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I'm sure this one is going to need quite a few changes to style, but I'm afraid I don't know what would work best in this arrangement.  I'm looking for help in cleaning this up.

I'm pretty sure all the notes are there and accurate, but there's definitely a chance I missed or flubbed something.  Thank you for reviewing this.

Is there anything else to do before this one is accepted?

I've reviewed the uploads, and they look and sound great!  Thank you and Latios for working with me these past several weeks to get this completed!

-In bar 16, you have a doubled up G on beat 4, but also you obscure the descending line E -> C -> G -> E by writing the final E into a dyad with the C.  I think it'd be better to keep the E beamed with the previous three RH notes and cross staff it into the left hand (and also just remove the left hand G on beat 4).

I'm not sure how to change the beams like this.  Maybe it's possible in Finale NotePad 2012, maybe not.

-In bar 17, I think there is some clear imitation going on between the upper and lower lines here, but the way you wrote it out obscures this a little i.e. I think you should write the left hand notes on beats 2 and 4 into layer 1, which makes the imitation clearer.

Makes sense.  Done.

-A few things about 18: firstly, the third note in the left hand should be an A, not a B.  Secondly, what is going on with the second half of the bar in the left hand?  You have the lower part put up an octave above what was the higher part, which I don't think is a good idea.  You can just flip them around and it's still perfectly playable with the LH taking the first B and the RH taking the C and the D.

Good ear to catch that it's an A, not a B.  I've swapped the directions of the notes as you suggested.  It sounds much nicer.  However, I'm not sure how to make the lines to show what should be played by the RH.  I have added an RH expression above the C in any case.

-Did you choose your margins?  They're rather tight, and I think the sheet would look a lot cleaner if you widened them out a bit.  Particularly bars 19-21 would benefit from a having a little more horizontal space.  I'd recommend 0.5 for the top, bottom and RH margins, with something a little narrower, say 0.65 for the LH margin.

No.  I started with a template from elsewhere on the site (https://www.ninsheetmusic.org/forum/index.php?topic=7600.0).  I don't see anywhere that I can adjust the margins for the page in Finale NotePad 2012.  Do I need a registered copy?  A more recent copy?

I've updated the .mus, .mid, and .pdf, and it sounds like everything else is style.  If I'm unable to change these last few things, is there a way you could share what you had changed plus adjusted margins?  Thanks for the help and pointers on this sheet.

Updated.  I'm crossing my fingers here that this is the final change here.

Before I uploaded these new ones, I checked them out in Finale Notepad 2012.  The first two measures are faster than the rest of the song.  What could have caused this?  Adjusting the tempo in the editor doesn't do anything anymore.  Is this something that was or needs to be changed in the full version of Finale?  This also shows in the MIDI export also.  I don't seem to be able to fix this on my own.

Thank you!  One last question.  Why did you recommend Bb-Bb-Bb-Cb instead of Bb-Bb-Bb-B?  Cb seems like an odd choice to me, but I'm guessing it fits with the key signature better stylistically than B natural.

Nice to see some more classic FF stuff here.

FF4 has a special place in my childhood and my heart, and I noticed this one hadn't been covered yet.  And with only two measures, I figured it couldn't be that hard.

Curiously, this jingle wasn't included in the SNES soundtrack CD (here). It was only included starting with the soundtrack for the DS remake (here, under the title "Inn". Every subsequent rerelease of the OST has included the jingle with that same title, so I would recommend "Inn" over "Goodnight" or "Good Night".

Thanks for looking into it deeper.

I would recommend putting the lowest RH notes in the LH. Feels a bit easier to play that way so the RH isn't stretching so far.

Ah, good call.  I suppose more than one ocatve is too much for most people (myself included).

The melody note Bb in m2 should play for the entire measure, so I would make that a whole note, and move the D half note to the 2nd Layer.
There's an extra voice under the Db-Db-C-Eb that goes Bb-Bb-Bb-Cb.

These both give it a richer sound and it's much closer to the source.  How did you figure out the extra voice I missed?

I uploaded the files you fixed (thank you!).

Ok.  This latest update should do it.

It seems like the most egregious errors in this sheet were in LH m. 13-18, and most other things were either minor or stylistic.  All of these, of course, are important to address.  I've learned so much over the past month about music, arranging, and Finale NotePad (which you've correctly surmised that I'm using).  I'm looking forward to applying everything I've learned to future arrangements.

You mention some other aesthetics and formatting changes that should be made.  Anything you can point out specifically for my own understanding?  I appreciate the offer to help me on the finer points which might be outside my ability at the moment.

I would suggest adding them to the eighth notes in the right hand in m. 7-8 just like you did in m. 11.

Sure.  Got it.

- Rhythm grouping: a couple of these measures need to show beat 3. So in measure 10, split the half rest into two quarter rests, and in measure 12 split the dotted quarter note into an eighth note tied to a quarter note. More details here if you want to read about it!

Thanks for this tip and resource.  I changed both as described.

- The first note in the right hand of m. 16 is misaligned; just delete and re-enter it.

Weird how it misaligned this, but it's good now.

- Measure 21 beat 2 in the left hand should be an F instead of an E.

Great ear to catch this.  What tipped you off?  Hearing the wrong note?  Understanding what the progression was intended to be?  I also had to change a note on m. 22 LH after reviewing this.

- I think the 16th notes that fall on the beat would be a bit easier to read as a staccato 8th note instead of a 16th with a dotted eighth rest afterwards. (Also it looks like the .mus file is out of sync with the PDF for this part right now?

Yes, I think I may have printed to PDF and uploaded the files before actually saving the .mus file.
Also changed in m. 19 and 20, but I don't know if this is actually written better than it previously was.  I get why you recommended it though.

Also, there are a handful of wrong notes in measures 15-18, mostly in the left hand. I'll let you take a look at those first, let me know if you need help!

This was probably 50% wrong.  I've rewritten the left hand of measures 14-18 after reviewing the file with NSFPlay.  It has features to isolate channels and show what note is being played based on the sound's output frequency.  Really useful, and I'll be using this going forward.  This helped me identify how to split the voices in measure 17 for clarity and accuracy.

Thanks so much for the thorough review!  I'm excited to get this one out.

I guess this one was tougher to arrange than I considered going into it.  I'll come back with an update next week.

Hi Latios212.  Thanks for reviewing my submission.  I took a good look at the sheet with your feedback in mind, and you were right on all counts.  I've only been rediscovering music since the start of last year, so there's a lot for me to learn still.

I have adjusted for all points of your feedback, but I still have something I'm unsure of.  Specifically the third voice in m. 18-21.  It harmonizes with the lead voice, but it's a bit lower.  Adding it as a separate distinct voice makes the sheet look a bit stranger than it should, IMO.  I kept the notes as a third lower than the lead, which may keep it to high but was much cleaner to read (and play).  The only difference is at the 4th beat of m. 21 where the voices are clearly not a third apart.

There are some notes the song that sound very short, so I've added a few more staccato articulations in the right hand (measures 6, 11, 12, 21).

I also made the second voice distinct in m. 22, where there's a very short F on beats 1 and 3 with the lead (A then E).  I liked how it sounded these as half notes, but this is more true to the original.

Thanks again for the feedback.  I have more arrangements in the works, but I'd love to get this one buttoned up before submitting more.