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[Code_Name_Geek]

What, no one expected Harvest Moon to have spooky music too?

[Wii] Harvest Moon: Animal Parade - Something Spooky...
[MUSX]

[Libera]

This one is weird in that it somehow manages to sound both cute and spooky at the same time. 

Some things:
-The note in bar 4 should be a G.
-The first three notes in bar 7 are in thirds (i.e. missing the third below).  It will also held with the terraced dim there.
-I feel like there has got to be a nicer way to write out the part in bars 11-12 with the triplets.  The way the two layers interact together is kind of confusing and requires a lot of deciphering.  I think if you went to using sextuplets rather than triplets and wrote both parts in one layer it would be a lot clearer how they interact together.
-Another thing about 11-12 is that I think they need a bit more space.  Some of the bars in this piece are far less dense so we can up the number of bars per system elsewhere to get some more room.  If you want to stay on one page then something like 6-5-5-8-7 seems to work pretty well, although there are probably other solutions.  This will be even more necessary with sextuplets.
-Another x2 thing about 11-12 is that I think the D# on beat 3 of bar 11 should be on beat 3.33 instead i.e. not at the same time as the C# above it.
-Another x3 thing about 12: I think this string 'scream' on beat 4 could probably be better represented.  It has a sort of diminished sound to it when I listen, particularly as it ends on an A on beat 1 of the following bar (which you could also add).  Have you tried something more like an A -> D# -> A roll rather than the Dn -> D# thing?  Again, something to try out.
-In bar 13-15 these low strings also have a diminished tone i.e. you are missing a C#.  You could just add it in between the G octaves you currently have and it would probably sound appropriately creepy.
-The final note in bar 14 (RH) sounds like an E.
-Missing Fs in the chords in bars 16-21.  You could just add them in the right hand as it's a doable stretch.  Also missing Ds and you could add these to the left hand.
-The notes in bar 22-23 sounds like A -> G and then F A -> D G thirds, rather than D -> C then D -> C.
-The lower note on beat 3 of bar 29 sounds like a G not an A.

[Code_Name_Geek]

This one is weird in that it somehow manages to sound both cute and spooky at the same time. 

Haha it wouldn't be Harvest Moon without a little bit of cuteness!

-I feel like there has got to be a nicer way to write out the part in bars 11-12 with the triplets.  The way the two layers interact together is kind of confusing and requires a lot of deciphering.  I think if you went to using sextuplets rather than triplets and wrote both parts in one layer it would be a lot clearer how they interact together.
-Another thing about 11-12 is that I think they need a bit more space.  Some of the bars in this piece are far less dense so we can up the number of bars per system elsewhere to get some more room.  If you want to stay on one page then something like 6-5-5-8-7 seems to work pretty well, although there are probably other solutions.  This will be even more necessary with sextuplets.
-Another x2 thing about 11-12 is that I think the D# on beat 3 of bar 11 should be on beat 3.33 instead i.e. not at the same time as the C# above it.
-Another x3 thing about 12: I think this string 'scream' on beat 4 could probably be better represented.  It has a sort of diminished sound to it when I listen, particularly as it ends on an A on beat 1 of the following bar (which you could also add).  Have you tried something more like an A -> D# -> A roll rather than the Dn -> D# thing?  Again, something to try out.

This part gave me a lot of trouble - I probably spent as much time trying to transcribe those two bars than the entire rest of the arrangement. I'll just respond to all of this at once:
-I did originally consider writing it out in triplets, which I did again here - does it work this way or would sextuplets be better?
-Spacing is fixed.
-The rhythms in this bar are so hard to hear, but yeah I think you might be right about that.
-Oops I totally meant for the bottom note to be a D# instead of a Dn. However, I think the roll you suggested sounds better anyways so going with that.

-In bar 13-15 these low strings also have a diminished tone i.e. you are missing a C#.  You could just add it in between the G octaves you currently have and it would probably sound appropriately creepy.

Done, I like how much more punchy it makes those low hits sound!

-Missing Fs in the chords in bars 16-21.  You could just add them in the right hand as it's a doable stretch.  Also missing Ds and you could add these to the left hand.

Also done, that sounds a lot fuller now. Thanks!

-The notes in bar 22-23 sounds like A -> G and then F A -> D G thirds, rather than D -> C then D -> C.

The only issue I have here is that the D doesn't sound right to me in the last one. Did you mean E-G instead of D-G?

All the other little note things are fixed. This was a bit of a weird one so thanks so much for the help!

[Libera]

The only issue I have here is that the D doesn't sound right to me in the last one. Did you mean E-G instead of D-G?

Yes sorry, I mistyped.

Another thing: the 8va in bar 4 shouldn't extend to the end of the bar, just until after the note it applies to.  This is the standard rule for 8vas.

Other than that, it looks great.

All the other little note things are fixed. This was a bit of a weird one so thanks so much for the help!

Happy to help.

[Code_Name_Geek]

Another thing: the 8va in bar 4 shouldn't extend to the end of the bar, just until after the note it applies to.  This is the standard rule for 8vas.

Done!

[Libera]

Looks great, approved!

[Latios212]

Nice! A few things from me:
- The first couple notes in m. 22 should be thirds too.
- There are a couple of places where the octave of what you wrote doesn't exactly match the original. In particular, the G in m. 4 doesn't need the 8va above it, and the A octave in m. 29 is just the upper A in the original. If you wanted to write it this way to differentiate those notes from the other voices though, that's fine!

About m. 11-12... I agree with the voicing adjustments but I'm hearing something a bit different - in particular not the low notes being D#. Something like this (potentially with some spelling adjustments)?

[Code_Name_Geek]

Nice! A few things from me:
- The first couple notes in m. 22 should be thirds too.
- There are a couple of places where the octave of what you wrote doesn't exactly match the original. In particular, the G in m. 4 doesn't need the 8va above it, and the A octave in m. 29 is just the upper A in the original. If you wanted to write it this way to differentiate those notes from the other voices though, that's fine!

Got these both! Had trouble with some of the octaves in this one so I'm glad you pointed those out.

About m. 11-12... I agree with the voicing adjustments but I'm hearing something a bit different - in particular not the low notes being D#. Something like this (potentially with some spelling adjustments)?

Those measures are the killer in this otherwise not too complicated arrangement... Fixed that as well. Is is ok to mix flats and sharps here? The way you wrote it is easier to read and there's not really a clear key centre.

Thank you!

[Latios212]

Yeah, I would personally go with the spellings I had in the image since there's not a clear tonal center in this part but the chromaticism around the D in the right hand is more easily exposed/read this way.

Real quick - the second RH note in m. 12 I wrote in as a Dn (with a courtesy natural due to the LH's D# - actually maybe we could write the LH as Eb to avoid this). Was that a typo since you have an Eb there now? Also it'd probably be good to make the spelling of the D#/Eb on beat 4 of m. 12 consistent with the notes beforehand. If you do end up doing that though, a courtesy accidental might be good anyway to clarify it still applies to the note even though there's an 8va added. Make sure the squiggly rolled chord line has room regardless.

I'm a bit tired and I hope the above doesn't get lost in translation, so here's a picture of what I think 12 could look like in order to clarify:

[Code_Name_Geek]

Yeah, I would personally go with the spellings I had in the image since there's not a clear tonal center in this part but the chromaticism around the D in the right hand is more easily exposed/read this way.

Makes sense!

Real quick - the second RH note in m. 12 I wrote in as a Dn (with a courtesy natural due to the LH's D# - actually maybe we could write the LH as Eb to avoid this). Was that a typo since you have an Eb there now? Also it'd probably be good to make the spelling of the D#/Eb on beat 4 of m. 12 consistent with the notes beforehand. If you do end up doing that though, a courtesy accidental might be good anyway to clarify it still applies to the note even though there's an 8va added. Make sure the squiggly rolled chord line has room regardless.

I originally had a D# there so I was going off of that. I checked that spot again and I'm still really hearing it as a D#/Eb, not a Dn. What do you think? (I did fix the rolled chord though.)

[Latios212]

Cool! Yeah... I still hear a Dn for that first RH note in m. 12, lemme see if we can get another opinion on that to double check.

[Latios212]

I checked with Bloop and they also said Eb although they weren't super sure. I'm okay leaving it as is then!

I've reset articulations on the sheet due to v26/27 and in particular replaced separate staccatos/accents with the single articulation that contains both. I'll accept now but let me know if anything went wonky during the file conversion and I'll fix it!