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Submission Information:
Series: Final Fantasy
Game: Final Fantasy Tactics
Console: PlayStation
Title: Battle on the Bridge
Instrumentation Solo Piano
Arranger: Static

im 12

hi mashi

* I'm new here, so advice/feedback on everything is greatly appreciated *

Sheets marked "Awaiting feedback" are not yet submitted, so the attached pdf's are generated from MuseScore for simplicity, not Finale Notepad.

Celeste

• "Spirit of Hospitality": Celeste (Awaiting feedback) [mscz] [pdf]
  

For posting youtube links to soundtracks, it's nice to have a timestamp for when the song appears ^^ For future updater, it's at 6:54

Notes are all good! The original seems to be played in octaves, so adding one octave below. The right and left hand can then play the upper and lower octave respectively. If you prefer keeping this as a single line, however, I can give these two small tips:
-m1: Maybe you could add a quarter rest to the R.H. on beat 1 and to the L.H. on beat 2.
-m2: You could move the G to the L.H., since the L.H. is already in that position from the G in m1. The R.H. will need a full bar rest then.

ah yes, the epic battle music you can barely hear when you start the battle

-m2 and m11-12 these RH fast notes are supposed to be the drum rolls, though they don't admittedly add that much.

I think they're fine!

-m5-6 and m9-10 RH, was a little conflicted on which of these lines should be prioritized; I personally like the 5-6 more than 9-10 but thought it would be interesting to initially present them both in the arrangement

I've done this as well in my Shy Guy's Toy Box sheet, I think this is fine ^^ Makes for a more interesting structure.

-m17-20 RH I recognize there are some missing whole notes (chord notes) here, but I wanted to keep that top layer in the RH while still mostly representing the F and C minor chords alternating here

That's fine! The string line adds in some of the missing chord tones, so there's not harmonic information lost. However, if I may give a suggestion, you could make this part even fuller with adding the lower octave to the string line where possible, like this:

-m37-40 I originally had these as quarter notes but I listened closer and could tell they were triplets... given the pedal is already marked for this section, would it be better to just have the lower layer notes as quarters? Seems like a difficult combination of layers to pull off on beat 4 of m37 and m39

Yeah the combination of triplets + 16ths in one hand at this tempo seems a bit ambitious.

-m6 and 10: Quarter rest in the L.H. should be one step higher
-m8: The F on beat 2 shouldn't have a staccato. Maybe you could add a slur from beat 1 to beat 2.5 to more legato-fy this?
-m9-10: R.H. should have staccatos here
-m12: I hear the snare drum roll here starting on beat 4, not 4.75
-m13: Did you consciously leave out the staccato string line during beat 1-2? If so, that's fine, since it does kinda take away the focus from the horn line.
-m29 and 31: You could consider leaving out the top note of the L.H. octaves in beat 1 and 4, so the C in beat 2.5 comes out even more clearly. I don't feel like you'll lose a lot of power, it just gets transferred to the new melody instead.
-m30 and 32: You could leave out the G on beat 1.5 in the R.H., so the G from beat 1 can ring on a bit longer
-m32: Maybe you could remove the top G in the L.H. on beat 4.5, so the G from beat 4 can ring on a bit longer. Also, it might look a bit nicer to divide the quarter rest in beat 3.5 into two 8ths.
-m34: I hear a D instead of an Eb in the R.H. on beat 4.5
-m35: I think I hear the string C-G-C motion more in the foreground than the winds C-Eb-C here. Maybe you could write something like this instead?

-m41: I don't hear the G from beat 2 tied over until beat 3, I just hear it as a quarter note.

Hi there, welcome to NSM! Usually when submitting a sheet, it's good to post a comment with a (youtube) link to the track, just to save us updaters some time looking for the right track.

A sheet gets accepted once two updaters have given their approval and acceptance respectively. I'll be your first updater for this sheet!
As for the name, we usually use vgmdb.net for official names. For Superstar Saga, however, there's not an official soundtrack, but there is a sound selection of three of the Mario & Luigi games, which does include this boss battle theme under the name "We Can't Lose!" (in the English American tab, which seems like the better one to use since it includes the English Fawful's and Cackletta's names instead of Japanese Gerakobits and Geragemona)

Here are some general formatting things that need to be fixed, before I go until much detail:
-Make sure you export the PDF from the .mus file, and note the musescore file I'm supposing you wrote it in. Edits will have to be made in the mus file as well. This is to preserve the formatting we have on all our other sheets on site. The comments I make here will be referring to the .mus file as well. It's possible you can't edit some of these suggestions in Finale Notepad (guessing you don't have the full version of Finale). If so, either I can make those edits for you, or you can join our Discord to ask someone with the @Finale Helper role to help.
-Make sure to remove the abbreviated Pno. markings (if that's possible in Notepad: if not, I or someone else with the full version of Finale can do that for you as well).
-The top staves on all pages are pretty close to the titles, so it's best to move those down a bit
-There are a few measures that unnecessarily fill up an entire system

As for some general comments on your arrangement:
-I don't think the "play one octave down" marking is that necessary, as the low G is still pretty readable when transposed an octave down. Usually, octave signs are needed once you get to four or five ledger lines.
-m17-24: These melodies sound an octave down to me. However, you should keep every 16th note in this section as is, because that's more playable for the right hand. Try both out on a piano or keyboard if you have the opportunity. Same goes for m33-40.
-m27-28 and 31-32: The F#'s here should be written as Gb's, as this is a Ebm chord voicing with an added 4th technically the whole chord is an Ab9 without the third. You'll see the chords will look similar to the ones in m25-26.

Futility looks good!

For Reconciliation:
-Tempo marks in 6/8 should be based on dotted quarter notes, not normal quarter notes. So the tempo mark should be dotted quarter = 47. You could also do dotted quarter = about 47, since the whole piece is played rubato.
-All L.H. octaves that are in the bass clef should be one octave higher (so first note in m3, 5, 7, 11, 13, etc)
-m9 and 25: First L.H. octave here should be an octave lower.
-m10, 14, 26 and 30: You can write the quarter+8th rests in the R.H. here as a dotted quarter rest, if you want.
-m17-32: I hear the bottom octave in these L.H. melodies as well, like this in m17-20:

-m27: Shouldn't the first note in the R.H. here be a dotted quarter as well, like in m10?
-m31: The R.H. here is a bit rhythmically ambiguous because of the half note, it should be written like this:

or this:

In 6/8, you should always show the middle of the measure so that there's a 3+3 division, like in 4/4 with a 4+4 division. I'm guessing you didn't specifically need this note to be held for a half note, since you've used dotted quarters in the other parts of the sheet as well.

Before we get into this, I wanted to explain some things:

1.) It's my current opinion that the second loop is not worth incorporating, as I've found that it would not be two hands-friendly. In my original draft of this sheet, I attempted to cover the entire piece, only to yield... unsatisfactory results. Unless there is a strong, collective opposition, I'll be keeping this arrangement as a eight-bar loop. That said, I am open to listen to anyone's ideas.

2.) This track's melody spans two octaves, and the lower range tends to snuggle right up next to the left hand part. For this reason, I've bumped down the LH on certain beats, while still trying my best to keep the thirds from sounding "muddy". The pitch bends have been simplified as sixteenths, sixteenth triplets, and glissandos, and they override the off-beat chords every two bars, on beats three and four.

3.) I haven't submitted a Satellaview BIOS sheet in a long, long time, and because of this, I've held off from mentioning something about how we should label them on the site. Some time in the past few years, it's come to my attention that the cartridge that came with the Satellaview peripheral (the source of this music) is called BS-X: Sore wa Namae o Nusumareta Machi no Monogatari, or BS-X: The Story of The Town Whose Name Was Stolen. The latter is a commonly accepted fan translation, and appears on the title screen of the unofficial BS-X Project ROM hack. Now, I understand that we want site-goers to easily find what they're looking for, but this new name is just as correct as the old one. Here's how it might fit on a sheet:

See for yourself!

[close]

Lastly, because I want this submission to go as smoothly as possibly, I've taken the liberty of putting together a full transcription (minus percussion) of the loop I've arranged. I encourage the staff to take advantage of this resource, because it might shed some light on my process:

[FULL] Satellaview BIOS - SoundLink Schedule.musx

Submission Information:
Series: Other
Game: Satellaview BIOS
Console: Satellaview
Title: SoundLink Schedule
Instrumentation Solo Piano
Arranger: LeviR.star