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Thank you! I thought starting off with the sparse texture of the Blue version and then introducing the fuller texture from the Red version would be a great way to break up the repetitiveness of the piece. This replacement is of the very first piece I submitted to this site in 2011, so I wanna do it justice this time <3

• At the last chord in measure 15, I don't hear the Ab in the LH

I wanted to give a sense of finality to the loop. It also helps to keep the texture together, since without it, there would be a large gap between the RH ostinato and the final high F of the melody.

• A lot of your text sizes seem to be marginally off from the site's recommendations, could you look over those? Since the subtitle is pretty long I think it's excusable to have that set a little smaller, but that can't be said for everything else
  

My NSM template is adapted from the workflow I use in my engraving and publishing work, which is based around having some items that are fixed size (headers, credits, copyright, etc.), and using the Page Layout tool to change the Staff Size (to exactly 6.5mm, according to Elaine Gould's recommendations for piano sheet music) instead of the Re-size tool to increase or decrease the size of the music staves and attached items. My smaller point sizes in the fixed text size items is to compensate for that, to arrive at a similar result as the NSM formatting guidelines which assume the use of the resize tool.

• I would recommend using TempoMarks category fonts for the BPM marking, otherwise it looks like it's from MuseScore..
  Additionally you could italicise the con pedale marking, though non italic is okay too

I'm using Finale's "Engraver Font T" for the note-head and Times New Roman Bold for everything else in the tempo marking. The default way that Finale only bolds the tempo expression and not the number is unfortunate — Musescore actually gets this right, and is much closer to Elaine Gould's recommendations. Also, I consider pedal instructions as technique text rather than expressive text, hence the lack of italics.

• Do you think it's clear to the performer that they should hold the pedal à 2 measures, rather than lifting it after each one?
  Particularly the rests in the LH of m2 and m16 might cause some confusion.

With the con ped. marking, it should be clear that chords will be sustained over the whole rest bar, based on the texture. When playing IRL, I sometimes will even hold the pedal across the chord changes, especially to help the melody connect in m. 8-16.

Quick performance demo by me:
https://www.dropbox.com/s/ip7zntvmyen9pnc/PMD1%20-%20Escape%20Through%20the%20Snow%20%28Piano%29.mp3?dl=0

Okie doke, I'll keep it as is then.

Eyyy I'm all about tiny details, we vibin

I wasn't thinking too hard about it in comparison to other rolls (but I see what you mean when comparing m.8 to m.16); I think I just preferred as it is currently than the shorter one below because I feel it doesn't "encompass" the chord as well (probably due to the natural sign pushing back the roll). That said, I've kinda warmed up to the way this looks while writing this LOL xD

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I could go either way, what do you prefer visually?

Gimme dat
p e d a l 

• Partly a playability omission, and partly a phrasing choice. The goal I have is for the player to not have to think of lines independently, and adding accompaniment on beat 3 of m.2/6 would interfere with that. The resulting sound of that omission is one I like, for the phrasing it creates in the melody.
• In the m.9-13, I use rolls at the start of phrase markings, to give a subtle sense of separation; the beat 3 chord in m.9 isn't a triad because I didn't want to overemphasize the major 7th of the chord (the note B).
• The octave change in m.16 helps to differentiate the chord roll as being not part of the phrase of m.14-15. The sudden "p" dynamic also helps to make this phrasal break more apparent.

Notate the bass line with ledger lines instead of ottava. With keyboard music, the player will typically read the top note and then infer the octave doubling.

yoooo megaman legends sheets yeeeesss
*sad mml3 noises*

Seconded on the swing notation. The style of the piece and the percussion strongly suggest this.

I'd also like to hear the harmony from the organ chords. See if you can integrate it into the melody.

A great first submission! Really solid formatting-wise, though I'd probably tighten the space between staves and increase the space between the systems.

The voice-leading lines in m.1 and m.3 are too short; the tips should be within close-proximity to the noteheads. The distance between the LH and RH staves is also too long; move the "mf" dynamic to the left so you can shorten the gap, then center the "mf" between the staves.

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The information stack in m.5 is awkwardly placed, and causes there to be too much distance between the staves. Consolidate it into a single line.

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The tips of the slurs are near-colliding with the ties in m.5 and m.7, and the tapering effect in the slurs' design magnifies the difficulty of distinguishability between the glyphs at such a close distance. Move the endpoints up a few clicks, and arc the slur slightly more by a few clicks so that the ties aren't as parallel (for reference on design, see my earlier post with my rendition of m.5-6).

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The slur between m.7-8 is near-colliding with this sharp accidental in m.8. Increase the arc of the slur and/or raise the endpoints to accommodate it.

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^All the above

On the pick-up, I would also suggest changing the drum hits to "C" instead of "Bb".

^Everything Lat said, plus:

• I feel m.5-8 would be easier to sight-read if kept in the same tempo and time signature (see below). I also think m.5-8 should be in the key of E, to be consistent with the the key choice of m.1-4 (Bb for Bb lydian; E for E lydian)

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Typo fixed 

[~Le approve~]

#3amSquad
~Le approve~

I've updated the files with the non-Notepad-achievable edits, and also optimized the layout.

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Nice! Few fixes:

*Upper bass voice in m.8 beat 4 should be "D" instead of "E"
*Upper bass voice in m.11 beat 4 should be "C" instead of "D"

*M.9-12 could also benefit from harmonization:
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The left hand has missing parts. These would be the correct notes (adjusting for overlapping notes and hand reach):

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The rhythm of the bell line is correct, but it is oddly notated. "Showing beat 3" is a side-effect Two-Level Rhythmic Parsing Rule; whole notes and on-beat half notes can cross the middle of the bar. It should be notated like this:

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On the arranging side, the arrangement feels a bit empty. In the OST, the shimmery organ chords in the background help to fill in the gaps between the bass guitars and the bells. You could emulate this by adding harmonies.

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