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This looks pretty good and you've already had lots of good feedback so there's not a whole lot for me to do.

Thanks!

-Regarding the first section with the two right hand staffs, what exactly is the intended way for this to be played?  Is the idea to try your best to hold down that chord while also playing the bottom staff?  Or do you want to strike the chord and then sustain it with pedal?  If it's the second, writing it explicitly out like that would be better than using two staffs in my opinion.

This is a good point. I left the staves how they were, but I added in "con pedale" to that section.

-For the bass run in bar 16 and later bar 24 I'm hearing a Gn instead of a Gb.  It's like a melodic minor run or w/e.

I was unsure of this myself. Fixed.

-I'm not hearing bar 23-24 the same as 15-16 as you have written it.  I'm hearing (for the melody line) An Gn An Cn (all minims).

Actually what's going on is that there are two different lines being played: the lead and the backing synth. The lead has the movement I've written in, while the synth has a Fn-Gn-An-Cn movement, which is where the confusion comes in. For consistency, I'm keeping to writing the lead on the top.

-I would make the same comment about rests in bars 25 onwards but you've already had that pointed out to you.

Yeah.

-Similarly about the bass line bars 7-8 second time.  If you feel it's better to keep that simple then I'm ok with that.

It's mainly the formatting, but yeah I kinda prefer it like this now.

It's always good to have replacements.

I agree! The Mega Man section in particular is mostly atrocious, which is why I decided to do this.

Thanks for giving it a check! The files should be updated now.

Really good sheet—looks and sounds great!

Thanks!

Not really feeling the staccatos in m2 and m6. They seem held out to me.

That's because they are. Originally I thought "I just really want to hear a staccato sound here", but it's probably best if I notated it without, because performers can choose to do that themselves. Edited.

Rather than just the second half of m8, the bassline changes completely throughout all of m7-8 in the second pass. I would use a repeat system with two endings here but of course that would make it go over two pages...

Yeah... I was considering this but the current formatting lent itself to what I wrote. Personally I find that changing both M.7 and M.8 doesn't have as much of a desired transition effect as what I'd like.

I think notes could be held out as long as possible to cover all the rests, considering the original doesn't really have any rests in the RH.

I went ahead and did this for M.9-24. I felt the last bit was better with the rests.


The files should be correct now.

I don't think it has to be anything too fancy and I generally prefer simpler options when they can be taken.  This is what I would go for:
You cannot view this attachment..

I thought about trying to include the rhythms of the drums into the bass line but ... on trying it out I'm not sure it works all that well.

Mainly waiting for MSF to chime in, but also laziness, sorry.

This feels quite nice (though playback says otherwise). Usually I like to be overly complicated, but sometimes it's good to use simpler ideas (I should think about this more often).
Definitely correct about the drum rhythms, and I prefer the longer notes anyway. I believe the drum pattern is one which also appears at the start, but considering I don't have it there, it wouldn't have as great of an effect put here anyway.

Files should be updated correctly now.

It's about time this got replaced; looks good so far! So that's why you asked about masking...

Haha, yeah. Thanks!

The only thing I'd think about is extending the lower two notes in the chords from m. 9 forwards across two measures, like in the original. The upper notes can usually be played more than feasibly while sustaining the rest of the chord, but I understand restriking the notes since it's a fairly long duration and the volume might have some falloff as a result.

I was debating this quite a bit myself actually. I know it could be done with the chords held, but given the LH part I was inclined to use a more energetic integration of the chords. Also 5 flats is quite mean lol, and you yourself make a good point about the volume falloff. For now I'll leave it as is, but thanks for checking it out!
In the back of my mind when I was making the sheet I had this feeling that some Updaters might not like how it is lol, so we'll see.

fixzed

thanx

"Theme of Blues"

Ah, the Japanese albums.

Lol.

Actual name should probably be "Shade Man Stage".

This is something incredibly minor but I feel like there's enough of a musical (?) change in the piece to warrant a double barline between M.9 and M.10.

I'm also not fond of the amount of leger lines in some parts but I can understand why you left it as it is.

Besides that minor stuff, it's a nice sheet.

I'll be the third person to say, yes you should do this

ok...

Some other passing things while I'm here
- Flip the slur in m. 22 to point up. 33 too
- 43 looks a bit funny. You can just have one slur over the whole thing (similar in 27)

Okie dokie, thanks.


I am in fact still a little out of ideas for that transition to the chorus (I'm probably just not thinking about it hard enough, but I'm busy, and would greatly appreciate having ideas thrown at me).

they make that look like a cakewalk.

I mean it was a cakewalk anyway so ¯\_(ツ)_/¯
(and no, I beat it before I fully got into Touhou, so it's not because of that)

Why would someone name their fangame something that might be the title of a real game?

might be the title of a real game?

Haha funny.


But really though, that's fairly standard practice for fangames. It's for those kinds of fangames that try to replicate the ideas of the original series, and want the game to fit in well (which so far to me, seems like the majority of fangames). It helps with this if you give it a name that follows the naming conventions of the original series.

In your submission, filenames, and the sheet itself, you've written 5 dots, but in the youtube video and (what I believe is) the official soundtrack listing, it's 6 dots.

- I'm not certain, but it sounds like there is still a C# in m7 albeit it isn't as pronounced as the F# (LH)

This is correct, though you can really only hear it ringing in Beat 2 before moving to the D in the lower part of the RH. For consistency with the other C# to D movements throughout the piece it might be good to add this in, though it's incredibly quiet in this bar. Your choice, really.

Also using minim=30 instead of crotchet=60 is an interesting choice, but I can imagine why you did that. Overall, a very nice sheet.

You two definitely earned this position. You've been so hard at work in the submissions board over the past few weeks, it's incredible (I don't think I've seen the submissions board this consistently active... ever, really). Congratulations to the both of you!

I kinda just wasn't feeling it so this took a lot longer than it should've.

-m.55 the E# and C# are not 8va.

-m.67-68 are not 8va.

And also in m.39 the C#s in the RH shouldn't be tied over.

If you're going to consistently include staccatos on short quarter notes in the RH, I would also add them to the second quarter note in m6, m14, m28, m40, m56, m80, m88... pretty much every time that four-note pattern comes up (except m32).

I don't know if it was intentional not to include them, but I think grace notes might be nice in a few places. For example, m18 RH second half note, m43 RH first note, and m60 RH third quarter note. There could be more possible spots, but those are the ones that stuck out to me the most.

About the intro chords: there's definitely a suspended sound to them - they're not just E major. Substitute the G#s with F# instead, and consider adding a D in the chord as well (which seems to be there in the original, but I'm conflicted on how good it'd sound on the piano).

The sheet has been updated with all of these suggestions.

-m.73-75 have the top layer in the RH being 8va.  I guess it's your decision whether to put it up or not since you can't play both layers at the correct pitch (unless you have three hands) but in my opinion the sudden 8va is quite striking in the piece and it'd be nice to get that into the sheet.

Why not have m73-75 an octave higher like it is in the original?

I was really debating this, but in the end, I've only put some dynamic changes to compensate. The run in M.72 towards M.73 is at that octave, while only the top notes of what sound like brass octaves hit those high notes, and putting that run an octave higher doesn't feel quite right to me. Personal preference, though I could probably be convinced otherwise.

Three of the same note in octaves feels a bit barebones to me in m35-36... I was wondering if you could somehow have the left hand play that in octaves while the right hand does the glissando! That would be even more amazing

I feel like the half note chords in m51-52 kind of kill the momentum that you've got going with that great LH part... I don't know if the chords would feel empty and/or it would be too hard to play if you tried keeping the left hand rhythm in there somehow? This isn't something that you have to consider though, just an idea

I agree with MSF's points, and wanted to specifically comment on the transitions in 35-36 and 51-52 as well. I feel like some other rhythm in the left hand, even if it's just simple off-beats, would will in the space a bit better. See what you like though, I'm just speculating.

I was thinking about this, but as of right now, I really don't know. I know I probably won't change M.51-52, because that's a contrasting break which may also help the pianist's poor, suffering left hand. As for M.35-36, I feel like something more could be there, but I'm not sure how to write it. I'm definitely open to suggestions (particularly interested in that glissando idea).


Beyond the above stuff, I've also changed a bunch of other things here and there, mainly dynamics.

This is a really cool piece that I'd never heard before, so thanks for that!

Welcome to the wonderful world of Rhythm Heaven.

But yeah, I didn't think this track would ever work on piano but wow this sheet blew me away... dang now I kind of want to get back to arranging sometime

Thanks! Also yes, arrange more please.

-facepalm- I didn't think of slowing the music down, 0iq on my part haha. Thanks for the tip! I found arranging this piece really fun to do, so these tips will definitely help me continue!

Nah it's fine, haha. No worries. You picked a really good piece to arrange actually, and I'm glad you want to continue.

I'd say it's more "there's nothing wrong with Kirby, so everyone kinda just likes it", but yeah I guess.

Also, I had trouble figuring out how to do measure 20 (https://youtu.be/juQq6gsWyOM?t=35).

At that particular point, there are two triplets for the first two beats. It's a pretty tricky part there, and if you have trouble transcribing it (and other parts) because it's too fast, try slowing down the audio (if you haven't been doing that already of course!).