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Looks great!

I went back and forth on this. On one hand this makes it a bit more "arranged" than I usually strive for, but in context of this sheet and keeping the flow, it makes sense, so I've added the harmony here

That wasn't quite what I had in mind, and is certainly more 'arranged' than I was intending.  I was thinking something like this:

Spoiler

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where some of the keyboard notes are just placed directly below the melody in the RH.  You could also go with just the F if you think the F Ab is too heavy, or don't like that the Ab has to be restruck later in the bar.

(You can also see in that image that I edited the tie at the end of the bar in the second layer a little so it doesn't intersect the tail.  Finale can do this if the stem direction swaps across a tie and I don't think it looks particularly nice, so I try to edit them out).

[Deku Toad Battle]

Deku Toad Battle

Accepted!

I know Bloop hasn't approved it yet, but since I've just checked it...

-Maybe add some of the other keyboard notes in as harmony in bar 18?  The texture is a little sparse there comparatively to the surrounding bars, and I think adding in that harmony there would help.
-I agree that the 32nd note subdivisions are probably overdoing it.  It makes it kind of hard to read at this tempo (and I don't think adds much).
-vgmdb lists Shinobu Nagata as the composer for this piece.

Nice sheet!

[Deku Toad Battle]

Deku Toad Battle
-Bar beat 2.5 I hear Bn -> Bb/A# rather than Bn -> Ab.
-Bars 20/22 beat 3 I don't hear the G here in the left hand.  It sounds like there is a gap like in bars 19/21.
-Bar 43 beat 1 I hear the F in the LH restrike.

Otherwise, looks great!

This looks pretty clean!  I just have a few comments.

-The way that the slurs in bars 13/14/24/26 interact with the articulations could be cleaned up a bit.
-Bar 18 beat 1 courtesy accidental on the Gb?
-Is there any way the gliss in bar 23-24 could be tidied up a bit so it isn't cutting through the key signature like that?
-I'm not 100% what's going on at the end of bar 28 but the Bn in the LH doesn't sound right to me, although it matches bar 3.  I think it might just be a Bb there, but it's kind of hard for me to hear.
-Also in bar 28 I think there should be an A on beat 7 RH.

When does this play?  I don't remember it but I never quite got to the end of the game.

-In bars 16/33 I still hear a D# on beat 1 of the RH, just like in bar 8.
-In bars 37/45/53/61 I hear the last RH note as an A#, not an F#.

Otherwise it looks good to me.

It is time to announce the results!  It was a pretty close contest this time.

The results...

5. NSM

4. Sports League

3. Nature

2. Keep Your Enemies Closer

and so our winner is, erupting out of a volcano...

1. Too Hot to Handle

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Kricketune will be posting the project thread shortly.  Thank you to everyone who participated in nominations and voting!

Voting is now closed.  I will be announcing the results shortly...

[every]

Nominations are closed as of yesterday evening, and now the voting begins.

Voting will work in the same way it did for the previous projects (you can see the details of the method that we are using here).  To vote, you need to PM me (using the forum PM system is my preferred method) a ranked list of the options from most favourite to least favourite.  Here is an example vote message (themes made using my own blatantly recycled neural network).

Spoiler

<username>
1 - Music appearing in TV advertisements
2 - Music featuring Blathers from the Animal Crossing (tm) series
3 - Music that makes you regret arranging it
4 - Extremely powerful music
5 - Save music

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In your vote you need to rank every option, with no ties allowed.  If you don't do this, your vote will not be counted.  Also, just like in previous times, arrangers (those with at least one sheet on-site) will have their votes count for double.

Here is the shortlist formed by the updaters (click the links for the relevant nominations/descriptions:

The Shortlist

-Nature
-NSM
-Too hot to handle
-Keep your enemies closer
-Sports league

You have exactly five days (120 hours from the time of this post) to send in your votes to me, after which I will announce the winner and open up submissions.  More details surrounding how the submissions will work will be given at that time, although it will mostly function similarly to how it has done in the past.

Hey, I reached out to several people on Discord yesterday about a late nomination, but got no response, so I'm posting it here in hopes it is still accepted:

For clarity, this was still considered.

Yeah that sounds good to me.  Files updated!

Sorry for the wait.  Thanks for all the discussion.

Mordents:

That's interesting that they're not actually written in but are in the echo channel.  Still, I think they have that effect when you listen to it so I'd prefer to have them in.  I didn't feel like the one in 9 was as noticeable as the others, but I'm happy to add it.

Graces:

I think I'd prefer to leave them as graces since, as Static said, they're not quite sixteenths.  I think you always run into this problem that the performer might misinterpret things, but I don't think it's a big deal here.  Most people would have listened to the original playing these old sheets anyway.

In m18, I'm not hearing the G being restruck on beat 3. It sounds like the Ab is an triplet 8th note.

Yes I think you're right.  It's a lot clearer in the echo-less clip you posted.  Fixed.


Files updated, thanks everyone!

Sorry for the long time to get back to everyone.  I really appreciate all of the feedback.  (Replies in-line to prevent this from being huge).

Not much to say really. Looks great!

- m21 RH beat 1: Melody should be D A here instead of B F#. Oops.
- m24: The crescendo is just barely grazing the top of that sharp. Fixed.
- m25 RH beat 1: The grace note sounds like a D to me, like it's restruck on that beat.  Yeah, I guess I don't really like how that sounds on piano so I just removed the grace entirely.
- m40 LH beat 3.5: I hear the guitar playing an F# there (in the staff). The B is played by a string voice so you could put that in the RH. Sure.

Thanks Static!

Nice work on this!! I agree with most of Static's comments
I agree with this suggestion, but I hear a B played by the guitar as well. I think what happens is that sometimes there are two guitar notes at once, like what I hear in measure 26 for example
You cannot view this attachment. I think I like how it is now with the F# at the bottom.

Other than that, here's what I got:

• How did you hide the rests in the first eight measures and very last measure to the point where they are completely invisible past the "hidden" markings? I don't even see anything with the note shape tool, nor do I see any kind of blank notation staff style. Btw, the way you did the courtesy key signature was quite elegant Staff style.  I thought I was being clever, apparently not...
• m. 8 beat 3 sounds like it's just a quarter note. If the low A on beat 3.5 is just that quiet, then I think it should have parentheses or something else to signify that it's softer in comparison. The only type of sound I hear is an unpitched string release or something like that Yeah I do hear an A on beat 3.5 but it is very different aurally to the others, so I added some parenthesis.
• m. 10/17/18 were the beaming differences here compared to measures 9 or 11 intentional? Nope, fixed.  Also I fixed 33/34.
• m. 22 RH I hear B->A instead of D->C# under the top notes Fixed.
• m. 25 I'm unsure, but I'm hearing something like this with a tiny pinch of rubato. The G is softer in comparison, and the RH could play the first two eighth notes
  You cannot view this attachment. Hmm.  I feel like the effect of this bit is that the music is pausing.
   Sure, I can kind of hear something going on but its nowhere near as definite as what follows later and I'd prefer to leave it like that.
• m. 26 LH beat 3 as what I notated in the first picture, I think this is a D instead of a B, but idk Sure.
• m. 30 LH beat 2 sounds like a D instead of G I don't hear it.  Maybe you're hearing the melody D?
• m. 30 LH beat 3 there's a low F playing throughout the measure and I think it would sound better if you put one on beat 3. You could just have the RH take the G at the top (with split stems or a bracket to notate it unless you want to leave it ambiguous) so that the LH wouldn't have to play a 9th interval I'm not sure the F is needed really.  There's an F in the RH so the harmony is all there, and I'd like to keep the LH consistent where possible.
• m. 33 LH beat 2.5 I'm hearing B#->D# instead of G#->A# I still hear what I wrote.  Maybe you're hearing the melody? (or a doubling thereof?)
• m. 35-38/43-46 maybe you could put arpeggio markings on beat 1 in all or some of these measures I don't really hear the arpeggiation that strongly to warrant writing it in here.
• m. 35/36 I do hear a high D on beat 3, but I hear one an octave lower too and feel like that's more prominent sounding to me You're completely right.  I got the contour of the melody wrong.  I think it doesn't help that the melody is soft and there is a high D# going on throughout in the strings.  It is much easier to hear the correct contour in Falling Petals!
• m. 35 I think this has an A# in it too I don't hear it.  I think the G#m7 chord is fine and I'm not sure how to even voice the A# in a way that isn't distracting.
• m. 36 much less sure about this one, but there is like a hint of dissonance that might be an E# here as well Similar to the above.
• m. 37 I think there's a D# in the first chord that you could replace the E in the RH with Yep, sounds good.
• m. 38 RH it sounds like there's a low D# in the first chord too. Just an observation really, I don't expect you to add it unless it's arpeggiated Yeah I don't think it's necessary here.
• m. 38 LH beat 3 I think the last two notes are an An and F# I think it's actually a repeated F# but I didn't like how the repetition sounds on piano so I picked another note from the same chord for beat 3.5.  I think I'd prefer to leave it like that so that you don't have the bare octave on beat 3.
• m. 41 I think it's more important to at least partially finish the melody phrase instead of prioritizing the high strings here. Here's one suggestion, although if you don't like how the voices kind of blend together then that's okay too!
  You cannot view this attachment. I can see where you're coming from, but I personally think it's more important to have the whole of the string line going into bar 43 with the cresc.  I'm also not a huge fan of how the parts would then blend together in bar 41.  I agree it's not ideal, but this is the compromise that I think is best.
• m. 43 I hear an A# here too just like in measure 35 As above.
• m. 45 I think there's a C# in that chord too I'd prefer to keep this consistent with how 37 is now, so without the C#.

Thanks Zeila!  It's really nice to see you around here again.

• m24: I think the B in the chord at beat 1 should, be an A, but I'm not sure. I do hear a string voice (A-G-A-B) on beats 2 and 3 which you could addd if you like I still hear the B and the A comes in on beat 1.5 so you still get the right sort of harmony almost immediately.  I'd prefer to leave it as-is.
• m25: Alternatively to Zeila's suggestion, you could add just the low G on beat 2 (borrowed from a strings part) I like that.  You still get the pause, but it's a bit less empty.  I just put it in as part of the same LH line.
• m27: I feel like you could let beat 3 stand out a bit more here, it has a more weighted feel in the original than in your sheet. Maybe a low F in the RH, or something to a similar effect? That was kind of the idea of how I wrote out the LH here.  Of course, the playback doesn't account for this.  But I don't see the harm in adding an extra F as well to help out, so sure.

• I think I hear something along these lines for m41:
  You cannot view this attachment. I still hear what I wrote.
• Quarter rests in the staff should have their bottom hook intersect a staff line, could you reposition the ones in m48 & m49? Sure.

Thanks Xiao!


Files updated!

[attachment deleted by admin]

Accepted.

Yeah OK if I transpose it up its a lot clearer.  Although that last interval still sounds like it's going up in 58 at the actual pitch and only sounds like its going down to me lowered.

Anyway, I'll accept.