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Nice job man! This is a very accurate transcription.

Good job here! I had to check portions of the bassline (especially Bars 17-21), but it turns out I couldn't find any wrong notes.

It was interesting for me to compare this with my two-piano arrangement, you did an amazing job compressing everything into one part.

Thanks so much! ^.^

At m. 7 I don't think there's a B there (the first note in the RH).

It's definitely there, but yeah, I didn't notice it listening at full speed. You can hear it if you slow it down, though.

For the parallel fifths in m. 13-15, one way to make those more playable might be to remove the fifths from all but the first two notes in those runs. I think that's a bit more interesting than just doing the same thing as m. 9-11, and honestly I doubt those runs are playable at full speed as written.

I like this idea. Thanks! I actually kept the first three fifths instead of the first two, since I think the lower voice cuts out less abruptly that way, but even three fifths in a row might be too hard to play at this speed. Any other opinions would be appreciated.

I personally think it sounds closer to G minor than F sharp minor, but the majority of transcriptions of Rude Buster seem to disagree with me.

Well, that makes two of us! I actually measured it a while back and it's almost exactly halfway, though.

It was interesting for me to compare this with my two-piano arrangement, you did an amazing job compressing everything into one part.
I had a quick look, just a few comments:

• At m. 7 I don't think there's a B there (the first note in the RH).
• For the parallel fifths in m. 13-15, one way to make those more playable might be to remove the fifths from all but the first two notes in those runs. I think that's a bit more interesting than just doing the same thing as m. 9-11, and honestly I doubt those runs are playable at full speed as written.

Sorry to keep you waiting.

It's all been fixed. Tell me what you think of the weird stuff I did with the last section.

I always wondered why Toby made the decision to make the song slightly off-key. But I think it sounds like it's closer to F# than G (not sure why).

Amazing job with this sheet, mastersuperfan! This is the absolute version of Rude Buster for solo piano I've seen anywhere on the Internet. I'll be excited to see this one accepted.

I personally think it sounds closer to G minor than F sharp minor, but the majority of transcriptions of Rude Buster seem to disagree with me.

As for why this theme is slightly off-key, Toby Fox has a habit of time-stretching some of his works ("Hopes and Dreams" has its original file in B major instead of B flat major, the OST version of "Death By Glamour" is in E minor and is faster than the in-game version, which is in E flat minor (I personally believe the key got changed because Mettaton speaks in E flats)). The time stretcher might have bit him here.

Good job here! I had to check portions of the bassline (especially Bars 17-21), but it turns out I couldn't find any wrong notes.

It looks good! It's fine if you want to keep the layers as-is; I just wanted you to give it some thought and weigh the options.

Very small things - the 1./2. at the repeated section would probably be a bit better off to the left, and the repeat at the end would be clearer as a D.C.

But other than that, this has my approval!

After a bit more effort I do hear the original thing you wrote in for 36 as well. But yeah I say stick to what it is now because that's what stands out more prominently as it's on top (to me anyways). (Ninja'd by Static)

Please fix the alignment of the lower layer there, though!

Ah, but the text is still outside the margins - need to set the vertical height of the text boxes to zero to keep them within the margins, and you have enough space between systems to collapse them a bit to make room.

Also I missed this before but I would also recommend you include the 16th pickups to those phrases, but in place of the chord instead of on top of them (basically eliminating the chord in beat 4.5 in favor of the two lone 16ths)

Done, done, done & done.

I'll write up a guide on this sometime....

You would be my hero if you did this.

Bump for arranger.

After listening to it again, I'm hearing this as well. Sorry, Libera.

After a bit more effort I do hear the original thing you wrote in for 36 as well. But yeah I say stick to what it is now because that's what stands out more prominently as it's on top (to me anyways). (Ninja'd by Static)

Please fix the alignment of the lower layer there, though!

Whoops, I meant to say the spaces between staves instead of the margins. Still, I went ahead and changed the top & bottom margins to 0.5 anyway.

Ah, but the text is still outside the margins - need to set the vertical height of the text boxes to zero to keep them within the margins, and you have enough space between systems to collapse them a bit to make room. I'll write up a guide on this sometime....

Did you see the semiquavers in the upbeat in my picture?  They're part of the same part.
Yeah, looks good!

Also I missed this before but I would also recommend you include the 16th pickups to those phrases, but in place of the chord instead of on top of them (basically eliminating the chord in beat 4.5 in favor of the two lone 16ths)

Regarding the most recent part in question (I think it's m. 36/40 beats 3-4 RH you're talking about?) I'm actually hearing something different (though the same for both measures) - a G#-F#-E in a 3-3-2 rhythm instead of either group of four eighths.

After listening to it again, I'm hearing this as well. Sorry, Libera.

Both voices actually exist (there's 2 string voices here). The top 8th note line is more prominent, but it's up to you which voice you want to have (or you could have both, it would just be a little harder to play and read with that 2nd layer already there).

Regarding the most recent part in question (I think it's m. 36/40 beats 3-4 RH you're talking about?) I'm actually hearing something different (though the same for both measures) - a G#-F#-E in a 3-3-2 rhythm instead of either group of four eighths.

After listening to it again, I'm hearing this as well. Sorry, Libera.

For the measures with two layers, the rests can easily fit at their normal mid-staff height and I would suggest you put them back instead of awkwardly a couple of notches down.

Whoops, I meant to say the spaces between staves instead of the margins. Still, I went ahead and changed the top & bottom margins to 0.5 anyway.

I've seen this when looking at Libera's stuff before, but the double barline is missing at key/section change between bars 32-33 when I open up the musx file. However it's there in the PDF so I assume it's just some weird conversion problem?

Well, if you can see the barline now, then you're absolutely right.

this is a funky song

I'd classify this more as a calypso, but potato/potatoe