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The rest of the changes look good! One last thing I just noticed now before I approve here, the rhythm of the melody changes in m. 53 from previous iterations.

Got it

This song is amazing I've listened to it a lot since you initially shared it haha

This one's certainly a standout in the OST... and coincidentally the only one that fits the theme of this project, so it's the perfect choice

- m. 13/21/45/53 - not sure about the A/C#, sounds maybe more like F#m7/C#?

Yes that's right, when I wrote the chord symbols I overlooked the F# in m3 and continued to copy/paste that throughout... It's fixed now, along with a few other incorrect chord symbols.

- m. 25 last bass note - sounds like C#

Fixed

- m. 60 - should the lowest augmentation dot here be in its normal position?

Ah yeah, I used the Split Stem Tool for that and it doesn't account for the dot spacing. Fixed

- m. 68 - I think this last chord should be tied over to the next measure

I was considering this (as well as extending the length of melody notes such as m11 beat 4.5, etc.), but decided against it because the new chord hit lands on beat 1 of m69, not on beat 4.5 with the melody. The melody is extended a bit in all of those places, but it sounds more like a stylistic/vocal inflection sort of thing than a deliberate extension of those notes.

- m. 72 last bass note - sounds like E

Also fixed

Thanks for checking!

Just a quick comment regarding the title, nothing to do with the sheet itself...

Thoughts on game title simply being "Digital Devil Saga" to help distinguish it a little more, and so it's not unnecessarily long?

Since the early 2010s Atlus has stopped tacking on the SMT label onto its related series in the west, and the titles on NinSheetMusic reflect this e.g. "Persona 3" instead of "Shin Megami Tensei: Persona 3" as originally titled. Other examples on the site include Final Fantasy IV and VI (II and III originally in the US) and "Fire Emblem: The Blazing Blade" (originally just "Fire Emblem"). I think it would help people find the sheet more easily, especially when searching alphabetically.

- Do you think a courtesy Gn would help in m. 10/14/18?

I feel like it's simple enough to be fine either way, but it couldn't hurt. I feel like it'd look weird to put one in m22 though since the bottom octave wouldn't have it... and if it did that also seems weird to me.

- Is there any reason for the specific duration of the chord in m. 12? Could be simplified a bit

Mostly visual consistency, to match m9, but also because I wanted to fill out m12 with the chord so it didn't sound too empty there.

- Do you think the upper C# is necessary in the chords in m. 23-26? I find it distracts from the A/G# movement a bit, and I'm not sure I hear the major seventh that prominently here

I hear the C# rather prominently in those measures so I wanted to include it. It's a climactic moment of the piece and I think it sounds better with the whole chord filled out there.

- I'm not sure how I feel about m. 1-8 / 31-42 being a ton of repeated material, but there's nothing wrong with it I suppose haha

I was thinking about that too, but I'd say the track itself is as repetitive, and I wanted to emphasize the driving rhythm there. I can't really adjust the timbre of the RH part to mimic the synth oscillation, but I thought the the octave shift up with 4ths in m4-8 and 35-42 help build intensity a bit, along with the more pronounced hits on beats 2/4 in the LH.

Thanks for taking a look!

[[PC] Rabbit & Steel - "Emerald Lakeside - Action"]

[PC] Rabbit & Steel - "Emerald Lakeside - Action"
[MID] [MUS] [MUSX] [PDF]
VGMdb info here

[MUL] Persona 5 - "Ark"
[MID] [MUS] [MUSX] [PDF]
VGMdb info here

Title etc. from VGMdb as usual, though the composer name is misspelled as Heichi instead of Keiichi.

My only comment is from listening to m18, it sounds tonally more like E minor. So I'm hearing En instead of Eb, and Fn instead of Fn. I think then do Gn and An instead of Ab and Cn? May want to play around with this but tonally it sounds off currently.

Yep, I hear that too. Basically I just shifted m18 down by 1 semitone.

Edit: And before I forget, do we want to update all the TTYD track titles to match the Sound Test in the Switch version? So in this case it would be "Battle - Macho Grubba". The current titles aren't sourced from any official material as far as I know, and most tracks from the GC version have official titles now with a few exceptions like "All Aboard to Rogueport" which isn't in the remake.

I think it's fine, you already left some space for the player to jump up in m20, getting the grace notes isn't that much harder compared to just getting to the C ^^

Sounds good then, I've added those notes in

- The pedal markings in m. 21/etc seem a bit far to the right

I think they just appear that way because of all the accidentals, but as I've changed those measures it should look a bit better now. I've always aligned pedal markings with the left side of notes.

- Have you considered writing out the downward rolls as runs instead? It's pretty awkward to try and be sure you're lining up the accidentals with the right notes, and laying them out as runs would also give people an idea on the intended timing as well as help determine fingering easier. (Thinking back, I feel like this applies to a few of your other sheets too...)

Yeah that sounds good! I can't think of many other sheets I submitted that have giant rolled chords like this other than perhaps Corridors of Time? But it's easier to read there compared to the ones that were in this sheet.

-The bass + drums part starting in m5 is on the difficult side of things, but should be doable: if you want though, you could leave out the E on beat 4.25 so it's a little bit easier to play that ending part.

I'll just leave it, so that way the performer can decide whether or not to leave it out.

-m21: You could add grace notes A# and B before the R.H. C here too

I removed these (and the last few notes in m20) so that it would be easier to jump from m20 to 21, but if you think it wouldn't be too demanding I can add them. I left it for now though.

Thanks for checking!

something like [...] "Mid-Boss / Proto Piranha"?

This seems like a good idea, it's apparently what the Japanese tracklist does as seen here on the Mario Wiki.

-m5-6: I think G# instead of Ab's might fit a bit better here? The scale seems to be a kinda double harmonic scale, though with some exceptions later on. I'm mostly doubting because of the Ab going down to G in m11-12, which you could still leave as Ab, but the scale seems to be more E-focused in m5-10.

Makes sense, yeah. I think it should be G# in m11 too since it continues the scale from m9.

-m20: I hear C-B-Bb in the R.H. top layer in beat 4 (instead of B-Bb-A). It will be a bit hard to hold that B in the bottom layer though, maybe it's just best to leave that one out?

Fixed

-m21 and similar: The sitar arpeggios here sound like they're a full phrygian scale down like in m2, so the third note from the top should then be a semitone lower. I think you can add the last two notes too and start the chromatic organ voice on beat 3 instead of beat 2, which gives the player a little bit of time to jump back to that too. Maybe you could also limit the pedal marks to one measure instead of two, as it might start to sound a bit muddy after two bars (especially with the bass run in m24)

Changed all this stuff too, I think that section sounds a lot better now.

Thanks for taking a look!

Some parts I intentionally adjusted the octaves of since I thought it sounded better or was easier to play

Somehow it's been 8 years and I've never submitted a PM64 sheet, figured it had to happen someday

i'm sorry to accuse you of doing that. pilotwings transcribers unite

All good! It's totally understandable


Also, while I'm here and since I forgot to mention in my last post... congrats everyone! I joined just before the 3K milestone, so it feels surreal that over 2K sheets have been submitted and checked since 2016. It's been a really fun time contributing here all these years and seeing the site grow as new arrangers join