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The ties are mostly there, some minor tweaks. Apologies I did talk to another updater afterwards about how the ties should be oriented, and learned that the ties should be flipped as follows:

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I made the updates myself though, as well as a fix to one of the glisses at m37. This sheet is now approved

You're all good. Saves me from having to do all the tedious bits.

So from my own experimentation to replicate this at m42, you could use the note mover tool to move the notes to current positions, and also extend the ties to visually connect to the notes they are tying to. Unfortunately there are some restrikes on playback with this method, I thought maybe you could hide individual pitches and ties on beats but that is not possible.

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You could do a thing where you create a whole hidden instrument that plays those notes, but it is a whole extra layer of complexity.

Alright, here's my attempt at the Ravel ties. Let me know what changes I need to make, though if it's very minuscule formatting changes, it might be faster to just take care of them directly.

I'm not going to bother doing a whole other layer just for the MIDI - it sounds good enough.

Also, correct me if I'm wrong but it appears this theme's arrangement is credited to Masafumi Kawamura? https://vgmdb.net/album/1401

You would think so, but confusingly those songs are the ones that play on the menu screen for Gym Leader Castle, not the actual battles

• Looks like you did leave out the tie at m9 RH on the Bn (comparing to your transcription)

Done

• For m6 and  m8 RH 2nd part: I think these staccatos should be notehead side like m10. As an aside, we usually recommend staccatos on the stem side to center over the notehead as opposed to the stem.

I think those are already on the notehead side (unless I'm looking in the wrong spot)

• m69 1st part LH 4.0 I hear the Gn stay instead of shifting to an F#

Double-checked and it is an F#.

2) You could utilize what are called "Ravel Ties" https://www.ninsheetmusic.org/download/pdf/2663 see m35 for an example

I like the idea of these Ravel Ties, not sure how to implement them in Finale. Would appreciate some assistance with that.

It's time for... project democracy!

Now that I'm going through this, I'm wondering if maybe I should do a full transcription so I have something to base this off of...

https://www.dropbox.com/scl/fo/aax7swnqyxns4ihfxwg5n/AEbSZph8Abtj_k6TTisBSOM?rlkey=ghdvf5ucsie5r3a4ljprsmh9a&st=nmtcbj3c&dl=0
Welp, I guess that answers that question

Needless to say, I've updated this sheet to reflect my current transcription of this song. Hopefully that should have gotten most, if not all, of Kricketune's feedback from the last post.


Also, you might have noticed that in the transcription I've titled it "Battle! (Trainer Battle)". I would like to change this sheet to that as well with approval, and here is my reasoning:

• Unlike the Stadium themes, the battle music for Gym Leader Castle are like more straightforward covers of the R/B/Y Battle music than remixes
• And in the official Pokemon Stadium Sound CD, the Stadium Music is named [Stadium Name][Number] (e.g. "Pika Cup 2")
• Thus, to me at least, it makes sense to consider this a cover of R/B/Y's Battle Music, and thus, share its name

So I totally didn't realize I had gotten feedback and now I feel stupid. Anyway, I'll try and mention all the changes (if I don't quote something, it probably means I did it and don't have anything to say about it)

• The tempo is in a different font than the current templates (Maestro Times and Times New Roman are what they should be for notehead and bpm # respectively

I just had the default Finale stuff, hopefully it should be good now.

• m19 1.0 and 4.0, and m20 3.0 the Dn sounds slightly longer, could remove the staccato, or add an accent as well? Would apply also for m23 and 24 same spots
   • For these same mentioned measures as well, also not hearing the parallel thirds underneath the notes.

Yeah, the thirds aren't there. My bad

• m37 RH you could add the fall on beat 2.0 (the Gn). Could have it end before beat 3, but I also can understand excluding it given the notes on beat 3 LH. You could alternatively write beat 2 RH as a sextuplet (5 notes) - Gn, F#, En Dn C# or all notes after G I mentioned as grace notes. Could do something like this sheet: https://www.ninsheetmusic.org/download/pdf/5267 m19 RH before beat 3 for example.

I added a glissando for this, which should work just as well

• m58-62 LH I do wonder if this part is a bit excessive - just listening to playback and midi with the collective LH's I have a hard time hearing the RH melody for Piano 1 here (though admittedly I had a hard time when removing any notes). I would lightly suggest removing the bottom An octave just so it's not three low octaves of An in the LH between both pianos. Feel free to stick with if you'd like for another updater opinion, but I do think there's a bit too much An at the moment here.

That's a fair point, fixed

• m49 RH hearing grace notes as En and Fn

It's actually D-En-Fn, but fixed regardless

• m59 LH 4.5 hearing as Cn
• m61 1.0 hearing En, 1.5 An. 4.5 also as Cn

Turns out I had both of these parts completely wrong. Should be fixed now.

Now that I'm going through this, I'm wondering if maybe I should do a full transcription so I have something to base this off of...

trouble

it really isn't

All done!

After looking through my old arrangements, I was shocked at how well this one held up. All it needed was a little polish!

While Pokémon Stadium had some of its music released onto a soundtrack, this particular piece wasn't on it and also the titles are strange and I hate it.

Tried my best to keep both piano parts interesting & swapped the main melody between the both of them. I think this is technically my first Two Piano submission? So, let me know if there's anything I can do. 

This looks very nice, notes all look good!

-The game title and arranger text look like they're a bit far from the song title and composer text, maybe you could raise them a bit?

Let me know if that's any better

-Optionally, you could try imitating the drums with the bass pattern into something like this:
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So pretty much using the bass notes an octave lower than the original for bass drums, and fill the empty spaces where the snare hits are with a C an octave above.

I thought about it, but I don't think I'm going to do this. I had thought about putting in a con pedale to match the reverb on the melody and alleviate some of the same issues you're getting at, but it didn't sound good when I tried it.

This thread will now be used to talk about controversial Batman opinions. I'm sure the updaters will love it!

Here's the link to the transcription I did of this song that I used as a reference: https://www.dropbox.com/scl/fo/8il4m8i78sy93etlz9id1/h?rlkey=fst5xueox2cwb2lr0y7qyp4jc&dl=0

Went over it a little with Bloop over Discord, ended up taking the small noteheads idea as seen here:

-You could notate the guitar voice in smaller noteheads and leave a note saying they're optional

Let me know if you have any other issues.

I've been looking over this feedback & while I absolutely see where you're coming from, I just cannot bring myself to do these kinds of changes. I've never been one to significantly change any part of the original song for the sake of transference to piano, even if that leaves the piece a bit lacking. I guess I expect others to perform arrangements like these the same way that I do: by leaving out any of the bits that are too hard or impractical.

Not really sure where to go from here tbh.

No worries, there's still quite a bit of space left on the first page to move around dynamics and stuff ^^

I think I've got it. Let me know if it's too cramped.

As close to the original doesn't have to be as close to the original pitches, imo: the lowest octave on the piano sounds more rumbly compared to the same notes on a bass guitar. By moving them up an octave. Lately I've been thinking a bit more about playability and the sound of an arrangement, and sometimes trying to include as much as possible won't necessarily sound better or play more easily.

Yeah, I guess I'm too used to notating exact pitches lol.

I've taken out the 8vb and left a note saying that the bass can be optionally double one octave down.

My problem wasn't necessarily with the time needed to reach the notes, but more that the tied notes aren't able to be held down for their full length (or even an portion of their length), if you want the player to reach some notes of the guitar voice. For example, in m81-82, the player would need to release the E of the C-E dyad in layer 1 on beat 2 of m81 already, and by m82 beat two there's no way for the R.H. to hold the dyad. Using the pedal will also hold the notes in the L.H., which might work too actually, but may sound a bit weird compared to the rest of the song.

Whenever I have a held note + some accompaniment, I don't usually expect the performer to hold down the note for the length written. I suppose I could just let it be quarter notes instead, but that just feels wrong.

Honestly, I'm kinda stumped on what to do here. Do you have any advice?

-m1: The f at the L.H. could be moved right a bit so it's centered under the first note.

Done

-m1-16: The (tremolo) strings are quite high, maybe you could move these octave tremolos an octave up (i.e. adding an 8va)?

While I like this idea, I'm not sure if adding 8va's to the page would even fit on the page.

-m65 until end: There are some parts where you tried adding back in the guitar voice when the piano or synth are holding long notes, but some of these aren't physically playable because of the distance or the finger acrobatics required. Maybe you could recheck what parts are playable and which aren't, and try to see if the L.H. can play some of these notes instead, or if it's better to change octaves or just leave out the voice (the latter would have my personal preference I think)

Yeah, probably better to give at least one extra beat of rest to reach a note. I ended up scrapping the accompaniment in m74-75 though, since it would have only been two notes.

-I'm not sure if the L.H. necessarily needs to be an octave down? When it keeps to the A-F range it's still alright, but the D's in m73 start to get a bit low and rumbly, and together with the very high piano part there's a lot of empty space in the middle. Another thing you could do instead of moving everything up an octave, is moving most off-beat 8th notes in the L.H. up an octave, so the swung notes are a bit easier to play and also the low to low-mid register is a bit more filled up.

So, I went and double-checked, but I believe that the pitches for the bassline for this arrangement are one-to-one with the pitches in the original song. Now, I am more than willing to shift the whole thing up an octave, but I know that our policy is "as close to the original as possible." If you're okay with me breaking form, then I'll do it.