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The pdf looks fine, but the staccatos have moved to bad places in the .mus file in notepad. Reuploaded a fixed .mus

Generally I think our approach as updaters skews towards accommodating a wide range of hand sizes but also stressing musical representation.

I'll keep this in mind for future sheets.

m9 RH second layer, you could turn the tied notes on beat 2 and 3 into a half note, half notes are generally accepted as written across the middle of a measure unlike the beaming I mentioned earlier on this sheet.

I just went with what I knew wouldn't be incorrect, but not necessarily the best.

m12 RH second layer, the beat 4 should also be flipped with the stem facing opposite to its current direction. Stem directions should be inverse in count to the same number of beats in the layer above or below it

Changed.

(also think it would be good to flip slur here as well).

Flipping the slur gets around having to dip down from above voice 1 into a low voice 2 note. m11-12 Also had this problem so I flipped the slur there as well.
Notepad gives full control over the bezier curve, so it is possible.

Please see attached screenshot,

I'm not opposed to the stem direction changes here. I just don't like the voices and stems lining up perfectly, there should be a little horizontal offset ie; so it is clear which stem the bottom note belongs to.
I don't believe notepad has this option, so this is a post approval finale job.
The last bar in this image is an example of the horizontal offset:

For dynamics [...]

Someone forgot to add a line to their conversion_list.txt

Additional beaming can be added to the left hand for 1-8

Added

I think for m9 RH it would be a little more consistent to have the second layer be a dotted half note Fn for beat 1-3 and Eb quarter note on beat 4. Although the guitar part is a bit more prominent, I think it's weird to have it just in this one spot.

I do agree it is weird to notate the syncopated rhythms just here, (I still think I hear strings playing syncopation as well), so I've taken your suggestion, but I don't see any reason to not notate the hit on b2.

I'm not certain on stemming rules, but I think the Cn in m13 and maybe DFD in m14 will need its stem flipped.

Yeah for this, could split the A's on beat 1 of m13 RH into the first layer, and have the Dn in the second layer.

I'm not sure if I was understood here. I'm not sure which of the two stemming options I should follow:
A: B:
I've changed all stemming to option A, as that is a good guess for correct engraving.

I disagree that changing to an A breaks up the Dm chord, even with one pitch removed in the RH, the overall progression of notes feels and sounds like Dm. As far as playability, it is low, but I am open to you leaving it for the next updater

I don't know if it is the baroque ear in me, but I really don't like the ADA 'chord', even if I remove the En in m11, (to remove the broken enclosure). I've written a different fully playable alternative, that I added in my last post in an edit, so you may not have seen it.

Having looked at this arrangement a few times now, I don't think the small noteheads are necessary, nore warranting a performance note.

When the line's not physically impossible for some pianists, there isn't a reason to have small note clutter. I've changed them to normal notes, and the only thing the sheet would gain with smaller notes now is the connection to the Fn m12 b1 in the RH, a.k.a. nothing.

I'm hearing m13 LH beat 2 as a Fn

Good catch.

[https]

One thing that seems to be missing from my screenshot is beat 2.75 can also beam across the rest to beat 2.25 for example.

Now that you've reminded me of notepad's features, I've changed 3.25 to a semiquaver, as I can get the symmetry without losing the middle of the bar.

Usually we don't recommend pairing pedal directions with staccatoed notes as it's not quite possible to do the staccato effect when holding down the pedal.

The pedal was only for the gliss and the 10th interval, not the lengthened staccato effect. I've removed the pedal and will just leave it up to performer's discretion if they want the playability over staccatoness.

Link at bottom of page for NinSheetMusic should be htpps not http

changed to https (which I think you meant to write).

m8 RH move the gliss symbol's starting point a bit to the right so it doesn't obscure the dot of the dotted quarter note. I'm also hearing this as an Fn, not an An.

Moved the gliss, and I can hear the Fn start on suggestion.

I hear m10 beat 2.0 the Dn go to an Fn.

I can hear it too, fixed.

m10 RH first layer I'm not hearing the current small note heads on beats 1.0-2.0

m14 RH First layer, I'm also not hearing small notes, though for the Dn's for 1.0-2.0, hearing 1.5 as an Fn.

On listening again, I'm not sure of m9 Cn in RH either, I think one of the strings is playing the offbeat Eb and the other is playing F Eb on 3.0 4.0. Since the offbeat semiquavers are more prevalent to me, I will choose to notate them.
I can only hear one string line m10 b1.0-2.75

With m14, same as m9 I don't hear the Cn in m13.
Since its probably not a coincidence, I've removed the octaves in m9,m10,m13,m14.

m9 The bottom An is the final note for the gliss in the original. Now that I've removed the octaves, the bottom An feels out of place (its not part of a line, and finishing the gliss on the bottom A is horrible for playability) so I have removed it.

I'm not certain on stemming rules, but I think the Cn in m13 and maybe DFD in m14 will need its stem flipped.

m16 RH I think I hear the Cn's that are being represented on 1.0-2.0 - It will be a bit difficult to play though, so I would suggest removing them on beat 1.5 and 2.5.

The Bb C Bb chord is hard to play, though I have opted to omit the bottom Bb of b1.5, so that if the performer omits the bottom line, the counter melody isn't gutted.

m16 LH 3.0-4.0 I think you could remove staccatos as they sound a little long, and could add a slur as well.

I don't think the bass sounds much longer than at m4 or m8 to warrant non staccato. It might just be resonance with strings clouding the bass sound. Maybe the performer's favorite, slurred staccatos are appropriate.

How about a textual performance note saying to omit the lower notes in the octaves if the performer finds them difficult?

m9 as opposed to the note about omitting bottom notes, you could use parentheses, or shrink the notehead's size.

m12 RH beat 1 second layer the Fn on bottom is not going to be playable. If you want to represent the note in some way still, you could move it up to An

I don't like the idea of bringing the Fn up to an An, as that breaks the Dm chord, and the G, E, enclosure preceding it.

For certain pianists, the bottom Fn is playable, especially with a bit of rolling and pedal. I expect <10% of Ninsheetmusic's target audience to be comfortable playing a 10th, which is why the notes are in small heads, and I had text originally indicating to omit the bottom line at performer's discretion.

Now that I've removed quite a few octaves from the bottom line, it has more 'secondary part' feel than before, so I will keep the small note heads.

Spoiler

So these noteheads are a bit small - generally I think 75-85% notehead size

Music XML doesn't specify a size other than 'cue' 'full' 'large' or 'grace-cue', so I either need to change a Notepad setting/style, or get someone with full Finale to adjust the notehead sizes. Maybe should add this point to Musescore -> Notepad limitations.
https://www.w3.org/2021/06/musicxml40/musicxml-reference/elements/type/

[close]

I would like to keep the bottom line is, as it currently is (optional bottom line for big handed pianists). Its probably okay to change m11 b3 to a half note, and put m12 b1 up the octave, as a compromise instead of removing the bottom line entirely.

• nitpicky, but for the title an ampersand (&) is utilized in the official title (see other sheet examples onsite)

Fixed

As far as adding pedal markings to your arrangement, we can work on getting those added, we usually recommend using the ped. and * symbols for applying and lifting up the pedals.

I've gone and tried adding some in Finale Notepad, not sure if they're done to spec.

• For dynamics, the general advisory we give is to center them under the notehead they are applicable to.

I've copied musescore's spacing now.

beat 2.75 is incorrectly merged with beat 3.0 for that dotted 8th note

I know that we avoid writing durations across beats and the middle of the bar, but I liked the symmetry of the two notes being the same staccato. I've changed it to how you've suggested, as 3 offbeat semiquavers has a similar issue, of not knowing where the center of the bar is.

• m9 as opposed to the note about omitting bottom notes, you could use parentheses, or shrink the notehead's size.

Both small heads and parentheses don't look great on the seconds, but I've changed them to small heads, partly so I don't have to manually place parentheses in Notepad.

• m3 and m7 RH 2.5 hearing En not Cn underneath the An • m10 LH 3.0 and 3.5 sound staccato

I had En in an earlier version. Changed both of these.

I've also removed the repeat barline at the start of the piece.

I've updated the file, but I knowingly haven't fixed the staccatos and slurs (I'm not particularly attached to the slurs happy to remove) because I'll probably have to import from xml again.

More Xeno stuff!

I haven't properly looked at the LH, especially m46 onwards.


This should have a con pedal at the start.

m10 Ab should be G#. Even though it's descending chromatic motion, everything around here is naturals or sharps.

m21 is missing courtesy accidental in LH

m28 should have courtesy accidentals on Gn

m34 Melody is A G G F# | E not A G F# E | E

m42 LH the melody line starts at b3.0 not 3.5, and goes D E F# G | Fn

m50 and 58, C# major chords are hard to read. I suggest use E# and sacrifice the diminished chords with a D and E# to get proper C# major chords. Also add a courtesy En in the following bar.

m59 There's a quaver length G preceding F# chord in RH. (Though is arguably a bow retake/soft bow direction change)

m62 I hear this bar as a Gmaj7. Maybe change b2.0 and  maybe 4.0 to F# in LH.

m63 RH rhythm is D - - E - E F#G|

m66 I would suggest putting subito p

m67 I hear F# in the cello/viola not E

m8 b2 I hear a G in RH and b5 I hear a harpoid down the octave but the synth line is playing up an octave (of what is written). I think it is best to leave the RH in step wise motion.
To notate the harpoid, I would probably write the LH as thirds, and put it as an Octave in the RH with parenthesis on the bottom B, otherwise just notate the synth up the octave.

Which C and E? I currently hear it as Kricketune has it

In the RH, instead of A and C on b5, though its more that I hear the flute go up to the E then jump down to B rather than walk down.

I hear m16 b4 as solo B everything else as Kricketune has it. I hear an A fourth above the E m17 b1 RH as well.

- m. 23 beat 1 RH: to me, just sounds like C instead of CM7 (C instead of B on the bottom)

I hear CM7

m12 LH b2 sounds like B rather than F# to me

I also don't hear an F#, I hear a B, and an E (tied over b2 & b3)

m25 b2, b3 I hear a G# and A a third below RH. Are these notes missed or omitted for playability?

The correct pedal direction should be, "No pedal except where marked". Should I change it to this?

The pedal in m13 is only there to hold the bottom F in RH, and shouldn't be played if not playing the bottom F. Should there be a performance note for this?

I sort of have the guitar fill at the end of m13 notated in musescore, but I thought the accuracy is not worth its playability. Image

I recently did an arrangement of the Pokemon Center from Black and White

Pokemon Center ~ [MUS] [PDF] [Original]

The pdf will obviously need cleaning up before I submit it, but I'm not sure how/can I do that in Finale Notepad

I have just updated the (only) pdf and musescore scores.

I'm happy for you to submit your version of the song. This was just a score that I made for myself, (hence the ridiculous voicing work required to play it) and I was only submitting it to see if I could produce a score with good engraving, and to fill in a song that I thought didn't have a score here yet.

Hello!
I have recently finished an arrangement of "Friendship" from Xenoblade Chronicles 2 for solo Piano.
I would like some critique on the score and help with conversion to a finale score before I post it into the submissions, as I have no experience with Finale what so ever. Also let me know if anyone has current plans on this particular song.

Friendship ~ [PDF] [MIDI] [MSCZ] [MXL] [MUS?] [Original]

I am going to sleep now and will be out most of tomorrow, so I can't respond to questions for a bit. Sorry.