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Yep, a collaboration is totally fine for this!

Awesome, thanks!!

-The copyright/url is the wrong size.

Oops, there was a weird issue where random characters were showing up in the copyright so I had to delete and re-enter it and must have gotten the size wrong. Fixed.

-I'd have another look at the left hand notes in 5-7.  I don't know if there's some sort of key-sig or clef error there, but the notes are not very accurate at all.  In general I think it should be outlining a C#dim7 chord, whereas we have G#s, Ds, Fs etc.

This part has both of us pretty stumped, but we went over it again it and definitely noticed some different notes so hopefully it's closer at least?

-I feel like the rit actually starts on the third beat of bar 13 rather than at the start of bar 14.

Yeah you're right, done.

-You're missing some harmony notes in the RH of bars 15+, that pretty much just sits below the melody in 6ths.
-The way bars 15-18 is written out is pretty confusing, and it's not very clear where the various voices actually are.  The middle voice is awkwardly acting as if it is in both the top and bottom voices at the same time and at a glance it looks like there are beats missing, or too many beats in the bar etc.  I would try to be really clear about what is happening to avoid this sort of confusion.  Here's one possibility that condenses layers while still be readable:

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but you could also do something like properly treat the middle voice as a second layer in the right hand (although the stemming might get a little inefficient space-wise).

-Those harmony notes are hard to pick out, but I think we got them?
-Yeah, I see what you mean about the missing beats. Decided to follow your suggestion and move that whole part to the left hand.

-Why does the left hand change from octaves in bar 19?  I don't really hear any particular change like that in the original.

The reason for that change is that the top octave in the first 4 bars is the harpsichord part, which moves up to the right hand in the second 4 bars. We don't think the bass is actually in octaves in this section, but we're open to changing it if preferred.

-In bar 20, the mordent only applies to the second layer but that isn't apparent in the sheet.  One solution would be to just write it out explicitly with grace notes, kind of like in bar 22.  Maybe there is some other solution.

Before adding the second note in the first layer it was clear by the positioning, but now I agree that it's too ambiguous. Fixed, including in the second ending for consistency.

-I feel like bar 25 should look the same as bar 45, or maybe you could have an extra low D in bar 45 on beat 1 to differentiate them.  At any rate, it still seems like there's a distinct hit on beat 1 in bar 25.

Sound good, fixed.

-Generally in bars 26-45/46-64 I think the bass needs to be bigger (and lower) to really get across this bombastic sort of style.  I'd suggest making the bass into octaves, and having the LH move off of the chords when it moves outside of beat 1 (since I think a movement in the bass is more important than a restatement of a chord already played).  Maybe something like this?

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-I feel like the bass goes back up to a Bb in bar 33/53.  It also moves down to a F on beat 3 in the same bar.
-Similarly in bar 40/60, the bass plays an F on beat 3.

-Great suggestion, it sounds a lot more grandiose this way.
-Oh yeah, the bass does go back to a Bb there. The accordion stays on the F, however, which is what we heard, so did a 5th for this bar instead of an octave.
-Right again, and in listening to this measure again we're pretty sure the bass also plays an A on beat 1 instead of an F (but the accordion still plays an F) so I also changed that.

I hope that helps!

That does, thanks from both of us!!

• The footer seems a bit oversized
• m11-12: This sounds like a copy/paste error, I hear this figure starting on D5 and D3.

Fixed.

• m15-25: The notes here sound good, but I think the presentation could use some work. For m15-18, the D-G figure in the RH would look better cross-staffed coming from the LH. Additionally, keeping some of these notes in the LH would allow the notes RH upper layer to be sustained longer (in the track they are held until the next note). m19 and m23 are identical yet written under both voltas.

Added the cross-staff notation as well as writing the upper layer to be sustained longer. Also moved the first ending to start on m20 instead of 19.

• m27-44: The melody could use some more articulation

Talked this over with Samusthedude and we added a couple of articulations, but we think that the rest of the trumpet melody is tongued notes that are held the full value so it doesn't need much in the way of articulations.

• m46-56: Adding a D.S. al Coda marking here could save writing out the same section twice.
• m58-end RH: for the harmonising voice between the main melody it would make more sense to either use a separate layer when needed or to write the whole hand in one layer, instead of the mix that it is currently.

Yeah that all makes sense. Since there was only one measure with two layers I just made it all one layer.

Thanks for taking a look!

Managed to do it fairly quickly after all! There might be some wonky formatting and time signature stuff still, but I think I got most of the notes down. This was a great request, I'm also a huge fan of this game so I enjoyed doing it. Hope you enjoy!

Files:
[MUSX] [MUS] [PDF] [MIDI]

[Rune Factory 4 - Obsidian Mansion]

Rune Factory 4 - Obsidian Mansion
[MUSX] [MUS] [PDF] [MIDI]
(Collaboration with Samusthedude)

The Rune Factory series originally started as a Harvest Moon spin-off with the subtitle "A Fantasy Harvest Moon". It combines the farming and social sim elements of Harvest Moon with a fantasy RPG world and story. My friend Samusthedude and I have both been playing Rune Factory 4S, so we decided to arrange this track from the haunted house dungeon for this year's Halloween project.

Tomodachi Life - Letter
[MUSX] [MUS] [PDF] [MIDI]

Tomodachi Life is the second-most played game on my 3DS, and it holds a very special place in my heart. I used to play it a ton in high school and I still pull it out occasionally to see how my Miis are doing. I saw a request for this lovely track and ended up arranging it. Hope you enjoy!

We did a collaboration for this project, hope that's okay! I'll probably be the one responding the most since I'm the formatting/Finale guy.

A note on series: Rune Factory began as a spin-off of Harvest Moon (the first three games were released with the subtitle, "A Fantasy Harvest Moon"). Since then, it's grown into more of its own series, though still sharing a lot of elements with Harvest Moon. Essentially, Rune Factory is to Harvest Moon what Persona is to Megami Tensei. I'll leave it up to the updater's discretion whether it should be grouped in with Harvest Moon on the series page or go in the Other category.

Here it is!

I think I'll give this one a shot. It might take me a little bit but stay tuned

My first 8-bit composition (although I have tried an 8-bit arrangement before): 8-Bit Credits! Yeah, it's for a hypothetical video game.

Woah I agree, this is awesome! If you ever end up putting it into Famitracker I'd love to hear it!

In honour of the upcoming remake!

Quiet Winter is the English name of the song according to the in-game record player, but it is also often known as Song of Silence, a translation of the Japanese title.

- For m. 55-56 and 59, you may want to raise the beam above RH beat 5 a little bit so the slurs has a bit more breathing room, like in m. 60.
- The RH beat 1 notes in m. 64 are misaligned. Measure 63 too but perhaps that was intentional?
- Just for your consideration about staccato placement - although this sheet is certainly fine as is.
- The hidden measure at the end (do we need that?) messes with the widths of the last few measures a bit. Try and even them out a bit (in particular, m. 65 seems a bit compressed compared to the others)

- Done.
- I think these might have gotten misaligned when I moved the dots somehow... I re-entered those notes and I think it looks better now?
- Fixed the staccatos as well.
- I must have added that hidden measure earlier on to fix some kind of issue, but taking it out doesn't seem to affect anything now. That didn't fix the spacing on its own so I manually added some width to that measure.

Thanks for taking a look!

I think that all looks great now.  The only thing I have left to mention is that maybe you might want some courtesy accidentals in 55+.  Particularly bits like 60 -> 61 where you have the F# right next to the Fn.  You don't have to go overboard but I'd just check for yourself that you're happy with all of the accidentals there.

The one spot that seemed to need it was m. 61, so added.

The only thing I would ask about this now is whether the extra notes on beat 3.5 of bar 30/34 are really necessary.  You don't write them in afterwards and they make it a lot harder to play.

I had those on those 4 bars only because the bassline changes for the next 4 and doesn't play them, but I'm ok simplifying it to be easier to play. I did it for the whole 30-34 to keep it consistent.

Also, I think the thirds in bar 33 are a third too high.  I don't think it's the same as in 37.

Done.

-Double barline after bar 4?
-Can we be more consistent with the rest placement in bars 30-35?  Having them all lower is probably better.
-I'm not a huge fan of the stem swapping in bars 30/34.  Maybe flip beat 3 up?
-Watch the augmentation dots in 63-64.  They're currently colliding/overlapping.

-Added.
-Oh those were totally all over the place, fixed.
-Done.
-Moved the dots over to line up with the 2nd voice dots, is that how it's supposed to look?

As always, thanks for the feedback!

Back again with more edits.

You've moved this to start on beat 5 now rather than beat 4.

Whoops, 6/8 sometimes messes me up with beat labels. Fixed!

I don't see an E anywhere in this bar now.

I must have changed that after typing that part of the response... added it back in lol.

This looks better definitely, although I think it could still look a bit clearer./less awkward  Have you considered writing the left hand part out in just one layer?  I think it could look pretty sensible/readable in this way, and alongside some minor simplifications I think it could be really great.  Something like this:

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Ignoring articulations and the right hand (what you can see of it) this is meant to be bar 34's left hand written out how it currently is on the left, and how I am suggesting on the right.  I guess the guiding principle for this style of accompaniment is 'get the bass notes in on beats 1 and 4, and then be free to jump away to the more interesting stuff when needed'.  If you like how that looks then I'd suggest trying it out on the rest of the left hand here.  (Note that this doesn't mean I think it's a good idea to always merge layers together for the left hand, and I think it works fine for all of the other parts in the sheet).

That does look a lot easier to read. I did the whole section like you suggested and it sounds a little emptier, but realistically it's probably closer to how it would be played anyways. Hopefully this works better!

Again this looks better, but could be a little more consistent.  In 38-45 you use one note harmonies, and mostly in 46-54 you use two note harmonies, but occasionally 3 (in bar 47) and 1 (in 54).  The extra note in 47 is definitely unnecessary (just remove the D or Bb) and you can add the E in for 54 (as mentioned above).  In terms of actual notes though.
-The E is more important in the RH than the A or C in bar 48 (since it isn't doubled in the left hand).
-I think instead of doubling the melody in bar 44 you could do something more like in 52, probably just the D.
-Not actually note related but watch the beams in bars 41/49.  They're colliding/almost colliding.
-The run in bar 41 sounds to me like G A Bb C (like in bar 54 but without the C#).
-I would move the rests in bars 38/46 up off the staff.

All these should be fixed.

-It would be nice to get the 7 sound in bar 58, so maybe change the RH second layer Bs to Ans.
-Next bars sound like G -> A -> D -> Bm7 -> Bm7 -> Dm/G -> Dm/F -> E7sus4 -> Asus4 -> A.  So it would be nice to have As on beat 4 of bar 60 and beat 1 of bar 61, Ds in bar 62 and an An in bar 63.
-The melody and the harmony are the wrong way around in bars 61-62.  It should go up to the Fn on beat 61 from the E and so on.  I think maybe my previous comment was confusing, but I was only referring there to the swap that occurred at the end of bar 62 going into bar 63.  61 was right as you had it before (although see above for more harmony).

These as well. You're right, I had gotten totally confused with the melody and harmony in 61-62, but that should be fixed with the harmony added in.

There are a few other miscellaneous presentation things that I could mention but since this will definitely need another look from me anyway I'll probably just keep this post shorter (I know I have a habit of making these posts look too intimidating).  Let me know if you need any clarifications on anything.  (Oh and thank you for posting the old version, it was very useful for me because it's been a while since I looked at this!)

No problem, I try to post the old versions whenever I significantly rework an arrangement. I did my best to clean up a few things presentation-wise but I'm sure there's some I've missed. Thank you for your patience!

So sorry this took so long, I had some irl stuff happen and couldn't get to it until recently. I did my best to address all the feedback so far, but there are still some rough parts that probably need addressing.

-I think this should be written in Dm rather than keyless.  The chord progressions and melody all match Dm, sometimes borrowing D major.  The only bit where the key really changes is in bar 55 where it goes to Bm, but even this section quickly resolves back in Dm from bar 61.

Yeah this makes sense, done.

-I think the rhythm of the ostinato is slightly different in bars 2/4 etc. where it also plays on beat 1.5, but this simplification is probably fine.

Listening to it I hear what you mean, but I think it would be too unwieldy on piano so leaving it simplified seems like the better option.

-I feel like the eight note chords in bar 12 a bit much.  What about just octaves in the left hand?  Or just the bottom D and the A?  You will get a more balanced texture this way.

Makes sense. I like the 5th better than the octave so that's what I used.

-In bar 25-29 the chosen accompaniment pattern becomes a bit of a problem because it forces the bass too high really.  It loses a lot of the impact this way.  One way to get around this would be to omit the chord on beat 1 so that the bass can play at the correct octave, and then jump up for the next hit.  Another option would be to move stuff into the right hand.  There are also probably other solutions (maybe a combination of the two).

I did what you suggested with beat 1, replacing that chord with a chord in the right hand.

-I don't think spacing out the staves to such an extent in the third system of the second page looks very good, and it isn't really necessary either.  You can just use a 'cresc.' marking rather than a hairpin in bar 28 and you can keep the spacing exactly the same.  If you really want a hairpin instead, then I'd recommend messing around with the beam heights so that you can get the staff separation down a little; it looks a little silly at the moment.

Changing the accompaniment parts actually solved this issue, will keep it in mind for other parts though.

-The bass on beat 5 of bar 29 sounds like an E to me rather than a C#.

Fixed.

-The melody in bar 31 sounds the same as in bar 35 to me.  It would also be a lot less awkward to play.

Yeah I think you're right, also fixed.

-I feel like in bar 30 onwards we're overcomplicating things.  It looks like you have tried to put in everything you possibly can, but this leads to the arrangement looking quite messy and not particularly natural to play on piano.  My suggestion would be to first focus on the parts that really matter.  I would say those are the bass and the melody 99% of the time, and I think it's true here as well.  We can write the bass part in verbatim, so why not do that.  Then think about ways to 'beef' it up whilst staying natural (this is not always easy), rather than finding more and more parts to add in.  It seems like you want to have this part that you've written in the second layer of the right hand, and I can see why, but you should try to make sure it makes sense.  (Maybe it can go in the left hand rather than the right hand?  I can think of a few ways of making that work).  I'm happy to elaborate on any of this if you want, just let me know.

This was a hard section to tackle, but I've made some changes and it sounds a lot lighter now with the melody more prominent. The second layer has been mostly moved to the left hand, with a few parts in the right hand at the end of measures. The ostinato chords have been mostly removed since the rhythm is present in other parts, so it sounds complete enough without it imo. I'm aware that in performance the player will probably lift the bass notes on beat 1 early to play the accompaniment, but I thought writing that in would make it look too complicated? Let me know if you have any further suggestions.

-In bars 30/32/34 etc. it sounds like the A comes in on beat 3, not on beat 2.5 like in the previous section.
-The G on beat 4.5 in bar 33/37 sounds like it should come in on beat 4.
-In bar 37, it sounds like the first three notes of the right hand should be a third up, i.e. C -> Bb -> A -> G.

Fixed all of these as well.

-In contrast to 30-37, 38+ feels too sparse.  I think we can introduce some harmony for the right hand to play here (which may mean less has to go into the left hand, but there should still be more overall).  In bar 36 we get even more harmony parts added in, but the sheet looks exactly the same.  It would be nice for there to be some kind of buildup.

I did my best to add some harmony, but I'm not so sure about some of these parts. Thoughts?

-50-54 has a very unbalanced texture.  We have this single melody line up top supported by a very muddy and low accompaniment.  The standard way to fix these sorts of things is to move harmony from the left hand to the right hand (but we should also try to be somewhat consistent with what happened to bars 38-49).

Honestly this section sounded really bad when I came back to it, I'm not sure what I was doing when I arranged it. I moved some stuff around and hopefully it's a bit better.

-In bar 54 there is a slightly odd choice of harmony.  I think it might make more sense to have an A and an E underneath the RH, rather than the B-> C#.  It would probably also be easier to play if they weren't in the ostinato rhythm, but were just held instead (the left hand will be doing that rhythm anyway).

Because I ended up moving the G from the LH to the RH the ostinato rhythm is still there, but I took it out of the part with the run and omitted the B and the C# entirely. The E is now covered by the LH instead.

-I hear the chords changing more often in bars 55+.  I think it goes something like G -> A -> D -> Bm7 -> Em7 -> A -> Bm7 (those are the first four bars).
-Again, the left hand gets kind of heavy in this section (whereas the original still sounds pretty light throughout).  I would avoid writing in any of these low triads and instead focus on just the bass notes or maybe also the fifth.  You can fill out the harmony in the right hand and it will still sound light.

Yeah you're probably right, I usually have trouble with chords. The low triads did sound muddy so I tried to move the harmony notes to the RH and leave only the roots and 5ths in the LH.

-The melody gets kind of obscured in this section, particularly in bar 62-63, and I think it might be better to just keep the melody on top there.  I think it will be a little easier to follow aurally, anyway.

Moved the accompaniment below the melody, seems to work ok.

-I think it might be a better idea to use three 3 bar systems rather than a 5 bar system since you have the space to do that without going to an extra page.  (To be honest I think it would be better even if it meant you had to go to an extra page).  This applies to 21-29, and 46-54.

Done.

Thanks so much for the feedback, it's really helpful. I definitely see why this piece is so difficult now, and perhaps a little bit above my skill level. I should be able to answer quicker than I did this time at least

EDIT: Since I changed so much, here's a link to the old .musx file for posterity.

I'd also like to participate in this.

[Star Forneus]

Star Forneus
-m8 and 12: I don't hear the two 16th notes at the end of the R.H. in the original.
-For the whole of Main Theme, the R.H. should be an octave lower.
-For the whole of Boss Theme, the R.H. should actually be an octave higher :p Also, you could technically make this a 4-bar loop instead of an 8-bar loop, as m21-24 are the same as m17-20 anyway.

-Oh yeah, you're totally right. Fixed!
-Done.
-Also done, including making it a 4-bar loop.

Rocket Launch (Ending)
Yeah, not much to say here. I think the title is fine, though maybe simply "Ending" would make more sense, since that is what it's usually just called.

Decided to go with "Ending (Rocket)" since there is also an alternate ending with dancers that you get for clearing the highest level of the B mode (iirc), so it's less of a mouthful but still distinguishes between the two.

Thanks to both of you for the feedback!