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You jest, but "Jigglypuff's Song (Extreme Version)" is how it should be.

As for the 6/4+5/4, I like it because of readability, and it happens to divide the phrases into neat blocks of 8 measures. (It lets me show off my Finale formatting skills as well.)

Gotta flex . You could still improve some formatting though, mainly with the addition of the "Piano" instrument marking for the first system (a formatting requirement for the website iirc, despite seeming unnecessary) and double barlines between mm.16-17 and mm.38-39 to demonstrate structural divisions in the music.

Also, have you attempted to play this? While it's pretty in-line with the typical transcription-ish arrangements on the site, I'd still recommend going through it, looking for and adjusting parts that might seem like very large and fast jumps, or otherwise might not work well for the hands. Similarly, some of the slurs indicate phrasing that seems odd or outright impossible without careful pedaling, but that also depends on the performer and their interpretation of the sheet.

I mainly came here to talk about this though:

Tōhō is proper Hepburn romanization (the most widely used standard) and Touhou isn't conform with any official system. It's so-called wāpuro rōmaji, used for converting text to kana using an input editor, and for ASCII compatibility. I would much prefer sticking to an official romanization scheme.

While this is a logical approach, many publications will favour "common name" when applicable, over any sort of typical translation convention (consider the difference between translation and localisation). "Touhou" is by far the more commonly used romanisation, and is used on the site as a result.
Additionally, it seems to be co-developer Twilight Frontier's preferred romanisation, given some Apple Music listings for the official Touhou fighting game OSTs (ZUN himself has no preference, for the record).
Lastly, Forbidden Scrollery (which has been localised into English officially) doesn't often mention its full name on book listings, but typically has "Touhou Suzunaan ~ Forbidden Scrollery" written when it does.
Even beyond all that though, you've referred to the game title as "Tōhō 8: Imperishable Night", when the numbering system isn't part of the official titles either (at the time, I believe). "Tōhō Eiyashō ~ Imperishable Night" would be more appropriate, but most English-speakers do not use that name, similar to "Tōhō"/"Touhou". It's best to keep things consistent and use the common name ("Touhou 8: Imperishable Night").

I'm not a fan of using nicknames or pseudonyms on sheets (I think it looks kind of unprofessional), so if I could keep the name as-is, I'd like that too.

While I understand this point (and it has been brought up in the past), the credit "ZUN" seems to always be used for composer credits in both Team Shanghai Alice and Twilight Frontier music albums, so composer credit here should probably be given based on this consistency (also consistency with the site).
Obviously he has also used his real name on some occasions, but typically "Team Shanghai Alice" is used for copyright-related credits, and "ZUN" is used for music credits and collaborative works, such as printworks and fighting games, as well as any derivative work. This last point in particular should be taken into account, as all NinSheetMusic scores are derivative works.

As an aside, it's also odd to consider professionalism here, given the nature of the series (particularly in regards to unofficial works such as this).

...as another aside, the series tab on the site should be "Touhou Project", but that's for the staff to deal with.

Oh right. I make sheet music.

It's here where I would usually quote every point and detail my exact response to it, but there are a lot of points that have been made, and I also just re-transcribed majority of the piece anyway. I'll put it in like, patch note format.

Changes:
 - Complete overhaul
    - Completely re-transcribed the bass for the L.H.
    - Altered some brass rhythms.
    - Added other brass rhythms, in m.35 and m.37.
    - Changed chord in mm.27-28 to G# (from G#m). While I thought this chord was ambiguous, the brass plays a B#.
    - Added/altered harmonies in the right-hand part.
 - Implemented Bespinben's score layout suggestion.
 - Partially implemented Maelstrom's m.24 suggestion (lower part matches the bass, upper part matches the brass).
 - Partially implemented MSF's left-hand rhythm transcription (mm.5-20, but for various other sections I just checked it myself).
    - Note that though some other L.H. parts are different than either what was suggested or what was originally there, because both may have been wrong.
 - Implemented suggestions for courtesy accidentals.
 - Probably some other things I'm forgetting.

A few that should probably be explained:
 - L.H. M.2 Beat 4: It's an upward slide, but there's definitely a downward movement from the end of the slide to the G# afterwards. I'm fairly confident it's a slide from D# to A, then descending to G#.
 - L.H. M.4 Beat 3: There's definitely a D natural there, but it bends upwards to a D# before hitting the G#. There's definitely an upward movement.
 - L.H. M.22: This measure has been a pain, but I can pretty confidently hear every note there now.
 - L.H. M.23 Beat 4: The last three notes are just one note bent in that manner (a rather bluesy b3-3-b3 phrase).
 - L.H. M.27: Based off MSF's idea for the measure, but with extra notes based on what the kick is doing.
 - L.H. M.37 Beat 4: I'm 90% sure that should be an Eb, given the D chord. That scale run downward has a D Double Harmonic-kind of feeling to it.
 - L.H. M.39 Beat 3: Same as M.4.

Lastly, a sincere apology. This score has been lingering here for about 15 months total, and I don't think I should be trying to break my previous record so quickly after setting it.

Right on time. (my apologies...)

It seems I had a copy lying around which had dealt with (most of) the feedback but I never submitted it, presumably because I hadn't dealt with all of the feedback.

• The LH margins are kinda small (I tend to make them small as well), which means it can sometimes be a pain for people who want to put their sheets in binders. But I also realize that not everyone uses those, and sometimes that extra space can be useful. It's up to you whether you want to increase those margins a bit, but I figured I'd mention it since it is an important choice I think.

I can't tell from the sheet if this was edited or not but it says "0.5" in the margin thing, so if that's too small I'll probably change it.

• m22 beats 3-4 LH: I hear these 4 8th notes as E-C#-D#-C#.

Turns out it's that but between the first C# and D# there's an E an octave above, though I lowered it for playability.

• There are a bunch of extra 16th notes in certain places in the bassline (like m27 for example), but I'm fine with leaving those in because those bring in some of the percussion parts that you wouldn't otherwise have in just a piano sheet.

I assume it was left as-is.

• m26: I would probably put the crescendo in between the 2 staves so it's clear that you want both hands to get louder.
  
• The offbeat 16th notes in m31, 33, and 35 should be beamed together as a beat wherever possible.

These were fixed.

Hopefully I respond quicker for anything else that comes up.

Posting to remove silence and the possibility of me being dead.
Apologies, I won't be able to work on this until the 8th of December. Very busy with an unrelated music project.

...that being said, I feel like I do have a copy of this with the feedback implemented, but just never got around to properly responding to each thing and uploading it. Still, I'm a bit busy for now.

A note: VGMtrans is for ds roms only.

Another note: This is wrong. VGMtrans is also capable of converting data from SPC files (SNES music files) and with the right forks, BRSAR/etc. files (Wii music files). From what I can remember, it did work with Mario Kart: Super Circuit as well, though I may be forgetting something.

Still remember to try out other programs too.

In regards to this site, it is generally frowned upon to use other midis (extracted from the game or otherwise) as the main base for the arrangement, as it takes away from any challenge that would usually arise from the transcription process (and thus, you don't get much out of doing it ). You can use them to double check after you're finished with an arrangement though.

In regards to the topic, programs like VGMTrans are used for extracting this data. I hear there is also one called GBAmusriper but I have yet to use it. Just note that if the game does not use the Sappy audio engine, almost no program will work for it, except if there is one specifically designed for that game (which I'm doubting is the case for Banjo Pilot lol). GBA music extraction is bothersome like that.

I believe it's actually the shortest in the series, yeah.

Showtime and Rhythm Rally (Prequel) both have it beat :V

Both of these were based on suggestions a friend who's much more familiar with the series' music made. I'll change them back since I actually had it that way before.

Somehow we ended up in a situation where I was transcribing the actual bassline from the track, which has weird fluctuations like in the current bass here. Twas a rather silly decision on my end lol, especially given my usual bassline nonsense.

Hey, really nice work! Just a few little things I noticed:

belated thank

-In m. 2 (and 31), the d in the melody is quite far from the g in the accompaniment above it; I'd either remove the quarter note in the accompaniment, or move the g an octave down.

It's intended to be pedaled, though maybe it's not clear enough on the sheet? If other people yell at me to make it more obvious I'll probably do it.

-In the original, the melody from m. 5 to m. 12 is an octave higher (like you have it after m. 12). Did you have a reason for moving it an octave down?

I kinda liked it being there, particularly because the timbre of the lead sounds deeper than it actually is, and it suited the piece nicely. It also helps with the next point.

-I believe there's a second voice that's playing c#'s alongside the melody in m. 10

Correct. I've been gotten.
I've added the second voice above the current one, because that's where it is originally (I think?), and it prevents a unison harmony on the last note. 

-Maybe a bit picky, but I'd move the subtitle and arranger text a bit higher, because it feels a little bit too far down for me. You decide if that's relevant or not lol

Did this anyway, because I agree. :V


Files should be updated, hopefully.

• m29-34 I think it is worth adding the harmonies to the RH

If you're referring to the harmony in the other Micro-Row sheet in that section, it isn't present in this song. The harmony was played by an electric organ instrument in the background that isn't in the sequel song and the main synth instrument doesn't play it either. As for everything else, I'll get to it as soon as I can.

Actually no, it's still there. Exactly the same as it was before.

aaa this looks hard with all those dyads in the RH (if Latios thinks it's fine then we'll go with it).

I've only really got metadata feedback:
 - To be consistent with other Rhythm Heaven sheets, the title should just be "Rhythm Rally", as we don't refer to the Japanese names at all.
 - Tsunku composed this piece, so the copyright should include "TNX" (Tsunku's company that's credited as part of development).
 - Also at the bottom you've credited Nintendo SPD. This is just the developer (the publisher is "Nintendo"). I'm not sure if we credit individual development teams within Nintendo but if we do then... ok, but combined with the above point I think having three groups listed might be excessive.

The arrangement seems very accurate though!

Interestingly enough, this video is of a stereo version, which I assume comes from an Akyuu's Untouched Score album. The original mono version can be listened to and downloaded here, though there isn't any difference in the notes. It's just there if you want a non-extended version.

Most of this sheet seems very good.
 - The segno is a bit too close to the staff, and also could be moved to the left a little.
 - May I assume that the bass in the LH in M.53-60 is based on the kick beat of the original? If so, I feel like you could do add a little bit more for the latter 4 measures to give the energy that the snare provides when it comes up in the original (or do it to just the last 2 measures so that it transitions to the first section better).
 - The Bbm section arguably should be in A#m by its relation to the preceding C#m section, but Bbm's generally easier to read so I won't comment any further on that.
 - This is super nit-picky but the positions of the dynamics are inconsistent, which would be fine, if they weren't so obvious by being in the same positions on adjacent systems (M.1 + 5, M.53 + 57).

But yeah, good 2hu sheet.

..s-since when did we credit the performers..?

..for sheet music?

..which is created purely to allow other people to perform the piece?

Given that she's stated to have arranged it, I'd assume she also wrote the lyrics (there's a decent possibility that Toby was also involved with that). You should credit this as "Arrangement and Lyrics by Laura Shigihara", or something along those lines.

wait that's plagiarism

[Rhythm Heaven]

At long last, a Rhythm Heaven sheet!

Rhythm Heaven

NEW!

Thrilling! Is this Love? (Fan Club)

[MUS] [MIDI] [PDF] [Original]

bueno

Also congratulations on 250 sheets!