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If you haven't noticed, no sheets have been moving lately. Just be patient. For no sheets to be moving they must have a good reason.

looks good to me.

I'm good with your formatting changes and adding the grace note you mentioned. I don't know how to add a grace note in notepad.

I suppose this is fine to do harmonics, but for m4 it would be An not Gn.

Fixed

Well if it has to be a harmonic, I suppose this is fine. You could also add an additional Fn an octave up in the 1st voice  Also for this section, the RH G's should be their own whole note voice, and the Dn to Cn should be a separate second voice.

I'll pass on adding the additional Fn,
I changed the voicing as suggested, though not sure which way the stem should point.

Would jut suggest this alternatively.

I left it unchanged.
Assuming it is written for a player who has a comfortable 10 span reach, it wouldn't make sense to drop off the top Bn.
I would rather simplify this than leave it as is if my say had any real weight. My experience here and understanding looking at other ninsheets is that it is written to be as difficult as possible (withing the scope of the composition), but still playable to virtuoso pianists, in order to capture the intent of the composer. I rather not deal with back and forth and extra time in submissions and just leave it up to interpretation.

Also, did you mean to keep the rest of the measures m19-24 the same with the 16th's on beat 4.5-4.75, or were you waiting to update that?

I hear the snare in the same way as in the prior measures, so it is written as intended. The only place this becomes a problem is when  the notes intersect in m19, but the player could decide to play the Db with the RH. Do you have a different suggestion?

The rest are fixed.

I'm good with your changes. Thanks!

Regarding your pitching up bassline comment, recently I came across AI music splitters that can split the instruments, vocals, drums, and bassline out. There are a number of free ones out there with varying capabilities. This may be more effective than solely pitching up the song. Wanted to share an option for your consideration.

Notes:

I recall prior feedback regarding the crescendos that each crescendo is to move from each stage mp>mf>f.
However I would like it to get start at the mp and gradually get louder at each triplet-like pair until it gets to the f.

I'm aware of the decending notes on b4 of m 13, 15, 17, and 19. I primarily hear the trumpets so I will prefer the held notes rather than the descending except in m19 when the descending notes fit better.

m48 I am well aware of the timpani that begins here, but I couldn't get it to sound pleasant if I keep what is currently arranged with the Timpani. It eight notes feel like they rush into b4 if its Staccato'd. or even going from an A to the low d sounds jarring.
If I switched to only the timpani it would feel quite boring so I kept the melodic aspects.

And yes I omitted any octaves in the LH. It doesn't sound as deep, but a triplet-like octaves (e.g. m 43) look very difficult to play. Going from octave to no octave in the song would sound off balance in my opinion.

And finally, to nit-pick VGMDB labels this as "Titania and Macbeth" https://vgmdb.net/album/133
But it's not really Titania AND Macbeth, they are two different planets that have the same song. I prefer "Titania / Macbeth". but that is NSM's call.

This is definitely true for the two sixteenth notes at the end of m1,3,5. But the other notes could be reasonably played if there was a lower octave added. But I'll leave it up to you, my reasoning being that it is rather quiet anyway in the original.

How about I put in a harmonic where the unreachable octave would be?

Well my comment wasn't based on having a harmonic for the LH, it's that I don't think it is necessary to duplicate the D to C phrase in both hands.

It may not be necessary, but the LH looses its "weight" if only the Fn is played when the previous measures it was all harmonic notes. I think the Dn gives it some depth. There was a Gn so the song called for some harmony.

Yes the 10th is difficult but should be possible on a good number of keyboards.  To make it easier, you could remove the for example at m9 beat 4.5 and then at 1.0 of m9 and m10 for consistency.

That makes it seem lop sided, I rather include it and leave it up for interpretation/adaptation.

Everything else is implemented.

You could do something like this together with a pedal mark, and have it continue into the current first 4 measures too:

I like the intro now, should the pedal be held in 2 measure increments?
in m4, I had put beat 4 of the LH in the RH so the LH had more time jump to the Fn

We usually do use parentheses for optional notes yeah, but it's not something that is defined in formatting guidelines. It was an alternative I thought of myself, so I'd accept both ways ^^ It depends on what you prefer.

I'll defer to whatever you think is best since you know notation better.

Either way: the mordents you currently have are inverted mordents, we actually need the standard ones (so without the vertical line in the middle)

Interestingly Musescore calls the mordent you were looking for a "short trill"  and the inverted mordent I picked a "mordent"

everything else is implemented.


Separate question: can I substitute "Sunny Beach" for "Options Menu" from Wave Race? Even though submissions are closed?
if not, that's fine.
If so, would this arrangement be able to be finished in the project timeframe?
Options Menu MUS
I knowingly chose the melody and block chords over the 16th note runs and the bass pattern (except in measures 9-14) In my opinion the block chords raised on octave changes the entire feeling of the song and carrying that baseline all the way through the song gets boring quickly. the chords at least have some variety.

[not]

The C-F-Bb triad plays in those first two bars too though, so maybe you can add the two bars with just that triad? (better to add this last, so the measure numbers don't change for the rest of the feedback)

Without something to substitute the drum with, it's just a boring held note. and trying to add something this with the F and the drum, just doesn't feel well adapted to the piano in my opinion. I rather leave it off.

You can add more parentheses and move them up or down, or alternatively, I can use full finale to shrink the note size so it's in-your-face?

Not sure what the "standard" is. I thought all optional notes would have the parenthesis, but I'll defer to you on what is common practice.

-m8-11: I think it may be better to add the bass in these 4 measures too, and arrange the chords in dyads underneath the R.H. The bass and drums here have this driving rhythm that is missing when just playing long notes in the L.H. The R.H. could be something like this: You could even leave out the held notes in m9 if you want for easier playability.

originally, I left it off because the following phrase is almost the same, so for variety I gave more emphasis to the held notes before jumping into the bass guitar. Its changed though.

-m14-15: There are some ornamentations on the R.H. notes in m14 beat 1.5 and 3.5, and m15 beat 1.5: these are mordents (the 8th articulation in finales articulation window)

playing a mordent at that speed? NSM must really want precise transcriptions...

-m25-28: You could do something like this for the L.H.: I used the bass notes as bottom notes, and arranged a part of the synth lead above that. The driving bass rhythm is technically possible, but a bit on the harder side in m25-26, so I put it back in in m27-28.

my original thought was to have a break or "catch ones breath" from the 8th notes by giving attention to other instrumentation.

You can do something similar in m33-34, but you can use the upper layer in m33 to play some of the R.H. notes instead, as they'd clash otherwise. In m34, the L.H. should start with the Eb bass notes on beat 4 already. The R.H. can take a G below the Bb-C-F chord in beat 4.

I might have got lost with this one. So as not to clash in m33 I changed the An 8th notes to a Gn, while keeping everything else I had near the same.

-m39-41: Maybe you can move the R.H. up an octave in m39 beat 4 up to m41 beat 1 (and m8 beat 1 too), for some more power? You could also add an octave above or below the L.H. then.

That makes the jump back down to the Cn more daunting, but if you think a virtuoso can play it Bloop, so be it.

Lastly, since the optional ending is based on m8-10, you could try to rewrite it in the style of the new m8-10 too, but I'm not exactly sure yet what I'd do myself. Ending it on m41 beat 1 would work too, as a short but strong ending.

Ending it on a high note leaves one in suspense/expecting, instead of at rest, so I brought it down with some octave F's + harmony.

As for Sunny Beach, I'll give it another look over at some point, but if it is unlikely to completed in the project timeframe (whatever that may be), I rather have you not start the review process and it can be skipped, no need to move it to the submissions section.

I don't see this on the files currently for m1-6

If the 16th pairs are octaves, I can understand reaching the following octave in time. But that looks difficult to play in time, at least for my octave handspan. Not sure what a larger handed player can do. If the 16th pairs are NOT played as octaves, then reaching the next octave in time is a challenge. So I don't find it practical, unless you have a different opinion.

I would suggest though removing the Dn in the LH of m8 beat 1, and just putting a low F on the bottom. Maybe just make the LH a whole note Gn (current Gn) and a Fn an octave lower, as this is a reachable note combination.

a 9th is not reachable for me, For those of us who can't reach the 9th, I wanted another harmonic, so I picked the D. I can add in the F as well, but I still want the D with the player having the option to exclude the F.
I added in a dotted whole note, if that was your intent.

I would suggest utilizing the timpani pitches as a part of the LH though. I think the LH currently is a bit empty feeling in my opinion. Take this example idea for m9 to first part of m10. You could incorporate that lower harmony part into the LH where possible (looking at m9 4.5 to m10 beat 1)

Key words are "where possible." That's a 10th. In my mind that is not possible for me, but I supposed if desired, one could play the timpani and the bottom note of the chord.

• m11 RH beat 3 the An should be a Bn • m12 RH beat 3 layer 2 add a staccato to this Gn

Updated.

•  I think if you wanted for m1-7 you could add a lower RH octave (sounds like those notes are playing to me)

That works, added

• Might I also suggest this for m7 and m8? This would incorporate the snare rolls from the original (heard up to this point but not represented), but also pulling that Dn up an octave in m8 instead of down. Let me know your thoughts.

I'm not a fan of turning the piano into a snare-drum-roll-like instrument with those tremolos. the snare is one pitch so to speak, and a 2 note tremolo isn't what I'd prefer.

I reverted the rest of the song back to what is heard, I think I was trying to be too much like the start demos in the prior uploads. Not sure if you want octaves, inverted other otherwise. I'll stick with staccato instead of portato.

Looks good!

Staccatos are chosen then.

Demo 6 G octaves in place.

Start Demo 3: -m9: If you want, you could change the R.H. D to a whole note in another layer, so it gets held for the whole bar. Same in Start Demo 4 m17

I'm good with that.

Throughout Start Demo 3, 4 and 5, you use portato marks (tenuto + staccato) and staccato marks, but I don't really hear a clear difference between them in the original. The notes in the original are played very short, with only some reverb ringing on. I think you could keep all of those too staccato, for less visual clutter.

Listening to it again yea I see your point, I guess I was looking for the shortness based on the earlier suggestion.

Regarding the portado / stacatto, I looked up a video (https://www.youtube.com/watch?v=s5ZI214aU4M) that discussed the difference between the two when I made the original change, and it does seem more held, than strictly short like stacatto so it can sound portato. but I guess it depends how you interpret playing the stacatto? If I were to play it, it would be based on memory of how it sounds, not sure about someone new to the song.
You say the stacatto would be better for less visual clutter, so given the above not sure what you overall thought is between the two.
Also what is your take on having these be 8th note stacattos vs the quarter note stacattos I had originally?

Depending on what change I decide Is there a way in Notepad that I can mass select the articulations and delete them? Those are a lot to fix individually.

Start Demo 6: -Actually, about the key signature, I don't think you really need one here?

Good point, that isn't needed at all. I would change it, but Notepad changes EVERYTHING.

-Does this demo repeat indefinitely in-game? If not, it's probably best to define how much the first two bars need to be repeated.

Technically this loops for as long as it takes you to get to the tunnel heading toward the final boss depending on where you shot down the last foe. It may not repeat or it may play 3 times as I've seen in some online gameplay.

-m34: I can't really hear the Db and F in the L.H., just a G and Bn from the horns. You can't really play those in the L.H. though, so maybe you could just leave it at a G, possibly with another G an octave below for more power?

I'm good with that, would adding in a 5th help make it more balanced?