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I wouldn't say it is unfeasible.  Maybe unfeasible verbatim, but that is where arranging comes in.

Hmm, I will fiddle around a bit and get back to you.

... I admit that I don't follow your picture.  It sounds like it should just play the A -> B -> G# on beats 3-4.

What do you mean?  Voice 2 is the synth, voice 1 is the piano (and the G# on beat 4 is definitely ornamented)

Including the entire piano line an octave above the RH is infeasible.  It is possible to add parts of it, but this sounds rather discontinuous (to my ears).
Including it on the same octave is fine from a play-ability perspective, but loses the distinctiveness it has in the original, since it's so close to the RH (doubling in a lot of cases).
However, the piano flourish you mention would be easy to add to m 40 and 48 -- and it is the only distinct bit of the piano line: the rest is doubling.  Would this be enough interest for the ending part, or should I try to fit in more elsewhere?

Successfully deleted!  I guess it is a kind of repeat -- thanks for that tip.
Submission updated.

I'll keep the .mus file editing in mind for next time -- so long as I can figure out how to do things....

As for the D.C. thing, I notice other Celeste sheets do a similar thing if they repeat and fade out (one has a little note saying "OST ends here on second repeat"), so your suggestion is fine.  I would like to use the file you provided, but I can't figure out how to delete the "Fine" marking (it doesn't seem to be select-able under any of the editing categories).

[can]

I can't figure out how to copy the symbols themselves....  I can copy notes/bars that have the symbols attached, but when I paste them into the new version of the score, page breaks stop working, so the formatting goes weird.
If you know a way to copy the symbols directly or add page breaks back in, let me know!

[Note:]

Ok I've tried out everything you've suggested (sorry for the long wait), so here we go:

1: (Implemented) Yes, the voices is a good suggesting -- I've changed everything around so that the top two voices are present as in the original.
2: (Not Implemented)  I think the music looks much cleaner without rests, especially since there are two voices in the same staff, with potentially different lengths of rests.
3: (Implemented)  On further playing, this is not *that* crunchy -- should be fine.
4: (Implemented)
5: (Not Implemented)  Ok this is just too crunchy, like I said in my previous post.
6: (Implemented)

Note:
There are 'pedal hook symbols' used to show when the r.h. plays the l.h. voice.  These occur in the following places:
m. 29 / 37 on beat 3
m. 26 / 34 on beat 3
m. 27 beat 3 to m. 28 beat 1,  similar for m. 31, 35, 39
I am resubmitting without these hooks, since I haven't found a way to add them in Finale Notepad, and they do not transfer in the MusicXML file from MuseScore.  Once a final version has been arrived on, someone with full Finale can add them back again.

Thanks for the feedback!  Here's my comments about each of your points

1: "-Since this is a pretty strict...":  This was in my original transcription, but I found having, for instance, the E5 in m6 instead of the E4 interferes with the downward melody (since the second voice is quieter in the recording than the first).  A decent performer could pick the descending line out though.
2: "-I don't think you necessarily...":  I'm worried that not having this would make people hold the dotted quarters and halves for their full length, which is not right for the piece.
3: "-m13, 21 and 37: F in the R.H. should be an E."  This was also in my original transcription -- but D-F-E-A sounded quite crunchy to me (mostly since it's at the beginning of a bar, one of the few places all four voices sound at the same time), and it doesn't resolve to anything, which makes it a little out of place.
4: "-m18: Once the R.H. on beat 3..."/"-m26: Kinda similarly as above, though...":  Yup, will put that back in.
5: "-m41-48: The L.H. bottom voice...":  Also in my original transcription.  When I do keep this voice in, some crunchy things happen: A2/B2 in m44, B2/C3 in m46, and F2/E3 in m47 (not as bad though).  I guess I could include it -- maybe tweak the B2/C3 though?  But I left it out since the piece is tapering off by that point, and keeping a harmonically busy left hand interferes with the two more melody-like voices we have left, which in my opinion weakens the 'tapering off'/'dying away' feeling that should be happening
6: "-m49-52: Usually for our sheets on...":  Huh, I though about it as a simple return of the first voice -- didn't even consider looping.  I will implement this, and keep it in mind for future tracks.

It looks like all of the major changes you suggest are in favor of accuracy over adapting the piece to a piano (whose harmonies can turn out a little crunchier, since it doesn't have the option of having each voice in a separate instrument with its own unique timbre).  I think that the changes I made make the piece 'feel' a bit more like the original than an exact transcription would -- however, I will of course adopt this convention of accuracy if it is what is preferred on this site.

Thanks again for the feedback!  I'll resubmit in a few days (through the edit button on the submissions page I assume), once I get home to my piano and can test these changes out (they're major enough that I want to do more than just hear them digitally).

EDIT:  "Convention of accuracy" isn't really a good term -- after all, some pieces cannot be arranged for one piano with perfect accuracy.  What I'm trying to communicate is that your suggestions seem to prioritize Playability > Transcription Accuracy > Matching 'Feel', whereas for this arrangement I chose to prioritize Playability > Matching 'Feel' > Transcription Accuracy.

[Celeste]

* I'm new here, so advice/feedback on everything is greatly appreciated *

Celeste

• "Spirit of Hospitality": Celeste OST 7 (In Submissions) [mscz] [mus] [pdf]
  
• "Old Site (Black Moonrise Mix)": Celeste B-sides OST 2 (In Progress)
• "Reflection": Celeste OST 15 (In Progress)
• "Confronting Myself": Celeste OST 16 (In Progress)