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You weren't joking.

I did the things.

Thanks for looking at it!

Nice.

Sweeeet.

I guess I'm coming from the point of view that someone should be able to play sheets without having listened to the original first, but if that's your preference then I'll accept that.

-https to https
-This has come up again!  I'd suggest making the repeats more explicit, so writing D.S. al Coda 2nd X or 2nd Time just to make it clear that the D.S. happens on the second repeat.

That's all I've got.

-The D.C. is a little unclear at the moment since it's with a standard repeat bar.  I had a similar thing on one of my own sheets and Latios suggested 'D.S. 2nd X' which would obviously be 'D.C. 2nd X' in this case.  'D.C. 2nd time' would also work but is a few more letters.

This still.

I don't know why I forget that A#, thank you for your suggestions!

Happy to help!  Looks good.

Thank you, this is a good suggestion, I have no problem if we need to wait many time to have a simple reply,  the problem is that I have more than two arrangements (simple and difficult) transcribed from my students and I remember that I can't add more than 2 per time. But I need to wait too many months to be accepted and wait other time to "clean" the MSN PANEL; I asked how to add more than two arrangements, if I'm not mistaken they told me that I had to become "composer" but they did not explain how.

You currently only have one sheet in submissions, so if you'd like to add a second one feel free to do so.  The only people who can submit more than two sheets at a time are updaters, but this is purely for the purposes of being able to submit sheets on other people's behalf.

If it's how they're named in the game's sound test, then I suggest we change them to that.

I don't really know anything about TF2 so I can't be much help, but I can say that you definitely wouldn't have to submit each of these separately.  They would be totally fine as one sheet under subtitles.

Not much for me to say here.  My main comment when I originally saw this was about the repeats and that's already been sorted out.

-I'm hearing prominent Es on those right hand dyads in the last system.
-The brace in bar 32 is bent down to the right a little bit.
-http to https.
-I assume the 5 at the bottom of the first page is an accident.

The rhythms are pretty off putting in this piece, but I think everything is pretty accurate.  Nice work.

["Event & Goal"]

Sorry this took so long!

-Bar 42, 47, 51 the left hand the final C should be a Bb (matches the contour of the previous line.)  The one in 55 is a C though.
-In bar 47 there's a similar two quavers on the second beat as in bar 44 (Bb F).
-In bars 50-55 I understand where you're coming from in including some of the backing chords when you can but I feel like they're breaking up the melodic line as they're currently written.  I'd suggest removing them just to make the melody come through properly. 
-In bar 55 I'm hearing the lower voice (right hand) go down to a Bb on beat 3 rather than up to an Eb.
-In bar 53 I'm hearing the top voice (right hand) go back to a G rather than down to an Eb on beat 3.
-Where you have it written in Bb major should probably be written in F.  I'd also consider removing the key signature changes since they only last for four bars.
-This is what I can hear for the melody in bar 51:

Spoiler

You cannot view this attachment.

[close]

-In bar 19 and bar 23 (and by extension bar 35 and bar 39) I'd change the Db and Dn to C# and C## respectively since these are aug chords.
-With regards to the piece in general, should we call the sheet "Event & Goal" and give both of them subtitles in the piece?  I'm thinking something like the formatting that Levi used in this.
-I'm not hearing the G in the first beat of bar 43.
-I'm not hearing the Ens in bar 44 or 46.  In bar 46 I think the A drops to an F on the final beat as well.
-You're missing a quaver C at in the right hand at the end of bar 27.
-The lower voice (right hand) in bar 4 goes G En F at the start rather than G F F.
-Perhaps I'm going crazy, but I'm not hearing the lower voice in bar 1.
-After the first off beat chord in bar 5 I'm hearing them as F chords rather than 7ths.
-Bar 10-11 I'm hearing those G Eb dyads as Bb G.
-Would you mind taking another look at the chords in 13 to 17 for me?  I think we're having some consistency/accuracy issues here.

As always, ask if you want some help/clarification with any of this.

['Chimp sounds']

'Chimp sounds'

-Accidentals:  I'd change the Eb in bar 6 to a D#.  In bar 8 I'd change the first Eb to a D# (but not the second) and the first Bb to an A# (but not the second).
-In bars 2 and 3 the last quaver sounds like two semiquavers to me, but what you've written might be easier to play.  Let me know what you think.
-Consider whether staccatos on semiquavers are really necessary.
-Since those notes are tuned exactly as you've written them, are the x noteheads necessary?

I approve of these chimp noises, good work.

Administrator confirm the changes?

-Definitely change the beaming in the first bar to match the other three.  Also change the first two semiquaver rests in bar 2 to a quaver rest like you have in all of the other bars.
-The cross staffing is something you could do if you want to, but I don't particularly mind either way.
-I hear an A# at the end of bar 4 rather than an An as you have written.
-For consistency's sake, either go with 1) 'Composed by ___' and 'Arranged by ___' or  2) 'Composition by ___' and 'Arrangement by ___'.

The same for Alessio Corrias

This will need either Deku's or Latios' attention I believe.


That's all I've got, nice stuff.

Moving this to the archive for the time being.  Feel free to resubmit whenever you're ready.