composer input it don't blame me)

Also, I noticed that the video linked in this thread sounds like it was recorded with a limiter, so the volume levels are a bit distorted compared to the original track. I think the note is a little clearer in this other upload and in the accordion version (timestamp 1:28 for both).

Agreed with the F# on top, but not super enthused about how it sounds with the Bb written on the bottom of the chord so we just added the F#. (Also a bit easier to play / less out of place as a big chord)

Yeah it kind of comes out of nowhere in the original as well, I just think the b9 here is really important to the sound of this chord and the song in general. Up to you ultimately but I'd still vote for including it.

I think there is an A up there, but it sounds like it's part of a chord strike and not the actual melody which we both hear as the lower A we wrote in. The harmony doesn't really fit as well with that in mind, but we did add the E (fifth) in the left hand chord.

Checked the sequence data just to be sure, and the organ melody does play the note up an octave, no chord strikes are hitting it. I can hear the lower A you're taking about, but I think it's an overtone from the bass since there's no actual note there in the sequence.

Always glad to see an M get replaced really nice job on this one!

-In the original, the intro is pretty busy and dense and then the A section is more subdued, so I think including some more harmony under the melody in m1-6 might help capture that contrast a bit better. Let me know if you want me to be more specific about what notes I'm talking about.

-m10 beat 2.5 is a lot spicier in the original, sounds like there's an F# on top and a Bb on the bottom that you don't have (A13b9 chord). I know you've left some notes out in this section on purpose, but this beat feels a bit empty to me without the dissonance.

-The grace note on m15 beat 1 sounds more like an 8th triplet to me, I think the distinction makes sense here since there are also shorter grace notes in the piece.

-m19/20: The RH isn't doing much here, so you could include more of the accompaniment if you wanted (I especially think the chords on beat 1-1.5 of m20 would be a nice inclusion)

-m50 beat 1-2: there's a lower voice here that goes A, Ab, G

-m64 beat 1: melody note sounds like it should be up an octave. You could include the harmony under it as well (bottom to top Bb-C#-E).

Funnily enough, the current sheet on the site appears to be a MIDI dump directly from the game's sequence data, so all the bass and melody notes are perfectly correct there (I checked against a MIDI conversion of my own).

My only comment is that you're missing some of the composers who worked on this game: Minako Hamano, Masaru Tajima, Shinji Ushiroda, and Daisuke Matsuoka. Looks fantastic otherwise!

-m48 RH beat 4: I hear an A here.

m51 RH beat 1 & 3 and m52 beat 1: It might just be differences in the attack of the instruments, but these chords sound rolled to me.

-m52 RH beat 2.5-4.5: I think including the lower piano voice here might make a bit more sense than including the string line, it sounds a bit odd to me having the piano voice present in the previous 3 measures and then switching to the strings suddenly here.

-m53 RH beat 2: I think the A's are actually B's here.

Very glad to see more Dream Course representation!

-In m12, the offbeat chords/bass on beat 3 sound like they're held a little longer than the other notes, you could add some tenutos or staccato-tenutos there if you wanted
-It's really faint, but there are some more notes in m21 RH on beat 4:

-m29 RH: I actually don't hear the A's on beat 3, it sounds like these chords have D's in them instead
-m29 LH: the 16th pairs on beats 2 and 3 sound like they should be down an octave

Hi hello I have a composer credit: this one is by Akari Kaida https://vgmdb.net/album/48280