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Sorry for the late response, but I'm here now at least!

tbh, I really don't know what I could possibly do about this. Considering all the background plays is block chords, and whatever type of clave the piece has is thrown out by those measure, I'm at a loss for what to do here.

Something like this was what I was thinking:

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When I was adjusting the margins, everything started being wonky. Hopefully, I made everything good, but feel free to adjust if it is not to your liking.

It looks a lot better now!  Perhaps some layout guru will have some things to say but I'm happy.

They sound staccato to me. idk what else they could really be.

That's fair enough; I think I can see where you're coming from so no worries about that.

With regards to the RH second layer rests in bars 25-31, they're better now but I still think they could come up more.  I don't think there's any need to keep them completely off of the staff lines since the first layer is so high they won't interfere really.  If I had to do it myself I think I'd go with this:

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I think Static and Latios seem to have covered pretty much everything as far as I can tell but here are some final things from me:

-The simplified LH is fine in most places, but there are a some moments that I feel would benefit from including the bass movement from the original.  The bit that caught my attention was bars 33-38 but there may be others.

Around that phrase the LH I put is rhythmically the same (nearly), though I guess I could play around with the pitches a bit. It'd add more learning time, but the effect might be worth it.

I still think this is worth considering.  The bass movement here just really sticks out to me in the original.  If you still want to keep it as is that's probably fine though.

This is kind of nitpicky (like a lot of my feedback) but I don't really see why the final chord in the optional left hand has an extra G in the bass over the normal version.

You're right; I think I was over-simplifying things at that point.  I've edited to include some quaver movement as you suggested.  While I was there I also edited bar 3 of Spira to move the F# to the left hand to better show how to play that six note chord.

Thanks!

Nice catch, I've updated the files.  Thanks for checking!

[this file]

Sorry for taking a while to respond, but I'm here now!

Most of the edits look good, just a few more things to mention:

-I think you got confused about what I meant by a double barline at the segno.  What I meant was adding a double barline at bar 14 rather than at the end of the piece (it should be a final barline at the end of the piece as it was before.)
-The rhythms in the left hand of bars 22 and 46 also needed to be fixed to be four quavers like in the picture as well as bar 30 (which you did fix).
-The copyright needs to be changed to https.
-The new measure distribution is certainly better, but I think it could do with one less system on the first page and an extra one on the last page which should give it a more balanced look (feel less cramped on the first page certainly.)

I have made all of the above edits in this file if you would like to use it.  I hope that helps!  After that I think that should be everything on my end.

-Kind of picky but the diminuendo in bar 24 should really end on the last note rather than halfway through it.

Nothing is too picky!

If I'm being picky, this still needs to be done. :P

Other than that this looks great now.

I have returned from my temporary absence, no need for alarm.  With my return I bring you six brand new Ninja Gaiden sheets.

In A Pinch - The Ordeal of Battle: [Musx] [Pdf] [Midi] [Mus]
Mysterious Woman: [Musx] [Pdf] [Midi] [Mus]
Reminiscence: [Musx] [Pdf] [Midi] [Mus]
The Demon's Incantation: [Musx] [Pdf] [Midi] [Mus]
The Dragon Ninja: [Musx] [Pdf] [Midi] [Mus]
The Sanctuary of Shadows: [Musx] [Pdf] [Midi] [Mus]

Looks good, accepting now!

Thank you for the explanation, I think I understand what Latios was describing now! My ear was confusing the two lines but now that I see it written out it it's easier to pick out those melody notes.

Absolutely no problem at all, I'm happy to help.  That was the main thing that I spotted when I looked over this earlier and Latios has got pretty much everything else but I have got one more comment to make:

How about including the harmony line in bars 17-30?  It entirely moves in thirds or sixths with the main melody which makes it pretty easy to play.  I've written it in for this picture.

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If you're worried about it being too tricky or heavy, you could drop the lower octave in favour of the harmony line.  The thirds/sixths are very pretty in the original and I just think it'd be nice to include them.

Strange piece, but generally looks pretty good to me.  I've just got a few things:

-In bars 20-24 wherever you've written a Cm chord I'm just hearing it as an open C-G with no Eb.
-For the first two bars, might I suggest something like this instead?

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This way we add in exactly one note at a time (which matches the original better in my opinion) and also removing the slurs means we keep the dissonance up throughout the entire thing as on piano we don't have the luxury of constant volume sustaining.
-You're a bit too close to the copyright on the first page.  You could move one system to the second page if you like or just redistribute the first page so the bottom of the last system stays above the copyright.
-Kind of picky but the diminuendo in bar 24 should really end on the last note rather than halfway through it.
 
I think that should be everything, nice stuff.

Thank you for being nitpicky, it makes up for my blindness

Haha no worries.  Accepting!

I hate to be nitpicky but you missed the one in bar 13.

I've updated the files with that particularly sectioned reworked to make it more unmeasured and also to stop the quiet note from visually dominating that bar.

With regards to what you're saying, I get where you're coming from but the pianist in the recording does literally play the note in question, quiet or not, so I don't think it should be excluded.  The direction I've given suggests that the last note should be very quiet.  I guess I'm thinking: if I was going to perform this piece, would I play the upper D or not?  And the answer is I would 100% every time play the upper D, so I feel like the sheet should reflect that.  It was almost certainly on the sheet that the performer read off of, after all.

I think you meant m.27 here. I added another Bb on beat 4.5 of m.27

Yes sorry I should have said, but I did indeed mean bar 27.

I'm hearing another D in the violins which is covered in the RH, but I can't pick out anything in the bass. In fact, the D I thought I heard on beat 3 is actually a G that overlaps the violins, so I'm not hearing any D's in the bass aside from the first one...

Hmm yeah maybe that's what I was hearing before.

The other changes look good, but it looks like the left hand ties in bars 9-15 have all got flipped.  They should above the notes rather than below them so that they're not interfering with the lower layer / ledger lines.  Once that's dealt with I think we're good to go.

Brilliant, looks great!  Approved.