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Not sure where you want the top G# added in 1-3. You should specify octave numbers (i.e. G#4)

The caesura isn't correct when the timing of the track is still metered rests which is why I used 5/4 rather than a caesura

At meas 18-25 I don't know what else is missing. If you hear more voices feel free to let me know so I can add them.

I initially arranged this for piano with a pipe organ patch sound so that may be why you hear many missing layers as the harmonics are no longer reinforced. I added the changes you suggested so far and uploaded the changes.

I appreciate that you've taken the time to have a look over my sheet, but I'd appreciate it even more if you weren't so passive aggressive with me about it. There's really no need for it at all.

That was my attempt at humour. I guess I’m still not up-to-date on how to act like an actual human being.

The mothership requires further investigation.

1/17/20 Discomfit (v.)- 1. to frustrate the plans of: thwart; 2. to put into a state of perplexity and embarrassment: disconcert

- If you slow down m3, beat 1 RH actually looks like this:

But, this doesn't carry over well to the piano (and is really hard to discern in the original), so I would instead recommend adding an A to both eighth-note dyads.
- For m3 and m4, I would separate the lower notes into their own Layer 2, since those notes are staccato but the melody (except for m3 beat 1) itself isn't.
- The lower E eighth notes on m3 beat 4/m4 beat 1 should be shifted back a half beat, such that the first E starts on m3 beat 4.5 and the next two are both in m4.
- In m21/25 RH, I would put staccatos on the eighth notes on beats 1+3 since they sound just as short to me as the other eighth notes you've designated as staccato in that section.

EDIT: Oh, also, like with your other sheet, the expression is affecting both hands in playback, not just the left hand. I would either use a hidden 8va, separate the staves in ScoreManager, create a custom clef for the LH that lowers playback by one octave, or create a hidden staff for the left hand.

Why put m4 in different layers if they never overlap? It looks confusing when you see it in black and white without the finale coloring the layers. I guess it makes sense to leave it as is in m28
You didn't transcribe the grace note for the first 8th of m14 RH. Also in m18
Maybe nudge the composed by/arranged by down a bit? Up to you.

I don't normally do this, but the changes are so small I don't mind doing so. Address this and I approve. Great work.

All should be fixed now.  On second thoughts you're right, I don't think separating those voices is really necessary (in both bars 4 and 28).

Why hello there, Libera! Did you miss me?

What am I saying? Of course you didn’t.

...

Please look forward to my being a general nuisance again. 

I appreciate that you've taken the time to have a look over my sheet, but I'd appreciate it even more if you weren't so passive aggressive with me about it.  There's really no need for it at all.  Anyway, onto responding to your points.

I don’t hear the piano playing a D in the measure 10 left-hand chord. I know technically it is an Em7 because of the ostinato, but the simple lower triad voicing of the original gives it a much starker sound.

I'm pretty sure I can hear a D in there, and not a high one from the ostinato.  It's possible that it could be in the backing synth that's quite faint, but I don't think there's any harm in outlining the harmony here in any case.

I hear the third beat chord in measure 12 as G-B-C-E.

Not so sure about that one, I'm still hearing it as A-B-C-E as I wrote it.

Is there a reason you have an E in the left hand in measure 25 (third eigth note) instead of a B? Normally, I would assume this is to avoid the octave leap, but you have a leap of a 12th two measures prior, so I was curious.

There's both there.  This piece is actually (as far as I can tell anyway) an octave piano line on top of a full piano part.  I kept the left hand as-is for the original full piano part (taking the E rather than the B).  I could include the B as well (in the right hand or as a dyad in the left hand) but I felt like it was complicating things too much and that a simpler approach was the best idea here.  It certainly doesn't affect the harmony in any way.

Just popping in to say this looks great for a first sheet ^^

Also, we have specific composer info for this one! It's just Mahito Yokota: https://www.mariowiki.com/Super_Mario_3D_World_Original_Soundtrack

I also recommend notating this with two sharps, but I believe the underlying tonic is B minor (aeolian), not D major.

- Tempo should be 112 BPM, not 120.
- A courtesy C# would be appreciated in m3 LH. You could also put one in m8 RH but the LH is already playing a C# so it's not necessary.
- I would extend the RH half notes in m2/3/6 to dotted half notes since they keep ringing until the next note is played.
- I would separate the bass note and chords in m4 into LH and RH because beat 2.5 has both a chord and a bass note (you're missing the bass note). I also think you should make the last chord a dotted quarter note (sustains until the end of the measure).
- You're missing a note in m7/8 RH—it should look like this:


- You're also missing the first bass note in m8. I would split the chord and bass notes into two different layers and write it like this:

Why hello there, Libera! Did you miss me?

What am I saying? Of course you didn’t.

Anyhow, I have a few comments I’d like to add regarding this arrangement:

I agree with Maelstrom about the two layers in measure 4. I could understand notating it this way if you continued the upper pattern for the first two sixteenth notes of the last beat, but since there’s a full eighth rest of silence, I don’t think it’s necessary to separate both voices so explicitly.

I don’t hear the piano playing a D in the measure 10 left-hand chord. I know technically it is an Em7 because of the ostinato, but the simple lower triad voicing of the original gives it a much starker sound.

I hear the third beat chord in measure 12 as G-B-C-E.

Is there a reason you have an E in the left hand in measure 25 (third eigth note) instead of a B? Normally, I would assume this is to avoid the octave leap, but you have a leap of a 12th two measures prior, so I was curious.

As for measure 4, I don’t think it’s necessary to have two layers in measure 28. I remember you saying that you liked to write precise durations when there was no pedal, but seeing as you’ve already notated pedal usage quite clearly, I don’t see why the dotted half note couldn’t be written as a quarter.

That should be it; the rest seems rather accurate to me.

Please look forward to my being a general nuisance again.