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More than that, it means that the separate lines follow trajectories according to traditional part writing

There's a mini-fugue in the prologue of Phoenix Wright: Ace Attorney - Trials and Tribulations.

Also, Pokémon Center from Pokémon Gold and Silver uses its three 8-bit voices in a really nice contrapuntal way.

-I beamed according to the metric accents through this piece, which after a lot of careful consideration, resulted in certain measures (not very many, only in mm. 2, 4, and similar places) not being rebeamed. The reason for this is because the desired result of the metric accent is syncopation, which according to any music theory textbook I've ever seen, is usually beamed in this way. Overall, my desired result here was to make the sheet cleaner and easier to read according to the beats.

-Filled out the LH chords in mm. 5-6 as requested

-Good catch, the Cn has been changed to Dn

If the beaming still is not up to how you'd like it, anyone has my permission to change it. At this point, I don't want to spend any more time with it because I feel pretty confident about all of my decisions regarding that.

Thanks. SlowPokemon preparing a master's recital + SlowPokemon teaching Music Theory I + SlowPokemon in research paper hell = slow arrangement by slow

I'll get around to this

This track is already on the site under the title "Court Begins."

Nice to see Skyward Sword getting some love. That's a fantastic game. I played through it for the second time recently and actually did all the sidequests and heart pieces, and had a great time with it.

Also, years ago now, I played Persona 4 Golden on Vita and it was one of the most fun JRPGs I've ever played.

Highly recommend this, though I have to admit I don't have much faith in the controls of a PC port for Danganronpa, where the trials require quick reflexes. Zero Escape is slower in pace, so it wouldn't matter much.

- Bass of m. 5 beat 2.5 should be E. Conversely, beat 3 of m. 6 should be B
- I think it might be worth it to fill out the E and E7 chords out a bit more in m. 5-6
- The melody (er, countermelody really) in measure 10 goes D#-E in beats 1.5-2 instead of C#-D# (the grace note will need adjusting too)
- The first bass note of m. 20 sounds like an F#
- Nudge the dynamics a bit further from the barline/notes stems in m. 21 and 25
- There's a B on beat 1.5 in the right hand of the last measure, not sure if you left that out intentionally? I think it should be present

Okay, so I actually put a lot of thought into the whole "beaming across beat 3," but the problem with this is that as a bossa nova-style piece, it would actually be notated like this (3+3+2) in most jazz scores I'm familiar with. I think that's a decent case for keeping it the way I did it, but I'll let you make the final call. I had it out both ways at various points when I made this.

-I went back with the app "Transcribe" (highly recommend this app) and played it at half speed to double check, and the bass note in m. 5 beat 2.5 is definitely a B, not an E. Same for beat 3 of m. 6, it's an E, it's just articulated softer so the stronger B of the previous note appears to continue.
-The lowered 7th of the E chord isn't actually felt until measure 6, when the guitar plays it in a high octave. The most I could consider doing was add the bass E to these higher chords, but with the lower E already sounded at the strong beats, I felt that this was sort of too thick of a texture. I'm open to a second opinion, though.
-Fixed the countermelody in m. 10.
-Again, went back and double checked, and the first note in the bass phrase of m. 20 is actually a G-sharp.
-Adjusted the position of those dynamics.
-I didn't notice that octave B. I put it into my score, but listening to it, the problem is that as a background voice, it actually interrupts the phrase. The real melody here is the F-sharp at the end of m. 29, followed by the quarter rest, followed by the second F-sharp on the second beat of m. 30. You'll notice that I didn't include the F-sharp in that decorative phrase before the repeat, and I think I'd rather keep the B out of it, if only because on piano, it would be difficult to voice it convincingly in the middle of the phrase.

Just realized I made a typo there, so I fixed it. Also it seems to bend upwards to G# from F#, so it's fine if you want to keep the G#.

Also - the last system only has 2 measures - so you can easily bump one of the 4-measure systems down to 3 to balance it out better.

-Gotcha. Yeah, I think G-sharp is definitely the dominant pitch here.
-I've spaced the measures as you suggested.

Edit: Also, sorry for taking so long with this LOL

Thank you son. I ended up taking an impromptu trip to Florida and New Orleans and then back to Atlanta, but I'll be back with my computer tomorrow.

It makes sense either way. After another look, I think the compound meter is fine if you do 12/8 instead of 6/8.

I actually totally disagree with Latios about the compound meter here, this section should not be in compound time. As a jazz combo-esque style, it makes much more sense for it to be in 4/4 using triplets and swing as Latios suggested, as the melody is supposed to sound basically improvised on top of the accompanying players, just like a real jazz group.

And if you do go with a compound meter, my opinion is that it should be 12/8, not 6/8.

Even this topic is dead huh?

I replayed Skyward Sword and this time I got all the heart pieces and side quest stuff—the only thing I haven't done is get the Hylian Shield, or completely finish the Lanayru dragon gauntlet for max rupees, but eh. After that I played Minish Cap for the first time and absolutely loved it—correct me if I'm wrong, but this feels like the last classical Zelda game they made. It was such a fun game to get through, and it took me 20 hours even without finishing up all the Kinstones. On a replay I'll definitely do that. It was also just fun to play a new Game Boy Advance game after all these years; that was my first system and it's the most nostalgic style for me as a result. As a last thought, I have to say that Minish Cap is almost a perfect companion piece to Mario & Luigi: Superstar Saga, right?

I also wasted some money on a few amiibo cards so that I could get some fresh villagers in my Animal Crossing town. Namely, I decided to get one of each personality type, plus a couple extra that I wanted (these ended up being the two octopus villagers I didn't already have, Marina and Zucker).

Mario Maker 2, on the other hand, is something I already regret buying, but maybe I'll spend more time with it.

Hey timing on this was lame unfortunately. I'm in Atlanta without my laptop until next Sunday. I'll fix this but it'll be a week or so.

Awesome! I actually made a lot of those arrangements.