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Just a passing comment as I browse through submissions: I don't recall there being an official soundtrack listing for this game, but if I remember correctly, matches in the game are generally referred to as "duels", not "battles". As such, I think "Normal Duel" or "Duel" would be a better name for the track, although not all YouTube uploads agree. (The same goes for your other submission.)

Good point, I agree. I have updated the titles of this and my other submission accordingly.

[the]

I get that's what it implies or references (I was thinking of similar examples myself), but it doesn't really sound swing at all in the original track there even with the walking bass. I guess in a performance it wouldn't make that much of a difference, though. Maybe someone else has some opinions on that.

And you're right, the walking bass is the thing that makes it feel like swing (and it means a thing oh god bad jazz joke aaaaa). If you were playing a Latin number with other musicians and the bass started to walk, there'd be no question that the message being conveyed would be to swing the jazz 8s.

That makes sense to me, but I'd still consider simplifying m108 anyway by just using the bassline there. I don't see the point in adding a more difficult LH part just to make it match m104, since that's arguably more difficult than just writing the actual part.

1) That's because in the structure of this piece, this is the shout chorus. This is the climax of the piece; it's loud (the only fortissimo in the entire arrangement) with high energy, and everything has built to this moment. On an acoustic instrument like this, physically adding more notes helps give you a larger, richer sound.

2) The point you may not be seeing about the "difficulty" appears if you approach it from a different angle. If I have the part written at m104 with both voices playing the triplets, that is definitely going to take more practice to play than if I had played it with only the RH. If I did it for m104 and not m108, the performer now has to learn how to play the same figure two different ways (which present their own difficulties, such as the syncopation that would arise). It's also kinder to the performer to keep it consistant: If you're going to make them practice that figure, at least let them play it more than once. d:

If you do decide to keep it as-is, I also want to confirm you moved the Bb in m108 LH from beat 2.5 to beat 2 intentionally? That sounds fine, I think.

Yes, that was an intentional simplification.

...That's what I said? You still have a Gb there. Just to be clear, I'm referring to m121 RH beat 4.5.

Sorry, I misread that as LH beat 4. Fixed.

Thanks for taking a look! I sort of responded to these out of order:

- Personal question on my part were sixteenth grace notes chosen over eighths for a reason?

I prefer my grace notes to look like smaller note values, so I usually use 16ths. Although, 8ths as grace notes are common in other styles and genres. That'd be an interesting thing to look up.

- I've personally never seen a cresc. written as is in m50 - is that an uncommon space saving method?

It can be, lol (and is in this instance).

- m62 LH beat 4.5 this should be F#

Sorry, that's supposed to be an E (as written).

- m69 LH beat 4.5 is there a point to having a tenuto on a tied note?

Yes, but there is an error in this measure. the RH and LH should both have tenuto marks, so I added the missing one in the RH. It is to indicate that the note should be held its full value, until it touches either a note or rest. It may also be played with more weight (think less than an accent).

On the topic of articulations, there are several factors at play working against us. In the source material the exact note lengths can sometimes be ambiguous due to things like reverb, the tone of the Game Boy's chiptune, and even the particular recording/rip. The method in which we listen to them can also shroud things considerably (speakers, head/earphones, etc.). My objective here was to try to make things as clear to a performer as possible while being as authentic as possible, which as you noticed has some drawbacks. (not everything "fits" into a nice, easy-to-read format d: )

- m15 and m23 RH beat 1 and other couple instances like this the note length seems shorter than a dotted eighth in my opinion, but I can see the case for keeping as is given it can contrast to the the wide usage of accents on dotted eighths in this arrangement

Precisely. I left this note as full value with the intent that the staccato in the LH would create that illusion.

- m18 RH beat 3 this also sounds more like a tenuto than staccato. I would say the same of m34 RH beat 3

While I agree that it is not quite the same as the quarter note that follows, it is considerably different from the second two repetitions in that sequence, and I wanted that to be clear to the performer.

- m23 RH beat 1 this does sound like a staccato

Same reasoning as m15.

- m40 beat 3.25 both hands - not sure a tenuto is warranted here for these notes as there is some audible space before beat 4 in the original

While yes, the original has a clear short separation between these and the following notes, since it is happening so considerably quickly, I opted to emphasize the "fullness" of that note. If it touches the next note I don't think listeners will be off-put by it!

m12/48 RH: The grace notes at the end should be Bb-Bn.

fixed.

m20/56 LH beat 2.5 should be a Cn tied to beat 3.

fixed.

m54 RH: Slur colliding with note.

ugh that's an exporting thing (when you hide articulations). Should be fixed now.

m85: I know this sounds like it should be swing, but in the original track I don't think it is. Everything's played straight.

I did this intentionally. I know it is straight throughout in the original, but the walking bass implies swing. Sometimes up-tempo latin charts to do this in big band lit:

couple of examples that came to mind

https://www.jwpepper.com/Fiesta-Bahia/2480793.item#.YoL2s6jMIuU (not on YT, check out the sax soli 2:20)

[close]

imo It would be more awkward if it was instructed to be played straight, but regardless, at that tempo it wouldn't be very noticeable anyway d:

m100 LH beats 3-4: The lower triplet voice sounds a little different to me, I'm assuming you moved around the notes for playability? It wouldn't be that much harder if it was the original line but that's fine.

Play it. It's much easier this way d: But yes, that was why I did this.

m99 LH beat 4: G# should be An.

Check that one again, it's definitely a G# there (it leads to the An on beat 1 of 100).

m108/116 LH beats 3-4: I hear these measures as opposites; m108 only has one triplet line (no harmony) + bass line, m116 has the triplet line harmonized.

You're hearing it correctly! Funny how this one turned out. I simplified the line at m116 since it has a different harmonic structure and wouldn't have worked the same while keeping the bass line (since it changes here, I wanted to make it very clear). 108 is simply a repetition of a previous idea, so I kept the pianist playing what they had already done rather than have them learn it two different ways. In a prior draft I omitted the harmony from all of the triplet figures, but lxf convinced me to include it d: so we worked out a way to make it more approachable.

m121 RH beat 4.5: Gb should be Gn.

It might be a GB soundfont issue mucking things up, but it is definitely a Gn there. The Gm9 is being repeated from measure 117.

Everything should be updated.

[[PC] – Cave Story]

Smoll update: The Cave Story collection got a revision! Check out the list below:

[PC] – Cave Story
-01 Access   
-02 Gestation   
-03 Mimiga Town   
-04 Plant   
-05 Balrog's Theme   
-06 Gravity   
-07 Cemetery   
-08 Safety   
-09 Mischievous Robot   
-10 Pulse   
-11 On to Grasstown   
-12 Eyes of Flame   
-13 Meltdown 2   
-14 Tyrant   
-15 Run!   
-16 Jenka 1   
-17 Jenka 2   
-18 Labyrinth Fight   
-19 Geothermal   
-20 Oppression   
-21 Living Waterway   
-22 Quiet   
-23 Scorching Back   
-24 Moonsong   
-25 Hero's End   
-26 Cave Story (Plantation)   
-27 Last Cave   
-28 Balcony   
-29 Charge   
-30 Zombie   
-31 Last Battle   
-32 Break Down..   
-33 Running Hell (Curly's Theme)   
-34 Seal Chamber   
-35 The Way Back Home   
-36 Got Item!   
-37 Get Heart Tank!   
-38 Victory!   
-39 Game Over   
-40 Toroko's Theme   
-41 White   
-42 Wind Fortress   
-43 Halloween 2   
-44 Pier Walk (Unused)   
-45 Snoopy Cake (Rockorg) (Unused)   
-46 Meltdown (Unused)   
-47 People of the Root (Unused)   
-48 Plant (Beta)   
-49 Meltdown (Beta)   
-50 Oppression (Beta)   
-51 Hero's End (Beta)   
-52 Last Battle (Beta)   
-53 White (Beta)   
-54 Plant (Four Hands)   
-55 Last Battle (Two Pianos)   
-Cave Story OST (tracks 1-41)
-Cave Story OST + Extra Tracks (tracks 1-55)

Download them here: https://vgmsheetmusicbyolimar12345.com/

This rendition is quite a banger. I'll do it!

[[GB] – Pokémon Card GB2: Here Comes Team GR!]

Ten new arrangements:

[GB] – Pokémon Card GB2: Here Comes Team GR!
-GR Grass & Water Forts

[GB] – Pokémon Red Version & Pokémon Blue Version
-Pokémon Tower

[GB] – Pokémon Trading Card Game
-Grass & Lightning Clubs

[N64] – Super Mario 64
-File Select
-Inside the Castle Walls
-Metallic Mario
-Powerful Mario
-Slider

[NDS] – Pokémon Black Version & Pokémon White Version
-Accumula Town

[PS2] – Final Fantasy X
-To Zanarkand

Download them here: https://vgmsheetmusicbyolimar12345.com/

Fixed.

Cool sheet, it's good to finally see a replacement for this one...

• m1-2: You're missing a middle chromatic voice that starts on middle C.
• m34-35: These grace notes start on E natural (En-D-C-Bb-A), but I think it's fine to leave the top two out for rhythmic clarity.
• While cut time isn't necessarily wrong, I'm not not really sure you need it. Since this is basically a fast rock tune, I feel it in a fast 4 rather than a slow 2, so you could just keep it in 4/4 all the way through, with the same metric modulation you have.
• If you decide to keep cut time, I'd recommend using quarter=half for the metric modulation, since those correspond to the respective time signatures.
• Your 2nd page number is larger than the 3rd.

-Added.
-That's originally a rip, which I simplified for playability.
-Totally makes sense. I kept the double time, but removed the cut time.
-Fixed.

Files have been updated.

Thanks, Bloop!

-Was there a particular reason you didn't put a key signature in this piece? The piece seems to be very heavily based G minor pentatonic scale, so putting it in Gm should make some sense.

You know, I kind of just started transcribing and forgot to come back to that. oof, added.

-Since the bassline starting in m13 has the same articulations for the rest of the piece, maybe you could add a 'simile' marking after a few bars and hide all the tenutos? Saves some ink I guess :p

You're right, but I typically avoid doing that and usually opt to show exactly what I would like the performer to do.

-m19: Nit-picking about glissandos here, but I don't think it's possible or comfortable to do the glissando up to the G and then immediately play the dyad, but reaching to the D seems to work. Maybe you could point the glissando to the D instead?

It's definitely not impossible, and I'm pretty sure a pianist would stop the glissando a hair early to grab the chord. The chord is paramount, the gliss is just an effect.
Edit: I think I misinterpreted your post here? A glissando on any instrument would never repeat the final note; you would gliss to the final note (jic that was what you meant).

-m28: I hear a C#-F# dyad in beat 4.5 (instead of D-G)

Oops, yes, you're right. I remember this one. Thanks, I fixed it.

-m46: Not necessarily needed, but you could add a courtesy accidental on the Bn on beat 3, as the player could easily mistake this for a Bb because of the trill before.

Yes, added.

-m47: The little C in brackets on beat 4 should have a natural (there's a C# before in the bar)

Good catch, I've added it in.

-The page numbers, small titles on pages 2 and 3, and the copyright are outside of the page margins.

Yes, they are. I didn't really feel the need to move things like that though... the page margins are relative, and can be whatever I set them to regardless of where the text is etc. Finale places the page 2+ titles and page numbers there by default, and I don't really have an issue with their placement, so I'd like to keep them there. They print out just fine, too.

-All text sizes are a bit too small, because the page size is changed: it's better to change the staff sizes instead, so the text size stays the same.
You may have to move systems around a bit, because there will be less vertical space, but there should be enough space to keep it to 3 pages.

This is my preference, and while I can see why you'd do it that way (that makes sense, after all) I'd like to keep it this way. I prefer everything be the same size relative to one another (text/staff), but I don't shrink things below 85%, which keeps things still very legible.

Files have been update.

I hate to see "BGM" in the title of a sheet, but if it's official, then it's what we gotta use.

https://vgmdb.net/album/281

Title should be: "Big Boss BGM"

Lots of things were intentionally simplified.

[[GB] – Pokémon Trading Card Game]

Ten new arrangements:

[GB] – Pokémon Trading Card Game
-Normal Battle
-Title Screen
-World Map / Mason's Lab

[GB] – Super Mario Land 2: 6 Golden Coins
-Choose Your Pipe
-Star Maze

[MUL] – The Legend of Zelda: Breath of the Wild
-Kass' Theme

[N64] – Mario Kart 64
-Frappe Snowland / Sherbert Land
-Kalimari Desert

[NES] – Baseball
-Miscellaneous Themes

[SNES] – Super Mario World 2: Yoshi's Island
-Big Boss BGM

Download them here: https://vgmsheetmusicbyolimar12345.com/