Messages

This was so cool to look at and see the layouts over the years! Crazy to see how this site and community has persisted through many changes and challenges over the years.

I can't believe I posted my first arrangement over five years ago now, time flies! Happy birthday NSM and thanks to the great community this site has fostered!

There are still some of these left (in m1-7). Also, in m17-23, beat 2.25 has a staccato which I assume shouldn't be there

That should be all!

Oh shoot, you're absolutely right. Now I think I've gotten all of them.

I see where you're coming from yeah, but I think the lining up is already easily visible because they line up vertically, and the note lengths are pretty clear as well (the player probably wouldn't play a single 16th note on beat x.25 any different than one in beat x.75)

Yeah, that makes sense too. Updated all of those spots with the suggested rhythm.

Looking good! In m20 and 24, you can flip the staccatos back to their standard position (notehead side), as the rest below is hidden.

Done!

Looking at it again, maybe in m30 and 32 you could move the D in beat 4.5 to the R.H. too?

Good idea, also done.

Thanks again!

Everything looks good to me except one thing - all the offbeat eighth notes in the last two measures should be Gb instead of Db.

Good catch, fixed. Thanks for taking a look!

The song titles for these are based on where they play in the multiplayer mode - The first track, "2P Match Results", plays on the results screen between matches in multiplayer mode and the second track, "2P Final Results", plays on the final result screen when one of the 2 players wins the best of 5 series. There is an optional loop for the second song since that how it appears in every rip of the OST but it doesn't actually loop in game (something I've tested myself with two copies of the game).

Also, I am very excited to announce that with this sheet, the Tetris (GB) OST will finally be complete on-site!

-In some beats (for example beat 3 of m1 or beat 2 of m2), you have 16th rest - staccato 8th - 16h rest. Maybe those places would look a bit better as 16th rest - 16th note - 8th rest?

My thought for these places was to show where the right hand and left hand parts line up and to make it obvious that the note lengths are supposed to be the same between hands. However, I do see how readablility may be better in some ways with the suggested rhythm so I'm not against changing it, I just wanted to explain my thoughts first. If you think the other way is better I'd be happy to change it!

-m9 and similar measures: I hear an F# instead of an A in the L.H. on beat 4.5

I hear that too now, done.

-m12 and similar measures: I hear an A instead of an E in the low notes in the L.H. However, the L.H. in these measures is quite hard to play at speed. For m12 and 16 you could do something akin to this:
You cannot view this attachment.
It's still on the harder side of things but possible, but this won't really work for m20 and 24 because of the high fifths in the R.H.. Another option that does work for m20 and 24 is this:
You cannot view this attachment.
It's less true to the original notes, but I think it gets the same feeling across of a syncopation. The L.H. here plays in the empty spaces of the R.H. and holds the low A for filler and to imitate the low A's that aren't currently played.

I definitely see how this part is difficult. I like what you've suggested for the first one - for m16 I had to change the right hand a bit due to the different melody, but I think it works out alright. For the second one, I've made one small change from your suggestion - I think making beat 3.5 an A instead matches up with the original bassline better and doesn't add too much difficulty. Thanks for the ideas here!

-m16: The R.H. B on beat 4.75 should be a C#
-m20: You can write the 16th note + 16th rest in the R.H. in beat 3.25 as a staccato 8th, like in m12.

Both done.

-m22: I don't think it's feasily possible to play the quick fifths in beat 3-4 in the R.H. (except for the very, very virtuosic individuals). It's probably best to just leave out the bottom or top note of all these fifths (depending on what you hear as the melody voice)
-m23: It's a little bit hard to play this run of three fifths on beat 4.25 too, maybe you could just leave out the bottom note of the first one?

-Yeah I definitely agree this part is way too difficult to execute. I think the bottom line is more the melody here since the upper 5ths were added in for the second repeat, and it sounds a little more complete to my ear.
-Taking out the bottom note of the first one works for me.

-m26 and 28: I hear an A instead of an F# in the L.H. on beat 4.5
-m30 and 32: Similarly to above, I hear an A-D instead of F#-B. Also, I think it might be easier to play beats 1.5 to 3.75 with one note per hand instead of switching hands: the parallel fourths are harder to play than just single note lines in both hands.

-I think you're right, done.
-Yeah I did a lot of playtesting in this section and splitting the fourths was definitely easier for m29/31, but it was less clear cut for m30/32. Splitting the two lines for the first part of the measure is fine with me.

-m40: There's a F# on beat 1 in the R.H. here (and a C# too, but I think that might be a bit too stretchy to reach after m39)

Got it, done.

Thanks so much for the super detailed feedback! I know this is quite a difficult arrangement so all the little playability suggestions are greatly appreciated. Hopefully I got everything!

Notes look good! I do have a couple of quick things to say about the presentation though.
- 1-2 measures taking up the entire system length is super stretched out. I'd recommend shortening them, even if they don't use the full width of the page.
- I think the beat is displaced in Stage Clear. It would probably make sense to have the two 16th notes as a pickup so the Eb major chords fall on the downbeats.

Sounds good to me, done! Thanks for the help!

So only thing I had a question about is why is the title called "Success!" for the second sheet when the video title is "Finish!"?

Edit 3/18 noticed dynamics missing, you could add mf. Think "Success" (or whichever decided upon name) would be better as a single bar

Done! "Success!" has been renamed to "Stage Clear" since it seems to be the more common name.

A much simpler submission to balance out my other one.

This is the right key and tempo, other uploads of it without the sound effects are the wrong key and tempo because something is up with the game files. I also have a recording without the sound effects (and the right key) but the tempo might not be exactly right.

Oh yeah, I forgot to mention this in my previous post! In m9, the R.H. beat 1 quarter note should be shifted to the right a little bit like in m1. Maybe in m1 you could also increase the distance between staves so there's a bit more space for the mf? That should (really) be all!

Done!

You can write the tied A as a dotted quarter note too (like the E in m13), and you can also flip the beam of the grace notes so they point upwards.

The parentheses in m15 could be a little bit lower so they're centered around the note instead of the ledger lines, but everything else looks good!

I was pretty sure I was missing some sort of obvious solution there, thanks! Fixed the parentheses as well.

[Zoo Tycoon - Title Theme]

Zoo Tycoon - Title Theme
[MUSX] [MUS] [PDF] [MIDI]

First arrangement of 2024! I used to play this game all the time as a kid, and had to re-install the game from disc often enough that this theme is burned into my mind (since it also plays during the entire lengthy installation process). It's a surprisingly short loop that feels kind of abrupt, but I double-checked with a playthrough of the game and that's just how the track is.

-m4 and 12: The triplet in fourths on beat 2 is pretty hard to play at speed, maybe you could leave out the F# and E on the 2nd and third notes?

Did you mean the lower 2nd and 3rd notes of the triplet (A and B)? Those are the ones I chose to leave out, but I'm open to leaving out the F# and E 16th notes as well.

-m14: Maybe you could write the B-A in the R.H. triplet on beat 2 as grace notes instead? As it's a similar ornament as in m1 and 9. If you prefer, you could also even write all 2nd and 3rd triplet notes throughout the piece as grace notes, to differentiate between the koto melody and the ornaments.

Agreed the grace notes make sense in m14, although it does look a little messier now with the slur crossing the beam (not sure if there's a better way to present that). I'd rather keep the triplets in the rest of the piece since the notes are rhythmically even and I think triplets communicate that better to the performer.

All the other changes sound good and I've done them. Thanks for the suggestions!