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Earth-chan isn't flat!

But what about Mars? Is Mars flat?

Your face is about to be flat if you keep kicking this topic

what

also rude

luigi's balloon world is my favourite game

Oh hey what a fitting word for what's going on in a DnD session right now.
seriously we're pretty screwed

So, if Australia is a fictional land filled with deadly monsters and inhabitable living conditions...does that mean Waluigi is a fake account that's actually run by bees?

oh no i've been exposed

Bump.

Happy birthday, ThatHiddenCharacter!

Have a nice day.

oh cool another monkey

Congrats on getting the position!

We're not reaching maximum level if it's getting worse everyday. Even when we reach something absolutely pathetic, humanity finds a way, and the bar drops lower still.

Damn those semi-automatic cars

Andy always manages to make me genuinely laugh.

A fun, simple one. Did some bullshitting somewhere though, as the original transcription ruined the tonality a bit.

"The line ends with A" was referring to the last four bars of the piece, not the dynamic shaping of the D.C.

I got that far.

The line ends with the 16th notes G# and F# leading up to an A. Without it in that register, the voice leading ambiguously suggests that it drops to an E from the F#, which does not happen.

It took me a while to really wrap my head around this. I get it, but the only time I can agree with it is when I listen to the piece without actually focusing on it at all, otherwise my brain naturally tracks the melody (like any normal listener), which does in fact descend from F# to E. This isn't to say that I haven't already updated the files with a different inversion of the chord, but hey, that's just my opinion being thrown out there.
What probably confused me was how you said that the 16th notes G# and F# lead to an A, even though they're strictly in the melody line only, which descends to an E.

Also no octave because easier playability.

Wait, was the file in the op the one containing Mael's edits? Now I'm not sure.

I don't know actually. Not sure if he put it in himself because I didn't edit it. I know for sure that my old pitches for the bass in the last section were definitely wrong though.

I hear the E now, but the line ends with A being the most important pitch there and as such it should be the highest note. The D-A relationship is much stronger than the E. I'd still suggest it to be in both octaves, but at the minimum it should have the one above the staff.

Hehe, I knew there'd be some discussion on this one.

I wouldn't say the D-A relationship is any stronger than the E-A one, because both are fairly weak, hidden behind a very prominent A. A is the most important pitch there, yes, but the highest A has the most noticeable single-note crescendo, making it far more prominent on M.2 than M.1. The E however, is instantaneous in its dynamics, albeit weak regardless. The crescendo (which as we know wouldn't exactly be possible on a piano) is why I consider using the higher A immediately as rather jarring, which is why I didn't put it in. I do agree that the A should have the most focus, but I couldn't put in a better alternative.

-Change "8va" in the bass to "8vb."
-And about the repeat: it desperately needs to be written as a D.C. after playing for four pages, I would rather know that I am repeating back to the beginning rather than search for a forward-facing repeat bar.
-Why does piano II get to fortissimo two bars later in 45 rather than in 43 with Piano I? In general, many of your differing dynamics are odd, but I feel like this is the worst instance. 32 is a close second.
-RH Pno I measure 29 should include another note in that grace note pick-up: it should start with an additional D.
-RH Pno I measure 31 should include another note in that grace note pick-up: it too should start with an additional D.
-RH Pno I measure 33 is missing the E#-F# grace note pick-ups.
-Sorry Mael, but the bass line from the key change to the end has major issues regarding correct pitches, the glaring pinnacle of which is the last four bars. Y-ouch!
     -33-34 should be F#
     -35 should be A#
     -first half of 40 should be G#
     -41-42 should be F#
     -43 should be E#
     -45 should be D#
     -46 should be E#
     -47 should be F#
     -48 should be B natural

Fair enough. Thank you for your time and effort.

-The guidelines for duets says that you should abbreviate each instrument in a duet with I and II.

Funny enough this was in my sheet before Mael's edits, so I don't know what happened there. Also you forgot the "I" in "Piano I" in the first system.

-Why is there an E held for four bars at the beginning in the second piano part? Nowhere does that happen in the original. I would suggest replacing it with a chord consisting of second-space A, fourth-line D, and A above the staff, as two whole notes (tied in measures 1 and 2), for the D.C. You'll need to specify that though, with something written along the lines of "play on D.C. only."

What I'm wondering is how you managed to hear that accompaniment before the melody. That E is the last note of the melody, and it should be very obvious. I did take most of this into account, and compromised with an A-D-E chord (whatever you'd wish to call that (Asus4? (the A is the most prominent note in that chord anyway))). Sliding from two 16ths to an octave at 162bpm isn't easy anyway.

-General comment: you should consider the need for the 8va line on that uppermost staff. You've got a considerable amount of that line in the bottom end and even below the staff. Ledger lines aren't a bad thing at all.

I would've dealt with this but I'm not 100% sure where I could remove it. Some places obviously need the 8va (the earlier section, for example), but whenever there's a part that is lower down, it's typically followed immediately by a higher part, and I see no reason to remove an 8va for 4 measures. The consistency may help the pianist too (very subjective though).

-43 should be E# (last note should change to A# early)

You sure about the early A#? Something sounds strangely off about that.

happy to celebrate this submission's fricking birthday

this is also technically a bump