NinSheetMusic is 16 years old!
. In the end, I am proud of that sheet. I do admit that most could probably do it much better and I might look back sometime in the future and cringe at it, but as a labor of love for this wonderful piece of music, it's something kinda special to me. 
m17 LH b4.5 - It's an Eb, not a BbWhoops! Don't know how I missed that. Thanks for catching that!
- I'd move the staccatos in m3 below the noteheads. (Maybe they already are in your file? v26 messes up articulations so I can't tell how you have them)The staccatos were above the noteheads on my sheet. I've moved them now. They're up there by default as that is part of the 1st voice on a split-voice measure. However, if it looks better below, then so be it!
- You might try playing around with the slur in m17 so that it doesn't hump upward so much (maybe try moving the left endpoint of the slur up, then adjust the curvature from there).
- I think you're missing an eighth note on m28 RH beat 2.5 (part of the pickup). (should be written as a G-B dyad)Really? I'm not hearing what you're hearing. All I hear are the notes in beat 3 and 3.5; I hear no melodic pickup note in beat 2.5. All that I hear is the spooky ooooo sound in the background, but that's on a D6 on beat 2.5.
- In m3, I would move that eighth rest on beat 1 up one more increment.Done, done, done, and done! File's been updated!
- You might consider adding a few more slurs in the first page to emphasize the phrasing, although you don't have to if you think there would be too many slurs. But you might consider, for example adding a slur to m1 RH, m10-11 RH (ending on beat 1 of m11), and beats 2-3 of m11 RH (ending on the first staccato'd eighth note).
- I think it might look better if you moved the quarter rest on beat 1 of m17 into the center of the staff.
- I would also add thirds under the pickups to m29 (i.e. the last two eighth notes in m28) so that they're dyads as well.
- I think the dynamic is closer to mf to f, although you may disagree.I don't really disagree. It was a coin toss for me, so I originally set it to f. However, I decided to change it to mf for a more spooky vibe.
- The Bb-C-D on beat 2.5 of m3 is pretty dissonant. You might consider changing it somehow (like removing the C, maybe?).
- I would also extend the slur in m9 to the staccato'd eighth note.Done and done!
- I think m11-12 RH would look cleaner if you just combined all the notes into the same layer, since that wouldn't really change how it's played or how it sounds very much.
- Sounds like there are eighth notes that you might consider adding to m12 RH?Sneaky devils snuck by me, but I've got them now!
- In m37-38, I would suggest removing the dotted halves from Layer 1 (both of them) since (a) they crowd the measure a bit and are hard to interpret because the dot is hidden by Layer 2, and (b) the only way to hold that G across both measures is using pedal, and if the pianist is using pedal, then it doesn't really matter whether you write out the G or not because it gets held either way. i.e. I would just leave the eighth notes.I did consider something like that originally, but I mostly left them in for sake of being accurate to the music. However, what you said makes complete sense, so I have removed them. Certainly good advice to consider for the future!
- The top notes of RH m43 beats 1-1.5 sound like D and low D (octave jump down from beat 1 to 1.5; both D's have a B under them).I thought I was hearing a G, but I think I was getting thrown off by the bass. Good ears! I've fixed it now.
What you have so far is really solid!Thanks for the compliment!
- Trill in m4 RHI actually forgot I was going to add that before submitting the first time. Whoops.
- The strings in m11-12 RHAdded. Definitely adds quite a bit and was a good suggestion.
- Harmonies and/or countermelody under the melody in m13-20 RHThis one was... quite tricky. Here are my notes about the harmony, as I hear it.
- They're not necessarily there in the original but I think adding harmonies (i.e. dyads instead of single notes) under m29-36 RH would make it feel a lot fuller (either that or find a way to fit the countermelody under it)*Quick Google search of what a "dyad" is.* Ah, okay. I get where you are coming from. The piece seems to be building over those measures and adding additional notes would help it build. Gotcha. I've considered the countermelody, but it would be really challenging to transcribe, let alone play. As such, I've simply just added what would be appropriate for the underlying chord pattern. The only note lacking a dyad is m32 b3.5 as I feel like this note doesn't need one, however, an E can be added underneath it, but I just find it to be a bit much.
- Dyads instead of single notes in m37-44 RH*Quick Google search to make sure that I actually know what a "dyad" is.* Okay, pretty sure its the same thing. Since the chord progression is Gm-A-Ab-Gm, I've simply just added the note in the chord that is right beneath the original note. However, in the original, this falling notes are kind of quiet whilst the bass takes center stage with its cellos (I think those are cellos...). Should I add a reduction in dynamic here? Either for the system as a whole or just the right hand? Or is leaving the dynamic alone just fine?
Other minor things for now:I don't consider any of these "minor things", I agree with all the suggestions!
- I hear the top notes in m1 RH as Bb-A-Bb.
- Minor, but for m9 RH, I think you could add a slur on beat 3 that ends on the staccato'd note for visual clarity.
- I wouldn't tie the m27 dotted half note over to m28, because right now it's not visually clear whether the note should be held or re-articulated at the start of m28.
One last thing, Hudson Soft should be listed in the copyright info with Nintendo since they developed the game.Good catch! I had forgotten about that.
