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• m1 and m3 RH I think the staccato on 4.0 is a little unnecessary considering the length. And for beat 4.25, it is technically just 16th length, so you could make 4.5 an 8th rest.
• m1 and m3 the jumps from 3.0 to 3.5 is quite awkward from the added 3rd finger that is needed, I would suggest just doing Dn-F# for 3.5 and 4.5 just like 1.5 and 2.5 as the Bn doesn't add too much.
• m2 and m4 LH the top note sounds like an En for 1.5 and 2.5 - you could keep pattern similar to m1 and m3 by doing En-G# for this

Overall- this is what I'm thinking would work better for the pattern of m1-2, also applying to m3-4 where appropriate
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• m9 RH 2.5 could add G# grace to this An
• m11 RH 3.75-4.0 this tie should be flipped up
• m12 LH 1.75 this En is a part of the RH rhythm - I think the RH also can play it fine and then play 2.5 right after as opposed to the LH needing to finger it

Fixed

• m11 LH top notes also sound like Bn's

I can't hear a top Bn, nor a C#. So I've moved the An from the RH to the LH.

• m14 RH hearing 3.5 as 16th length, and then on 3.75 an En which ties to 4.0 as well (so no 16th rest on 4.0).

I think the En you are hearing are the strings that I have in the LH. I have adjusted the RH rhythm here, as it was incorrect.

• m13-15 RH second voice realistically these notes are not getting held their full length- would suggest either removing this layer, or maybe just adding a single 8th in the first voice on beat 1 that is the current note.

In m10 there were some bass notes that I had missed out, so I have added them.

m44 It would be nice to move some of the LH into the RH, so you can play a Bn in the LH.

Sorry I wasn't specific enough, this is what I was meaning.

Now that there is two lines m125-132, I think you could put the whole of m133-138 except b1 of LH up an octave.

I also meant putting the RH up an octave here as well, if that makes the LH less awkward.

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I don't think the m12-17 chords need the bass and the correct inversion. If only we had three hands.
m15-17 the b1 chords in the LH could use a Gb on top, as I can hear that in the original.

m18 I think these chords would benefit a lot from inverting the Gb on top so the Cb -> Bb -> An bass line is clear.

In m19-20 there's enough freedom with the hands that I think you can add more of the bass here, but if you think it sounds too out place with the surrounding material that's okay.

m16-17 b2.0, b3.5, b1.0, b2.5, I'm hearing these as Db Gb bottom up, and I can't hear the distinct hits on m16 b4.0 and b2.0 m17.

• m7 LH 2nd voice not sure why I didn't spot this sooner but you could just combine these notes into a dotted half note

m7 It is split that way so the pedaling directions are clear.

• m16 thoughts on changing beat 3-4 of the RH to the notes that are currently in the LH for those beats? And then just making the LH a Bb like what is heard in the original.
• m34 LH hearing a Dn on beat 4.5 maybe you could make that in the 1st voice (change from whole note to dotted half tied to an 8th note on 4.0)

Added. I'm not sure if there is a Gb in the LH on b1.0 m35, but there is a kick drum, I've kept it in for now

• m17-19 RH been thinking about this particular section, but I would suggest making the LH part a bit more in line with the bassline and moving the melody back up to the RH/original octaves. Main reason I'm suggesting this is because I think the parts that are currently represented in the RH are not as prominent and it doesn't make sense to shift the melody octave for them.

m17-19 I'm not sure what you mean here. The melody is in its original octave here (I put it up an octave m21 because of the trumpet that comes in), and I'm not sure what part of the bass line you want me to add that the LH isn't already playing.

• m32 LH going to suggest removing upper notes on each half note and doing maybe something like this:

m32 I hear the Db Fb line as prominent, so I wanted that to be the top voice. The Bb on b3 can go into the RH if you are worried about the minor 9th.

. Currently it just sounds a little off with those upper notes

The upper notes are diads in the original. I only did the top note of them because adding the bottom note would likely be too crowded with the melody and the hands. I can look into that if you want.

• m39 RH 1.5 is a Db

Correct, but the LH is playing the same note on b1.0. I couldn't get the melody to sound connected when playing a Db in the RH there so I tweaked it to an Eb so the rhythm is still there.

Sorry for the long wait, turns out it is hard to work, do full time uni, and critique music sheets all at the same time.

Quick note, it doesn't look like your .mus has been updated.

Was a bit confused on what you meant for these two, sorry. m19-20 felt like the LH had very prominent plucked strings, so I wanted to keep the downwards step motion on m20 in particular. For m28 wasn't sure which of the two comments you wanted to implement, went with the quaver comment for now.

What you've done is what I was intending. In m28 I meant to add both, so I did want octave Ans b1, and a Bn on b3 (like in m24) as well.

m35 b1 RH I hear as F# G F# trill. Happy with just Gn grace note here.
m35 b2 I hear the bottom note as dotted chrochet, you could also add a Gn below the RH m36 b1.

m32 b1, m35 b3 to m36 b3 I was thinking put the LH down an octave there

m41 57 b1, I hear Cn in bass
m42 b1, I hear more F# in bass, Bn is fine here.

m44 It would be nice to move some of the LH into the RH, so you can play a Bn in the LH.

I finally decided to commit to something for m75-76 b2-3 LH.
   I'm hearing An Cn Eb (Fn) m75 and An Cn (Fn) m76
(copy your change to m107-108 as well)

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m82,114 b2 RH I hear as dotted crochet.

m81-84, m113-114 I'm hearing something like this in the LH.

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m100 What are your thoughts on including a Bb tremolo in the LH b3 to match the snare drum.

Now that there is two lines m125-132, I think you could put the whole of m133-138 except b1 of LH up an octave.

I was worried I had sniped your submission for a second...

m4- LH rests, should be a dotted eighth rest rather than the 16th+quarter rests you have.

The beat lengths aren't the same between your suggestions.

m11- LH beat 1. This might be unplayable for most people.

I couldn't play the LH An (and I added them at the bottom of the RH), so I removed them. Your suggestion is ignorant of the melody in the RH, but if the 9th comes up again, I can move the Bn up an octave in the LH.

Implemented the others.

m13-16 I added the bass to give it some extra movement. I'm happy to lab something else out, or just drop LH to whole notes.
I recall grace notes needing slurs like in m8. Is that correct?
m2,4 b3-4 I'm quite sure on the LH.

Super Mario 64 - Dire, Dire Docks by Nacho2420 - The last note of measure 77 I believe is missing an accidental. Written B flat but the last note, I think should be a B natural.

The key is Gmajor, the last note is a B natural

I am hearing the trill in the flute part, which is the part notated.

I will wait for a third opinion.

m7-8 I'm not quite sure what you wanted with the rests etc. I've gone back to version 2 but added solid lines. I can't make dotted lines in notepad, and the dotted lines that I can import are restricted to being horizontal only.
The slur made more sense when I wasn't splitting the part between hands.

Firstly I should appologise for not understanding your relactance to remove the step motion in the LH. I've put on headphones, which has changed the audio mix so the pizz strings are more prominent.
If you want to add the style of m117-132 LH, to m21-37 I'd be happy with that.
Keeping in mind I still think 75-100% of the LH should be punching out S w w pulses.

m9 I've counted it as 162 bpm.

m13,15,17. I hear the LH as GnBn b2.0 En b2.5 Gn b3.0
m14,m18 I hear D#F# and F#A diads in the LH. I would probably add a third above what you have notated in m16 and copy that to m20.
m19 I hear thirds underneath b2-3. (I also hear a Bn b2.0 but keeping as diad as fine)
m16 I think the A G F# line is in here (with Gn F# crunch). I don't think you should notate the Gn. I'm thinking An  F#An  BnD#F#

m16,20,24,28,35 b1-2 An b3 Bn in bass
m27 Cn in Bass
m20,28 I can hear a LH line go |A    G G F#  | (m20 doesn't need the quaver Gn)
m32 F#1 in bass
m33,34,36 b1 I hear the bass down an octave
m35 can give top of LH to RH. LH just plays An b1-2 Bn b3
m36 b2-3 I hear as low En.

Fixed, not sure if the octaves on 47-48 should stay as is, be removed, or be extended to measure 52.

I'm leaning towards removing the octaves. It also frees up room for the LH that I talk about at the bottom of this reply.

Put the Bb on b1 as a half note, though I think it makes the Db Eb on 3 sound a bit sudden/off. Let me know what you think.

I don't think its too off, but it's not an ideal set of voices lines to play on the same hand.
m43 I'm hearing pipe organ as |E F#G#B E F#|G#   F#   E   |
m44 I can hear the guitar go up at the end of the bar G#AB

m48 RH Grace notes I'm hearing AnBnAn
m51 RH b1 I'm hearing F#GF# grace notes

m64 I'm not hearing the RH grace note

m96,128,136 I'm hearing LH as Ab maj not Fn Maj

m99, 131 RH b1 is probably more accurate as a grace into Db Cn quavers

m108 I hear the grace note as going up to the note (Db, not Fn, unless it was meant for the bottom line). You could have both Db and Fn as a grace note here.

m133-138 The LH could use some Diads (Add a third underneath in b2 and b3).

m136 Could use a rit.

I can hear the bass E. guitar you are transcribing m85-132, but I think it would be better to transcribe the horns b2 and b3. Having the broken triads doesn't give a S w w pulse of the waltz feel of the piece. That might make m117-132 a carbon copy of m101-116, but you could definitely arrange the chords to be bigger.

m37-68 also has a similar problem. Here's what I'm hearing/how I would arrange the LH here. Even separating b1 from b2-3 an by octave sufficiently delineates strong and weak pulses.

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(I'm not certain on the small notes in my 'transcription')

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It's looking alot better already.

- I think I've got the formatting fixed. The clef changes for 9 and 141 are a measure early because it causes problems with importing from Musescore to Finale Notepad otherwise, so someone else would need to fix that for the final version.

I believe you can fix in musescore, but you have to manually add clefs I think.


m45-46 I'm hearing the guitar copy m37-38, and the pipe organ is playing a third above. ie: I would bring the bottom line of RH up a sixth.

Made measures 101-116 into chords that combine both melodic lines. Not fully sure on whether the notes for 113-116 and 129-132 are right, I have a hard time hearing them. For measures 117-132, I tried to write the melodic lines separately, but I'm not sure about the playability so would appreciate any ways to do it differently.

You've done a really good job here.
m101,105,109,117,125 I hear as the top line RH as F Bb not F Db.

m117,119,125 The bottom line needs a crochet rest. In general we add rests so that each voice line in the bar has beats for the full bar (or rarely a half bar in 4/4).

m118 RH Cn seems to have lost its tie.

m120 b3 I hear as an Eb in the top layer, and b2 looks messy. Other than replacing the Fn in the top layer with a rest, I suggest this to clean it up, but am open to other suggestions/solutions that properly import.


m121 What you've notated here is good.

m124 I hear the top line stepping down |Dn Cn Bb| with an optional turn on the Cn.

To me it sounds like the trill continues through the end of the measure. You could add a decres., which might make sense given how quiet part that is the current RH is anyway (maybe decresc. but go back to mf at m9 for the RH)

I'm only playing the trill for 1.66 beats, but it is cleaner as a minum.

• m19 RH beat 2.66 hearing Bb not Ab

Someone didn't read their midi dump properly.

• m20 beat 3-4 I don't hear those lower octave Ab's.

Someone got suggestion biased by their midi dump. (This mistake is the one I'm worrying about more, with midi dumps)

Slowing this part down I do hear that pitch in question go F-G-F like a trill still

I can't hear the trill, but even if there was one there, the mordents on the crochets are already barely playable, I'm not sure how playable the trill would be at double speed.
The trill you hear is separate from the strings descending chromatically? (like in m9)

Add the more bits except the flipped ties.

Did you ever think about including a bar of 7/8 either in m7 or m14 or m18, as especially m19-26 is hard to play "half a beat early".