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There aren't 4 beats in these measures, so I'm assuming you're talking about this F# on beat 3? I definitely hear it on the downbeat in m18/26, but I think I hear what you're talking about in m22. I added another F# to beat 3.5 in m22

Sorry about the delay, I never got an email that you replied
I like your third option a lot actually. The lack of ottavas is a big plus and the slurs tie things together pretty well. The 2nd voice note durations get a little weird, but I think the first bars on each system are enough to get an idea of what goes where. It even covers the note doubling in m20 and m28! I updated the whole second page with that style

-m1-5: I hear an E instead of a D# on the bottom of the R.H. chord

Oh yeah I think you're right about that

-m3: I hear an E in the L.H. (instead of C#)

I definitely hear downward movement to the C# there. There might be some low E from the mid chords, but adding it to the LH sounds muddy and there's an E in the RH already

-m5: There's a G# on beat 3 in the R.H.

Ah yeah I totally missed that one

-m8: Maybe you could put this 8th rest in beat 3.5 in the R.H. too? It sounds like all instruments stop playing and only some reverb continues on.

Yeah that's a good call

-m10: The R.H. and L.H. play the same A# on beat 3 here, maybe you could add parentheses the the one in the R.H.?

Good call, I didn't notice that doubling

-m18, 22 and 26: I hear an A instead of a B in the L.H. on beat 2

I'm still not completely sure that the harp even plays a note there. I was extrapolating from the B's in beat 1, but I like A better because it doubles with the RH and sounds more open like the feeling I get from the original harp

-m31: I hear an E in the L.H. in beat 3.75 (below the chord on beat 1 in the next bar). Also, maybe it's easier for the L.H. to take the dyads in beat 2 (and maybe 2.5)? The run on beat 1 walks up to it nicely.

I think the same E plays on beat 3 also, which would make for a lot of jumping around with the LH if you gave it the dyads too. I moved the dyads into the RH on m32 beat 1 also to fit with this thought.

-For m17-30, usually you wouldn't use 8vas in the L.H., as they get a bit counterintuitive to interpret, and in this case, some parts still go up pretty high above the L.H. It's better to switch between bass and treble clef if needed. Maybe you could also check if the R.H. can take over some runs at the end of a measure, so the L.H. has time to jump back down to the bass note on beat 1 of each measure.

The spread of these arpeggios is so wide that I can't find a really good way to write them. With clefs you end up with clef switches every beat and much more cramped bars. And if you add the cross-staff handing it ends up with a wacky amount of context switching. Maybe pianists can just do that? A smooth line of ottava'ed arpeggios makes a lot more sense to me, but with that approach you do lose some clarity with hand prescription. I've uploaded both options to the "Older files" Dropbox folder for comparison, but used your clef suggestion as the main folder's version. I'd be happy to hear others' thoughts about these and other possible approaches.

[Okami - Dragon Palace]

Okami - Dragon Palace
[musx]

It looks okay to me at least (see attachment) and has the added benefit of showing it should be played by the RH, but again up to you
Sorry, I meant beat 3. Think I still hear 4.5 as well but it is rather faint.

Oh I looked at that comment before changing the Fn to D, which made it look way more cluttered before. I think moving the Bb to the upper staff is fine, but flipping the beam downward moves the duration information extremely far away from the pitch information, so I think leaving it upwards is better.

Sorry, I meant beat 3. Think I still hear 4.5 as well but it is rather faint.

I still don't hear either, and adding an octave on beat 3 seems out of place in a contour that's otherwise simple and fading out

[Notes:]

Notes:

• m6: Not hearing the Eb at beat 1 RH

I guess the bass already has an Eb, so that one isn't important and I removed it

• m7: Hearing C4 instead of G at LH beat 1, and a C3 at beat 2.5

The C4 does sound better, but I can't figure out what you're talking about with the C3 on beat 2.5. There aren't any notes at all on beat 2.5, and I don't hear any other C3s aside from what's already written

• m9 & 13: The B at beat 1 in the RH sounds an octave lower
• m10 & 14: The Bb at beat 1 in the RH sounds an octave lower

Sure

• m11: I think I hear D4 at beat 1?

Maybe, but that would be very difficult to play coming out of those chromatic 16th notes the beat before

• m15: I hear Bb3 and D4 instead of F4 at beat 1

I guess the Fn can come from the LH on beat 2 instead, but Bb3 and D4 would be impossible to play

• m18: The high LH Bb could be cross-staved? The beam can stay below the staff as to not add extra clutter

If moved cross-staff, that Bb causes a lot of visual clutter with the B naturals on beat 4

• m18: Beat 4 in the RH should have a D instead of F

In the original, it's an impossible D4. When raising it to a playable D5, I thought an octave+3rd on beat 4 was slightly jarring coming from a unison Bb on beat 3, and that doubling the root instead sounded smoother. But you do lose the D completely with that approach, so I've changed it back.

• m23: I hear additional A3s at beat 3 and possibly 4.5

Playing an A3 on beat 1 is impossible, and lowering it to an A2 muddies the rest of the base contour significantly. And I don't hear any new strikes on beat 4.5

Presentation

• m2: Thoughts on making the RH lower layer part of the LH? I think it's most comfortable to play that way and also visually looks better. You could start using the treble clef in m1 as well

I thought it would come across that layer 2 was intended to be played with the LH, but if you use a treble clef that whole part fits comfortably into the bottom staff anyway

• m7: The tuplet number in the LH seems too high up (in the PDF at least)

Yeah it looks like Finale snaps the number to just outside the staff for some reason. I moved it down a little bit

• m5, 9, && 11: Very nitpicky but these markings could be more appropriately centered between staves. The text expressions can also start slightly before the notes

I'm assuming you meant m10 instead of 11? Adjusted all of those

I opened up some audio analysis tools and it does look like that's a C2 in m.16. Plus it shortens one of those crazy jumps so I raised it up. I still don't see a trace of the high G in m.22 though, so I left it the same chord as before

- You could just use one slur going over the phrase in m. 2-3 starting with the grace notes, if you want. Putting the initial slur under the grace notes makes it a bit harder to count the ledger lines. On a somewhat similar note, I'd suggest putting the slur in m. 11-12 over the melody instead of under to correctly capture the descending contour.

Good advice, especially about the contour. I couldn't pin down why that looked strange before. I always thought that grace notes were supposed to have their own slur separate from the phrasing slur, but it definitely looks better with just one.

- m. 6 beat 3 sounds rolled
- The chord in the LH of m. 7 beat 1 sounds like C-Fn-G ascending
- m. 9 LH beats 2-2.5 sound like F#-G

You right

- How about sustaining the LH D through the rest of m. 14 instead of a rest?

Sure, looks good to me

- m. 16 beat 2 LH C sounds an octave up

Sounds pretty similar in bassiness to the C2's on beats 1 of m. 11,12,15,22 to me. And also sounds deeper than the C3 on m.7 b.1

- Thoughts about including the low bass F on beat 4 of m. 18 instead of the D? Or you think that's too much of a jump without much payoff? (Sneaky composers passing this off as a piano solo...)

I did consider using the middle F, but the jump between m.20 and m.21 is actually even bigger so I guess the low F is fine lol

- m. 21 RH beat 2.5 - not sure I hear the upper octave G prominently?

I wasn't sure whether to include it or not. I kept thinking I heard it but when I'd listen closer I couldn't make it out anymore, so it might just be my brain filling in the melody. If you didn't hear it either I'll take it out

- m. 22 beat 1 - I hear this chord with a G on top rather than the C on bottom

This is another situation like the last one where I'm hearing a ghost G on top. On inspection I hear the low C more clearly than the high G, even though in passing I keep thinking I hear a faint G on top

- In the last measure, you could combine the half rests and put it and the quarter rest at normal mid-staff height.

Yeah that looks better

"Title Screen 2" comes from the Pokémon Scarlet ・ Violet + The Hidden Treasure of Area Zero Super Music Collection

I was convinced that the whole ensemble was stacatto in those places, but I think the bass root in the piano is actually the one thing that's held. It does feel more natural for those notes to be held like m1 and 4, so I added the tenutos.

Writing over two systems makes the notes really sparse, so I think it's more readable with the notes condensed together. As for the fermata, I figured the intention was clear with just one, but I guess the convention is to use both staves so it doesn't hurt.

BRING ON NEW SHEETS

Threw in a con pedale, and I think that's a FM9 chord, so I added G-A-C to measure 7 beat 2

Sorry I still haven't had time to address all the feedback. I'm trying to push this back toward the top of my to-do list, but I don't have as much time as I used to