Messages

You were right; it was a C# in mm. 20 and 44. (I maintain that this makes no sense from a structural standpoint, but it is what it is.)

Changes have been made.

[Notes]

I think I previously checked this when it was submitted well over a year ago initially, but let's see if we can get this up on site for this cycle:

Notes
• m17-24 LH top layer - this figure (both beat 1 and beat 2) should be just like the one in the RH from m13-16 - the last note is not an 8th, but two 16ths. Just like before, E, and F# 16th's instead of an 8th note E

Done.

• m12 RH the last 8th note you have in this measure is actually two sixteenths, the current E, followed by a C#

I'm pretty sure this isn't the case. There's a percussion accent that follows a 16th-and-two-32nds rhythm here, but the strings seem to end on an 8th.

• m16 RH second note note hearing the G# in this cluster

Done.

• m20 couple things: The lower layer LH notes are C#'s not Dn, and I think the RH middle pitches should be C#'s as well here

• m44 same feedback as m20 (for both hands)

This makes no sense to me. Not only am I quite certain I'm hearing a D natural, but the entire piece revolves around the bass ostinato C#, B#, D#, Dn; why would it be different for this one measure? Measures 20 and 44 also follow the same line as measures 7–8, and it's clear that the latter measures have a Dn as the bass, not C#.

• m25-26, m29-30 LH maybe you could add a bottom note, for example at m25 a G# below the B#. It sounds like there is one there, and this would be easily reachable.

I don't really see the point in tripling the G (it's not like it adds to the harmony), so keeping this section with only four "voices" just makes it more streamlined and makes the increase in density in mm. 31–32 stand out more.

• m27 the D# sounds more like a Dn to me

That chord sounds to me like it has a smoother, half diminished sound; if it were a Dmaj7/C# chord, it would have a much more striking sound, I think.

• m37 LH first quarter note is 8th note length, followed by anotehr C# 8th note.

It seems to me as though the main singing line has a quarter note, but there are some half whispered back vocals for effect that follow an 8th note pattern.

• m41-47 LH same feedback as m17-24 applies here

Done.

Thanks for the feedback. I've made some changes.

Changes have been made.

Changes have been made.

Done. I didn't remake the MIDI file, because finale playback likes to put a lot of ritenuto before the dotted half notes with fermatas, which doesn't sound great, and I don't particularly care to mess around with playback options or invisible tempo marks just for that.

Done except

-Sony Computer Entertainment should be added as publisher to the copyright info

Last time I submitted this sheet, I had Sony Computer Entertainment as my copyright, and someone told me it should be FromSoftware instead. Which is it?

Here, and let that be the end of it, please.

I am sure that this doesn't need to be said but you need to put the arranger information back onto the sheet for us to accept it.  There's no need to draw the process out further by making changes that we are obviously going to need to have reversed before acceptance.

Everything else looks good.

I'll admit I'm doing this partially out of frustration, but I honestly don't know what I should put there, because this is no longer an arrangement, but a transcription. Also, I would have written "transcribed by me", but it wasn't: as it stands, this is a transcription that was dictated to me. Maybe "transcribed by the NSM community"?

There, all done.

Wouldn't it then make sense to omit the string line instead, since the clarinet has the melody and is more in the foreground?

The string line is the interesting one, though, which is why I've included it starting from the F# in the previous measure.

I personally think it still fits, as it doesn't interfere with the measure below that much:
You cannot view this attachment.

Sorry, it still looks wrong to me. I'd really rather have it omitted.

If you'd really rather keep those things as is, that's fine too of course. There's just one other tiny thing I noticed: the mf in m8 could be raised a bit, so it's centered with the crescendo before.

I've aligned those dynamics.

I believe this discussion has happened before, so I won't go too much into it, but site-consistency and clarification for if the sheet is shared outside of NSM are our main reasons to keep the instrument name at the start.

I honestly just forgot. Whenever I make a new sheet in Finale, I always select "Piano (No Staff Name)". I have been vocal before about my feelings on the site's formatting standards, however.

OK so here's the thing: I like super-accurate transcriptions as much as the next guy, which is why I've added back in so many of these notes, but now I feel like I've reached a deadlock, for two reasons.

First, when I listen to the piece, measure pairs such as 12 & 14, 19 & 20, and 21 & 22 sound different to me. In measure 14 for instance, the very last B at the end of the measure jumps out to me, whereas in measure 12, it's barely audible (if it's even there); how might I capture this difference in an arrangement? by including both notes, but putting an accent over the one in measure 13? I'd rather just omit the first as I've already done.

Second, removing these differences I think makes the arrangement as a whole less interesting. From an artistic standpoint, I find measures 19–22 much more engaging if they present a motif, then expand on it slightly in the following measure, instead of just repeating the same thing twice verbatim, and measure 28 (as I hear it) would lose a lot of expressive power if it were like every other measure in the piece. However, I suppose it would be an option to use accents here too.

Most of these are really quiet, but from a pianist's perspective, it would make sense to have them there for a more flowing piece, and the slightest hint of them being there is enough for me to have them included. The fact that they're quieter is an interpretative consequence of the piano player, and most likely not a decision made by the composer of the piece.

I disagree: I think the continuous eighths in the right hand plus the pedal are more than sufficient in maintaining the flowing nature of the piece. And by the way, the Piano Collections: Final Fantasy X version looks like this:

m4: There's another Bn in the R.H. an octave above the current one, from the clarinet/flute-y melody.

I intentionally omitted that one to focus on the string line, and because I find the empty doubled B over doubled C in the bass needlessly harsh.

m5-6: I hear some extra harmonies in the strings here too (mostly same in m7-8 as well):

Done.

Since you intended this piece to be played with pedal, maybe you could add "con pedale" at the start? Also, just for midi playback, you could stop the pedal marking at the last measure before beat 4, so the playback won't hold the notes for the full bar.

It wouldn't fit with how close the systems are, and I'd rather omit it that play around with spacing any further.

Also, don't forget the instrument name at the start :p

Right, wouldn't want anyone to mistake it for a trumpet part on this website which exclusively hosts piano sheets.