NinSheetMusic Forums

This is the home of anything I'm willing to submit to NinSheetMusic and their Musescore ancestors. The Musescore ancestors often contain versions of the same song from different games. Most of them end with semi-improvised endings based on the source material because I hate abruptly ending VGM loops. (As will eventually be seen with "The Schemer" from Shovel Knight, the Musescore ancestors may be nigh-impossible to play for solo piano.)

You can listen to my works on Musescore's website (the audio will not be mastered there). I will neither be publishing nor submitting my transcriptions in order of arrangement. If enough of you request downloadable files, I'll start stocking up my Google Drive.

Transcriptions on NinSheetMusic
http://www.ninsheetmusic.org/browse/arranger/4953

Transcriptions on Musescore
https://musescore.com/user/9996931/sets/2205296 (Also contains piano transcriptions of non-video game music and non-piano transcriptions of video game music)

Kirby
Dark Meta Knight

• Musescore (Kirby and the Amazing Mirror, Kirby: Triple Deluxe): https://musescore.com/user/9996931/scores/2200736
• NinSheetMusic PDF (KATAM): http://www.ninsheetmusic.org/download/pdf/72
• NinSheetMusic Finale (KATAM): http://www.ninsheetmusic.org/download/mus/72
• NinSheetMusic MIDI (KATAM): http://www.ninsheetmusic.org/download/mid/72

In the Musescore ancestor, Bars 1-22 are from Kirby and the Amazing Mirror, Bars 23-40 are from Kirby: Triple Deluxe, and Bars 41-45 are the ending I semi-improvised. Beware--the treble clef notes in Bars 25-32 are an octave higher than in the original.

Galacta Knight

• Musescore (Kirby Super Star Ultra, Kirby's Return to Dream Land): https://musescore.com/user/9996931/scores/2271766

(a.k.a. "The Greatest Warrior in the Galaxy"...we may as well trust Super Smash Bros. for Wii U and the Kirby Super Star Ultra OST, right?)
In the Musescore ancestor, Bars 1-37 are from Kirby's Return to Dream Land, Bars 38-70 are from Kirby Super Star Ultra, and Bars 71-81 are the ending I semi-improvised. Beware--octave voicing is off in some of the phrases--this will be corrected in cuts I submit to NinSheetMusic.
My goal for this transcription is 100% melodic accuracy. I'm amazed that none, yes, NONE of the remixes I've heard completely nail the tune. Everyone has screwed up the solo (Musescore: Bars 25-58, Bars 58-61) and omitted the melody at the end of the loop (Musescore: Bars 34-37, Bars 67-70). More details are in the post below.
I am aware that this, especially the solo against its accompaniment, is probably nearly impossible to play for solo piano. Jonny Atma's sure tried twice already...

Revenge of Meta Knight Ending

• Musescore (Kirby Super Star, Kirby Super Star Ultra, Kirby and the Rainbow Curse): https://musescore.com/user/9996931/scores/2583031

(a.k.a. "Friends and Sun", "Sundown and Friends", "My Friend and the Setting Sun", "Meta Knight Defeated"...and that's just the Kirby Super Star version!)
In the Musescore ancestor, Bars 19-32 are the ending I semi-improvised.
The Musescore arrangement is purposefully thinner than the original so I can actually play it at full speed with (almost) no mistakes.

Prism Plains

• Musescore (Kirby: Squeak Squad): https://musescore.com/user/9996931/scores/2736791
• NinSheetMusic PDF: https://www.ninsheetmusic.org/download/pdf/3991
• NinSheetMusic Finale: https://www.ninsheetmusic.org/download/mus/3991
• NinSheetMusic MIDI: https://www.ninsheetmusic.org/download/mid/3991

In the Musescore ancestor, Bars 34-45 are the ending I semi-improvised. This transcription may be a bit off.
This is deceptively difficult because its notes are so fast--if it weren't for the triplets against duplets in Dark Meta Knight's theme, I'd say this is the unambiguously harder piece.

True Arena

• Musescore (Kirby Super Star Ultra): https://musescore.com/user/9996931/scores/3157976

In the Musescore ancestor, Bars 49-67 are the ending I semi-improvised. This transcription may be off rhythm-wise, and some accompaniment lines (and even arguably melody lines in Bars 2-9) have been omitted there.

Meta Knight

• Musescore (Kirby Super Star): https://musescore.com/user/9996931/scores/5085205
• NinSheetMusic PDF: https://www.ninsheetmusic.org/download/pdf/236
• NinSheetMusic Finale: https://www.ninsheetmusic.org/download/mus/236
• NinSheetMusic MIDI: https://www.ninsheetmusic.org/download/mid/236

Note that the Kirby Super Star version and the Kirby Super Star Ultra version of this theme are not the same.
In the Musescore ancestor, Bars 34-50 are the ending I semi-improvised. Again, this transcription may be off rhythm-wise, and some notes have been adjusted and/or omitted to make this transcription more playable.

Morpho Knight

• Musescore (Kirby Star Allies): https://musescore.com/user/9996931/scores/5268843
• Musescore (Kirby and the Forgotten Land): https://musescore.com/user/9996931/scores/7977413

In the Musescore ancestor of the Kirby Star Allies theme, Bars 53-65 are the ending I semi-improvised. This transcription may be off harmony-wise and even melody-wise, and the quietest notes have been omitted.
Similarly, in the Musescore ancestor of the Kirby and the Forgotten Land theme, Bars 75-78 are the ending I semi-improvised. This transcription may similarly be off accompaniment- and harmony-wise, the quietest notes have been omitted again, and some portions were even simplified from the original.

Dark Meta Knight Battle Intro

• Musescore (Kirby and the Amazing Mirror): https://musescore.com/user/9996931/scores/5293675

In the Musescore ancestor, Bars 5-6 are the ending I semi-improvised. ...Yeah, guess what, the looped portion is only 4 bars long. It does get remixed in Team Kirby Clash Deluxe, though.

Sullied Grace/Dirty&Beauty (Queen Sectonia Phase 1)

• Musescore (Kirby: Triple Deluxe): https://musescore.com/user/9996931/scores/5372296

In the Musescore ancestor, Bars 135-147 are the ending I semi-improvised.
Loads of drum beats get transcribed as piano notes, the accompaniment and even melody may have been shifted around octave voicing-wise, some of the notes may be inaccurate...

The Raging Lion Roars (Leongar)

• Musescore (Kirby and the Forgotten Land): https://musescore.com/user/9996931/scores/7833044

In the Musescore ancestor, Bars 115-125 are the ending I semi-improvised.
This is my first piano transcription of an orchestral piece, so several sacrifices were made, partly to make this more playable. Some of the notes may still be inaccurate, accompaniment was shifted around octave voicing-wise, some accompaniment was even approximated, some drum beats got transcribed as piano notes...

Shovel Knight
The Schemer (Tinker Knight Battle)

• Submission thread: http://forum.ninsheetmusic.org/index.php?topic=8497.0
• NinSheetMusic PDF: http://www.ninsheetmusic.org/download/pdf/3474
• NinSheetMusic Finale: http://www.ninsheetmusic.org/download/mus/3474
• NinSheetMusic MIDI: http://www.ninsheetmusic.org/download/mid/3474

Yeah, my original cut from the .nsf was nigh-impossible to play by a solo pianist (even though I already omitted channels). Many notes were trimmed after this was pointed out. (It wasn't originally tested on the piano, as opposed to the first 2 Kirby tunes on the OP.) It's still a wicked fast song to play.

A Decisive Blow (StreetPass Arena)

• Musescore: https://musescore.com/user/9996931/scores/3947556

In the Musescore ancestor, Bars 20-29 are the ending I semi-improvised.
I made sure this transcription was easier to play by trimming some of the notes. I also had to move several harmony notes around octave-wise in order to make this playable in the first place.

Castle Crashers
Archetype (Arena Theme)

• Musescore: https://musescore.com/user/9996931/scores/2375901
• Submission thread: http://forum.ninsheetmusic.org/index.php?topic=8771.0

It's composed by Helix6. It's published by Newgrounds. It's found in Castle Crashers (as its Arena theme) and Thing-Thing Arena 2 (http://www.newgrounds.com/portal/view/344422). This transcription is of the Newgrounds original.
This is meant to be sight-readable at full speed. It exhausts me, though.

Simple Sight (Necromancer Theme)

• Musescore: https://musescore.com/user/9996931/scores/3424481

It's composed by Real Faction. It's published by Newgrounds. It's in the Piercing Lazer album. But, most prominently, it's found in Castle Crashers as the Necromancer's boss theme. This transcription is of the Newgrounds original, but The Behemoth loops the entire song in Castle Crashers (complete with empty space at the end), so how much does that matter?
This piece is in verse-chorus form. Each time the verse or chorus returns, this transcription changes that portion's accompaniment and texture. Perhaps this is some part arrangement and some part theme and variations...

F-Zero
Dream Chaser (Silence Theme)

• Musescore (F-Zero Climax): https://musescore.com/user/9996931/scores/5815725

Note that the F-Zero Climax version of the Silence racetrack theme has some different material from both the F-Zero X and F-Zero: GP Legend versions.
In the Musescore ancestor, Bars 61-71 are the ending I semi-improvised.
Thanks to its problematic source material, this is likely my least faithful transcription that isn't one of my early ones (Galacta Knight's theme, Simple Sight (Castle Crashers Necromancer theme), the Kirby Super Star Ultra True Arena theme, etc.). The nastiest change from the original is my moving the relatively high arpeggiated accompaniment an octave or two down throughout to prevent it from interfering with the melody, but notes have also been purposefully added to mimic drum beats, and other notes have been moved octave voicing-wise and missed out entirely in order to make this more playable.

Illusion

• Musescore (F-Zero: GP Legend): https://musescore.com/user/9996931/scores/8266481

Note that the F-Zero: GP Legend has some different material from the F-Zero Climax version.
In the Musescore ancestor, Bars 87-104 are the ending I semi-improvised.
While less problematic to transcribe than F-Zero Climax's "Dream Chaser" theme, this still ended up with some high parts removed, some other parts simplified, some notes added to mimic drum beats, and some other notes moved around octave-wise.

Falsion
The First Space Flight

• Musescore: https://musescore.com/user/9996931/scores/2477036

This is the Level 1 theme of an obscure 8-bit video game named Falsion. It's compatible with the Famicom 3D System peripheral, which tacks on one extra sound channel. If you're otherwise wondering how this transcription has 4 notes at once at points where normal 8-bit music should only have 3 maximum, this is it.
In the Musescore...er, ancestor (truth is, I wrote the "ancestor" and the upcoming Ninsheetmusic submission simultaneously)...the ending I semi-improvised is Bars 43-51.

Fire Emblem
Tearing Shadows

• Musescore (Fire Emblem: New Mystery of the Emblem): https://musescore.com/user/9996931/scores/5279025

In the Musescore ancestor, Bars 29-41 are the ending I semi-improvised.
This one reverts to my earlier arranging style of shifting more of the notes around octave voicing-wise. Plenty of drum beats get transcribed into piano notes, too.

Team Fortress
Square Dance

• Musescore (Team Fortress 2): https://musescore.com/user/9996931/scores/5344959

A reasonably popular taunt in Team Fortress 2, the Square Dance is split into 3 sections according to https://wiki.teamfortress.com/wiki/Square_Dance. This transcription covers all 3 sections.

The Incredible Machine
Classical/Tilting at Windmills

• Musescore (The Incredible Machine): https://musescore.com/user/9996931/scores/5458858

This is a stage theme in The Incredible Machine, a computer game where you build Rube Goldberg contraptions to achieve certain objectives. This theme reappears in later games in the series.
In the Musescore ancestor, Bars 23-25 are the ending I semi-improvised.
This is based on both the MIDI and CD versions.

Bravely
Battle of Oblivion

• Musescore (Bravely Second): https://musescore.com/user/9996931/scores/5490355

In the Musescore ancestor, Bars 113-138 are the ending I semi-improvised.
Loads of drum beats get transcribed as piano notes, the accompaniment may have been shifted around octave voicing-wise, some of the notes may be inaccurate...de rigueur for my piano transcriptions of rock and metal music, eh?

Under the Banner of the Duchy

• Musescore (Bravely Default): https://musescore.com/user/9996931/scores/7987193

(a.k.a. "Below the Duchy's Banner", "Under the Duchy's Banner", and "Beneath the Duchy's Banner")
In the Musescore ancestor, Bars 56-64 are the ending I semi-improvised.
As another piano transcription of an orchestral piece, chord voicings and octave positions of lines may not match the original in places, and even half of the right hand of Bar 28 got outright modified.

Monolith
The Trial

• Musescore (Monolith): https://musescore.com/user/9996931/scores/5653049

In the Musescore ancestor, Bars 25-35 are the ending I semi-improvised. Some of the rhythms and maybe even a note may be off, and many notes corresponding to drum beats have been added.

Ex Machina, Part 1

• Musescore (Monolith): https://musescore.com/user/9996931/scores/6262561

In the Musescore ancestor, Bars 27-35 are the ending I semi-improvised. The right-hand chords of this transcription may be off.

Iji
Face to Face

• Musescore (Iji): https://musescore.com/user/9996931/scores/6873305

In a rare occurrence, this transcription has no semi-improvised ending. Plenty of notes in this transcription may be off, and lots of notes corresponding to drum beats were inserted.

Smash Bros.
Multi-Man Melee 1

• Musescore (Super Smash Bros. Melee): https://musescore.com/user/9996931/scores/6882325

In the Musescore ancestor, Bars 55-63 are the ending I semi-improvised. Several of the rhythms and dyad/chord lower contents may be off and/or simplified, and some notes corresponding to drum beats were added.

Beatmania
In the Blackest Den

• Musescore (Beatmania IIDX 19: Lincle): https://musescore.com/user/9996931/scores/7904087

In a rare occurrence, this transcription has no semi-improvised ending - because it doesn't need one! Plenty of notes in this transcription may be off, and the occasional notes corresponding to drum beats were inserted.

Bug Fables
MECHA BEE DESTROYER BLASTLORD

• Musescore (Bug Fables: The Everlasting Sapling): https://musescore.com/user/9996931/scores/8190116

In the Musescore ancestor, Bars 65-81 are the ending I semi-improvised - and this time, even provided a solo for! Some notes corresponding to drum beats were added, accompaniment notes have been shifted around octave-wise, the quietest notes have been omitted, even lower accompaniment notes were missed this time to keep this playable while keeping as many melodies going as possible in places...

Sonic
Fight the Knight

• Musescore (Sonic and the Black Knight): https://musescore.com/user/9996931/scores/8218667

In a rare occurrence, this transcription has no semi-improvised ending. In another rare occurrence, this transcription also has lyrics! All glissandos have been simplified, some notes corresponding to drum beats have been added, some accompaniment notes were skipped, and some other accompaniment notes may also have their octave positions changed.

I hope to transcribe songs I don't find good piano transcriptions of on the Internet. (There are loads of decent transcriptions of Super Mario themes and King Dedede's theme, there's already an excellent piano transcription of "That Person's Name Is" (from Bravely Default) by nnwt, the list goes on...)

This is where you can help me out!

As mentioned above, I'm considering making Kirby Super Star Ultra and Kirby's Return to Dream Land cuts of my transcription of Galacta Knight's theme, and there are a few sticking points I appreciate having addressed first.

First things first: Other than easily correctable octave voicing, are the melody notes in my transcription 100% accurate?

For reference:



...I hate how debatable Bars 5-12 and Bars 38-45 are.

I'm the most concerned about the melody notes and rhythm in the solos (Bars 25-28, Bars 58-61) and the melody in the fractured measures section (Bars 29-33, Bars 62-66). Kirby: Planet Robobot's version of the fractured measures section sounds nice and regular, but both KSSU's and KRTDL's melodies there definitely jump around.

Second: Should I submit the Kirby's Return to Dream Land cut or the Kirby Super Star Ultra cut first? Galacta Knight's theme first appeared in KSSU, but I actually figured out the intro (Bars 1-4) for the KRTDL cut.

Third: For the KSSU version, what should I do for the intro (first 4 bars)? I suspect I'll use the same LH as the KRTDL version in Bar 4 to simulate the drums, but the first 3 bars are likely going to be pretty boring. Should I do a solid A-C-E chord for 4 bars, attempt to incorporate the guitar pulsing, or do something else?

Fourth: Do you like the arrangement in Bars 13-18 or Bars 46-51 better? ...Or do you evenly split between them and make me use a Bars 13-18-like version in KRTDL and Bars 46-51 in KSSU?

Fifth: Harmonic and accompaniment accuracy may have already gone out the window in my Musescore version, but do any places stick out and need adjustment, and if so, which bars?

I'm not 100% certain I'll ever edit the Musescore version, but all your comments will help me write the NinSheetMusic cuts! (I already foresee at least one LH adjustment in the NinSheetMusic cuts...)

Finally, a post on your PA thread:
1st: I'm sorry, and I'd love to help you, but listening to this song too closely gives me a legitimate headache.

2nd: It's completely up to you. Whichever you like best, or which ever you are most satisfied with your arrangement.

3rd. As a guitar player, the opening of KSSU is just a held chord, and nothing pulsing. If you do a chord, make it a piano equivalent of a power chord: 1st, 5th, 8th, as that's probably what's being played. Honestly, I can't hear any sort of intro notes besides the held notes there. You could use Ped. to hold the chord and pound a low octave for the cymbal beats. It's completely overkill, but it'd probably sound pretty good and give a desired effect.

4th. Imo, 13-18 sounds better, but that's just me.

5th. See first point. I'm really sorry about that.

...Great, now I'm looking for input on two transcriptions, not just one.

I'm pretty sure my transcription of Archetype (the Castle Crashers Arena theme) is good enough to submit (after fixing the formatting, of course), but the part I'm the least certain about is the copyright. My transcription is of the original Newgrounds version.

For reference:




Especially since Castle Crashers contains only one song that is actually composed by The Behemoth's employees (its Barracks theme is composed by The Behemoth's longtime artist, Dan Paladin), and Archetype is found in Thing-Thing Arena 2, I'm having doubts that the copyright of Archetype belongs to The Behemoth. There's also Newgrounds's IP policy here (https://www.newgrounds.com/wiki/help-information/terms-of-use) to consider.

(I've privately talked to Maelstrom before about the copyright, but I'd like to see a consensus here before I put the copyright on the submission.)

Finally, a transcription I don't need help with!

I whipped up this transcription of the first level's theme of an obscure 8-bit game called Falsion not too long ago, and I believe I've learned a fair amount about piano transcription from making this.

For reference:

The complete Falsion soundtrack source code is here: http://www.zophar.net/music/nsf/falsion.html, www.zophar.net/download_file/25630

Falsion is notably compatible with the Famicom 3D System peripheral, which tacks on one extra sound channel. If you're otherwise wondering how this transcription has 4 notes at once at points where normal 8-bit music should only have 3 maximum, this is it.

I found a few things that got in the way of transcribing this song:

• The echo effect in the .nsf's Bars 9-23 sounds cool in-game but is horrific to transcribe. ...So I skipped it.
• The triangle wave is notated an octave higher than it plays in Famitracker and NSFImport.
• Nonetheless, attempting to faithfully transcribe the triangle wave either causes me to skip transcribing all inner voices or makes the transcription impossible to play. So, with much reluctance, I transposed the bulk of it, if not all of it, an octave up.
• Several accompaniment notes in Bars 33-40 are supposed to be higher than the melody. That gets in the way of a good listening experience, IMO, so with much reluctance again, I transposed them an octave down.
• Sometimes, Bar 16 sounds like it's an octave higher in the .nsf than notated in the transcription. Sometimes, it doesn't.
• I don't have big enough hands for the major 10th span in Bars 3 and 7. Perhaps you do. I recommend using an arpeggio if your hands are similarly too small.

After receiving no replies for weeks, I've decided to submit Archetype to NinSheetMusic, so I no longer need help with that piece in this arrangement thread.

Back to looking for input on two transcriptions again.

The second transcription this time is for the Revenge of Meta Knight ending theme!



I mainly need input on two things:

• Is this arrangement too thin to submit? It's purposefully thinner than the original so I can actually play it at full speed with relatively few tries (Archetype is sight-readable at full speed but exhausting, and it only gets harder from there--Galacta Knight's theme is near-impossible to play).
• What should I name this when I submit it? The leading candidate is "My Friend and the Setting Sun", as shown in http://vgmdb.net/album/10970, and this would make sense, as there's a purported interview that says this song was based on the folk song "House of the Rising Sun" (the only evidence I can find of that interview is in Youtube comments). The ending cutscene and credits has the name as "Friends and Sun" according to https://www.youtube.com/watch?v=eUOubU_DOwM (https://www.youtube.com/watch?v=eUOubU_DOwM). I think I've seen the Japanese title once, and it translates the most closely to "Friends and Sun" (I can read Chinese and, therefore, I can translate every kanji character I understand the meaning of).

the songs sounds more like it goes in 6/8 than 12/8 for some reason. Maybe because of the bass or something, idk.

Nice job with the Ending Theme! Based off of what you said/provided, I think "My Friend and the Setting Sun..." (complete with the ellipsis) is the way to go. People usually reference names from vgmdb, and here's the Japanese Soundtrack w/ Japanese titles (http://nintendo.wikia.com/wiki/Kirby_Ultra_Super_Deluxe:_Original_Soundtrack) for Kirby Super Star Ultra for clarification

As for the music itself, I think leaving it thinner is fine. Maybe you could try putting the bass part (or combine that with what you have, or even another part) in a section to add variety. Also, I think you should add more staccatos (like in m9) to signify that there's a slight pause or break. I'm no expert on time signatures and the difference between 2/4 and 4/4, but 12/8 seems like a good fit

Instead of putting dotted eighth or sixteenth notes, you could also put a "triplet" sign where you play 2 eighth notes for every 3. Here's an example:
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fpuu.sh%2FriGAT%2Fe850086cbb.jpg&hash=7de4b4a2db355d3d92e2ede2146b275fa001b25e)
Insig also did that in his arrangement of Revelation Mountain (http://www.ninsheetmusic.org/download/pdf/2923) from PSMD. I think it's a matter of preference though, so if you don't want to (or can't), then that is fine

Keep up the good work :3

Quote from: Zeila on September 21, 2016, 01:11:29 AMInstead of putting dotted eighth or sixteenth notes, you could also put a "triplet" sign where you play 2 eighth notes for every 3. Here's an example:
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fpuu.sh%2FriGAT%2Fe850086cbb.jpg&hash=7de4b4a2db355d3d92e2ede2146b275fa001b25e)
Insig also did that in his arrangement of Revelation Mountain (http://www.ninsheetmusic.org/download/pdf/2923) from PSMD. I think it's a matter of preference though, so if you don't want to (or can't), then that is fine

That's a great idea! I'd prefer quadruplets over duplets, though. Notation in Bar 2 is going to blow, though, as it blends a smaller duplet with regular compound (quadruple) notation.

Another transcription I (probably) don't need help with: the Prism Plains theme from Kirby: Squeak Squad!

For reference:

Like all my Kirby transcriptions (including future ones), this was by ear, and I made some assumptions for the accompaniment. This is based on the speakers I have at home, which are probably fairly low-quality: when I heard the original theme at work, I found that several places I thought were filled with regular 16th notes were actually filled with 16th-note triplets. I can't figure out which places those are at home, though, and repeated 16th-note triplets are hell at that speed.

Hey, Prism Plains! Love this theme. Never bothered trying to arrange it because of its speed and... yeah. Lol

Not checking in detail right now, but looks and sounds pretty solid, I like :J Quick thing to point out: Bass in beats 1-2 of measure 2 and the like - don't really like the droning C. Sounds like it should be alternating octaves.

Quote from: Latios212 on October 09, 2016, 04:25:33 PMHey, Prism Plains! Love this theme. Never bothered trying to arrange it because of it's speed and... yeah. Lol

Not checking in detail right now, but looks and sounds pretty solid, I like :J Quick thing to point out: Bass in beats 1-2 of measure 2 and the like - don't really like the droning C. Sounds like it should be alternating octaves.

I checked the LH accompaniment multiple times before publishing it, and I can confirm that the droning repeated low C is accurate.

Beg to differ. Getting this:

(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FZrnkPe0.png&hash=cc1aef99cdcae5583f3fff629f095179c21357d8)

Quote from: Latios212 on October 09, 2016, 06:26:58 PMBeg to differ. Getting this:

(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FZrnkPe0.png&hash=cc1aef99cdcae5583f3fff629f095179c21357d8)

On further analysis, I've never been that good at determining low octave voicings. Even the Dream Collection version agrees with you.

Prism Plains has been edited with a hopefully more accurate LH part.

I'm actually sort of looking for help for this one.

Kirby Super Star Ultra's True Arena theme was extremely hard to transcribe completely accurately rhythm-wise--I doubt I got it 100% correct--and I've definitely omitted some accompaniment parts throughout and musical lines in Bars 2-9.


The one time this song comes up in the Kirby Super Star Ultra OST, it's glued to the original Arena theme.

I mainly need input on whether I got the melody 100% correct and whether I need to reintroduce all the other accompaniment and Bars 2-9 musical lines. (If I do so, I'm changing their octave voicing--the E below low A sounds pretty ugly compared to the E below Middle C.)

In terms of looks, it looks pretty nice to me (I'll listen to it when I get home). Oh, and thank you for doing this one; I was waiting for someone to do either The Arena or the True Arena; I attempted the former, but the SNES chords were too tricky for me.

Oh, and I love the Prism Plains sheet! Loved the added ending to it, too.

Not really looking for help for this one, but given how popular and beloved it is, I'm not sure how I haven't seen piano sheet music for this one before (and the only set of guitar tabs I've found for it are inaccurate):

It's Simple Sight, the Castle Crashers Necromancer theme!


I throw in variations every time the verse or chorus returns. It gives the song more variety, IMO, but it makes it less strict of a transcription...

Not quite looking for help for this one, either, especially considering how much I had to edit it from the actual notes of the source material in order to make it playable in the first place:
It's "A Decisive Blow (StreetPass Arena)" from Shovel Knight!



Jake Kaufman's complete Shovel Knight soundtrack source code is here: https://dl.dropboxusercontent.com/u/56073318/Famitracker/Other%20Songs/Shovel_Knight_Music.nsf

Yup, I took the .nsf at Song 39, transcribed several channels' notes into Musescore, and omitted some other channels' notes.
...And this resulted in a mess that was impossible to play for solo piano. This sat around for years before I finally decided to make this more in the spirit of a Mozart symphony piano transcription (or a NinSheetMusic transcription, for that matter) and move some of the notes' octave voicings around.
Then, I trimmed some of the notes to make this easier to play.

The .nsf says that the C-D-E-F# run in Bar 15 is slightly rhythmically inaccurate, but my ears can't tell the difference reliably.

Here goes--I'm going to need help on this one.


The big question: is the melody line in Bars 24-33 100% rhythmically accurate? I'm pretty certain I got all the notes right, just not necessarily in the correct tuplets. This is the best I've figured out so far after listening to "Battle with Meta Knight" at 50% speed on YouTube for a long time, but I still have my doubts sometimes.

Another question: I suspect the triplet into sextuplet in Bars 18-19 is actually a nonuplet that crosses bars (I suspect all its notes are the same length), but I wasn't able to successfully enter that into Musescore. Anyone want to help me with the nonuplet--or is this just more readable?

Third question: There's definitely a downward-going note flare in the treble of Bar 31 that I didn't transcribe because I couldn't make it sound good. Does this transcription need it?

By the way, I cut off the glissando in Bar 33 and adjusted the left hand of Bars 13-18 to make this transcription more playable.

There's certainly one thing that stuck out: in m13 - 18, the repeated C note seems to be asking a lot of the performer at this tempo (Now, I've been guilty of this in the past myself, but still.) Good sheet, though. It was very brave of you to take on this monster of a song.

Quote from: LeviR.star on May 06, 2018, 07:38:56 PMThere's certainly one thing that stuck out: in m13 - 18, the repeated C note seems to be asking a lot of the performer at this tempo (Now, I've been guilty of this in the past myself, but still.) Good sheet, though. It was very brave of you to take on this monster of a song.

Bars 24-33 ask a lot out of the performer in general (evil cross-rhythms, tricky tuplets, fast note runs), so I'm leaving the repeated C there.

That wasn't really my point, but alright. Maybe someone else out there will be a better judge than me.

Quote from: LeviR.star on May 06, 2018, 09:18:50 PMThat wasn't really my point, but alright. Maybe someone else out there will be a better judge than me.

With Levi here. For one, don't let the intended sound justify the difficulty for you - it's all too easy to write something so demanding it's simply off-putting.

As for comparing with the rest of the section, the rest of the section doesn't involve rapidly repeating a single note which is a very different sort of demand than playing a fast run with the right hand - repeating a note that fast with the left hand being one I'm more averse to. I would recommend reconsidering.

Here comes another transcription that I need help on:


I had significant trouble with the chords throughout this piece, so can you check whether they're all harmonically accurate or whether I missed some notes? I flip-flopped between harmonizations of chords like the first right-hand chord in Bar 50 and the right-hand chord in Bar 52.

Also, I'm not certain about slap bass notes like the 3rd last left-hand note of Bar 29 and the 5th left-hand note of Bar 36.

*oof those fast note runs and their giant leaps look hellish to play though*

Yeah, I think I'll need some help on this transcription, too:


I had significant difficulty with the high chords in Bars 5-6 and the chords in Bars 20-21 and Bars 25-26. I'm also not 100% certain about the 16th-note run in Bars 9-10 (that one got hard to hear at times) or the exact tempo change in Bar 18 (which I opted to not precisely notate exactly because I'm uncertain about the tempo there).

Be aware that I likely purposefully shifted several accompaniment notes' octave voicing around, as well as transcribed several drum beats as piano notes. Such is the nature of heavy metal songs like this one.

Finally, a transcription I don't need help for!


I was only alerted that this theme existed when I heard its extended remix in Team Kirby Clash Deluxe. After listening to it, I figured it would be easy and short enough for a weekday evening transcription run. And it was--this loop is only 4 bars long!

I transcribed some of the drum beats as piano notes yet again. I aimed to make this easier to play by going with relatively minimal accompaniment.

I might need some help on this transcription, actually.


I couldn't find a YouTube video of the "sustained note" version of the introduction (actually a violin tremolo), so I made my best guess as to what that tremolo precisely was.

...And I hope I got the tempo of the pick-up bars correct.

...And the accompaniment notes of the reel were surprisingly hard to get.

...And is there a way to draw a tie going away from the last D in Bar 1 without connecting it to the D in Bar 2? I couldn't figure out how to do that in Musescore.

And would the formatting of this transcription be good enough for NinSheetMusic, or would I need to change it up or submit each section separately?

Quote from: Dekkadeci on December 07, 2018, 10:17:57 PMI couldn't find a YouTube video of the "sustained note" version of the introduction (actually a violin tremolo), so I made my best guess as to what that tremolo precisely was.

Does this help?

Quote from: Dudeman on December 07, 2018, 10:35:53 PMDoes this help?

Sadly, it doesn't: all it's got is the "opening bar" version of the introduction and an amusing rendition of "What Is Love" overlaid on top in the latter parts. (I believe the memer has a point: "What Is Love" is in G minor, which meshes well with the strong D major chord use of the Square Dance taunt.)

What I'd really love is a YouTube video with this, hopefully not obscured by the voices of Team Fortress 2 characters: https://wiki.teamfortress.com/w/images/8/8f/Fortress_reel_loop2.wav

I don't really know anything about TF2 so I can't be much help, but I can say that you definitely wouldn't have to submit each of these separately.  They would be totally fine as one sheet under subtitles.

Yeah, I think I need help for this one:


This piece is so percussion-heavy that I transcribed loads of drum beats as piano notes this round. I no doubt mucked around with the accompaniment in the process, especially its octave voicing...and I may have changed the octave voicing of some of the melody and top parts. I also may have simplified that distinctive electric guitar riff at the last tempo change (and passages like it).

I'm the most uncertain about the left-hand notes of Bars 65-88 and the right-hand notes of Bars 127-133. In particular, I sometimes hear different notes for the last four 16th notes of Bar 131.

I'm also not 100% certain about the lowest organ notes of Bar 14 and some of the left-hand notes in Bars 49-64.

I realize the tremolos in Bars 111-126 are nearly unplayable, but you don't have to play them that fast: I personally can only play 16th-note triplets there at fastest.

And the 3-voice right hand parts of Bars 17-24 and Bars 49-64 are a mess--anyone got better ways to format them?

Dekka, I think you should submit this. The site could use it.

Quote from: Dekkadeci on December 29, 2018, 04:49:36 PMAnd the 3-voice right hand parts of Bars 17-24 and Bars 49-64 are a mess--anyone got better ways to format them?

This is one of those places where I would condense some voices together for playability and readability.  For example, in bar 17 the semibreve could be changed to make a dyad dotted minim with the A which would mean there were only two voices.  Another example would be bar 20 you could just cut the D from the chord altogether since it's in the second voice (and restruck again later) so it'll sound pretty much the same but without looking as strange.  So yeah, I'd just recommend going through that section and trying to remove voices where it looks janky by incorporating them into other voices where possible.  You should be able to write that entire section out with only two voices after doing that I think.

Quote from: Libera on December 30, 2018, 04:02:56 AMThis is one of those places where I would condense some voices together for playability and readability.  For example, in bar 17 the semibreve could be changed to make a dyad dotted minim with the A which would mean there were only two voices.  Another example would be bar 20 you could just cut the D from the chord altogether since it's in the second voice (and restruck again later) so it'll sound pretty much the same but without looking as strange.  So yeah, I'd just recommend going through that section and trying to remove voices where it looks janky by incorporating them into other voices where possible.  You should be able to write that entire section out with only two voices after doing that I think.

I took your suggestions and successfully managed to condense the right-hand parts of Bars 17-24 and Bars 49-64 to two voices.

This time, I don't need help!


My transcription is based on both the MIDI and CD versions. The MIDI version is available in http://www.mirsoft.info/wogm_download.php?data=YToyOntpOjA7czo1OiIxMzM1OCI7aToxO2k6MTU1MDgwMzE5NDt9 ...and yeah, I ripped the notes from the MIDI file, tried to not have notes overlap or generate unplayable chords, and checked them against the CD version. While I mainly based this transcription on the MIDI version, I respect the lack of piano notes in the CD version in the starts of Bars 12, 14, and 16, and I made the G# optional in Bar 14 because it appears in the MIDI version but is a nicer-sounding G in the CD version. I also left off articulations from the first right-hand note of Bar 4 because that note is staccato in the MIDI version but legato in the CD version.

Note that the trills are for both half notes in the right hand.

Back to needing help:


Again, this piece is so percussion-heavy that I transcribed loads of drum beats as piano notes this round. I no doubt mucked around with the accompaniment in the process, especially its octave voicing.

I had a hard time hearing the bassline of Bars 23 and 69, the last eighth note in the bass of Bars 32 and 78, the last eighth note in the right hand of Bars 42 and 88, and the precise drum rhythms of Bars 33-36 and Bars 79-82. Anyone think they need to be fixed?

Except for the grace note in Bar 92, I simplified away the slides and grace note tendencies of Bars 89-112. I don't tend to sing any of them whenever I sing this theme, anyway.

I tried hard to eliminate collided notes this round (the staccato notes in Bars 20 and 66 are to ensure those notes don't actually collide with the right hand). Let me know if I missed any!

Also, the playback of the trill in Bars 59-61 is bugged, I swear.

So I doubt you've heard of the game Monolith, but I think I need a bit of help with this piano transcription:


This piece is quite percussion-heavy, so I transcribed several of the drum beats as piano notes in Bars 9-24.

I'm quite uncertain about the precise rhythms of the Beat 2s of Bars 1-8 and the last left-hand note of Bar 4.

(Sheesh, I think a circa-30-second song with not much harmonies and an easy-to-ignore arpeggio line should be easy, but then it throws curveballs at me....)

This is definitely one of my least faithful piano transcriptions yet:


I needed to move its prominent arpeggiated accompaniment an octave or two down throughout to prevent it from interfering with the melody and to let the left hand hit the bass accompaniment notes. Even then, I severely foreshortened the bass accompaniment notes throughout. I adjusted the left hand in Bars 1-10 to make it sound better (and make it be easier to play) than straight 16th notes or 8th notes. I added some notes corresponding to drum beats. And I even had to discard a prominent high note in Bar 60 because the right hand cannot play it while playing its electric guitar line! I might have mucked up the last 2-4 left-hand notes in Bar 8, and my transcription of the left-hand pitch bend in Bar 44 might not be all that accurate.

Hopefully, this piano transcription still sounds fine! And yes, the F-Zero Climax version of "Dream Chaser" has some different musical material from both the F-Zero X and F-Zero GP Legend versions.

Thanks for doing an F-Zero track from one of the GBA games. It's so rare to see these unfortunately.
Anyway, solid arrangement! It's definitely fine to leave out those extra parts if they make the arrangement unwieldy, since after all this is meant to be performed and not just listened to on a computer.

I think I'll need help with this piano transcription, too:


Note that "Ex Machina, Part 1" is listenable on its own in-game, but only a fusion of all 3 themes for its final boss, named "Ex Machina", is in the OST.

I'm really uncertain about all the right-hand chords in this transcription. Their top notes are fine, but I had a hard time with everything below them. Did I miss any notes or add the wrong ones?

The pitch bend in the right hand of the first half of Bar 9 may not be all that accurate, either.

Yeah, I need help with my latest transcription again:


This theme uses a lot of distorted electric guitars, and I swear the high chromatic notes in this theme are microtonal. (All those high notes in Bars 2-17 and Bars 55-71 are dodgy.) I therefore had quite a lot of trouble transcribing this theme period. In particular, I had extreme trouble with the accompaniment of Bar 33 and Bar 104 (to the point where I may have made up the middle left-hand notes), I may have transcribed the right-hand E flats and D's wrong in Bars 46-53 along with the last right-hand quarter note in Bar 50, the higher left-hand accompaniment notes in Bars 2-28 and Bars 54-63 are dodgy, the right-hand single notes in Bars 22-24 and Bars 39-40 are very dodgy, and all the small notes are dodgy.

In the meantime, I may have moved around the octave voicings of some notes, I ignored nearly all the pitch bends, I notably left out a prominent inner voice in Bars 106-107 (and a bunch of other single notes) because those notes were hard to reach while playing the existing parts, I ditched any power chords that would have been in the middle of left-hand accompaniment octaves because they plain didn't sound any good - neither in Musescore nor on my actual physical piano - and I definitely inserted a lot of notes corresponding to drum beats. ...I actually did forgo adding notes for drum beats in some places, though, where the right hand already carries enough momentum.

Why do I keep transcribing music I find I need help with later?


So I thought that, just like with "Face to Face", I could transcribe both hands by ear; therefore, this was achievable. Oh boy, did the right hand of Bars 40-54 shake my faith in that.

I passed on transcribing the quietest lines. I probably simplified the right hand of Bars 40-54 or otherwise got them mildly wrong. I may have gotten lower dyad/chord contents wrong. I may have gotten octave voicings wrong. I didn't bother transcribing nearly all of the pitch bends. I probably skipped a lower inner line or two. I definitely simplified the right hand of Bars 15-18 and likely Bars 23-26. The chromatic slide in Bar 10 is an approximation, as are the second half of Bar 2 and every single 32nd-note passage. I notated some places with falls because what's actually there is far too complex and filled with pitch bends, but at least it generally goes down.

In the future it would be more convenient if you provided a .mscz or .musicxml file, but if you would rather not then that's ok

• It would be nice to include double barlines before key signature changes
• m1-2 LH there are low F#'s playing here
• m15/23 RH beat 4.5 lower note sounds like C
• m16/24 RH beat 2.5 lower note sounds like Eb; beat 4.5 lower note sounds like C
• m17 RH beat 2.5 lower note sounds like Ab; beat 4.5 lower note sounds like G
• m18 I'm not sure if the 32nd notes really add much, but if you still want to keep that in then you should flip the stems and raise the half rest up to it's default position
• m20 I'd personally write the fall as a gliss extending to beat 1 of measure 21
• m25 RH beat 2.5 lower note sounds like Eb; beat 3 I think it would be better to change the D to C
• m31 RH I don't think this is feasibly playable
• m35-38 LH I think it would be nice if you wrote out the guitar rhythm for one of the A's while keeping the other sustained
• m43-46/51-54 LH why did you exclude the 5ths here?

Responses below since I fixed up the Musescore website version of my Multi-Man Melee 1 score:

Quote from: Zeila on July 27, 2021, 02:50:53 PMIn the future it would be more convenient if you provided a .mscz or .musicxml file, but if you would rather not then that's ok

• It would be nice to include double barlines before key signature changes

In retrospect, I guess this theme is sectional enough that the double barlines at key signature changes mostly serve a purpose form-wise. The only double barline at a key change I still omitted is the Bar 4-5 one because it's still part of the intro and keys change the fastest there. (The only double barline I put not at a key change is at the start of the solo between Bars 38-39.)

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m1-2 LH there are low F#'s playing here

Added the low notes. I can't seem to hear them at all in the original unless I put the speed at 50% or lower, though, so I kinda originally grouped them with the crowd noise in those measures and didn't include them at first.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m15/23 RH beat 4.5 lower note sounds like C

Listened to there a bunch and kept hearing that lower note as E flat instead. I did start hearing the lower note of the RH Beat 2.5 in Bar 23 as G, though, so I changed that. I decided to keep Bars 15 and 23 consistent with each other because the Bars 15+ version actually uses sweeps instead (which I don't really feel like making people play).

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m16/24 RH beat 2.5 lower note sounds like Eb; beat 4.5 lower note sounds like C

Good ear for both notes. I changed them accordingly.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m17 RH beat 2.5 lower note sounds like Ab; beat 4.5 lower note sounds like G

I kept listening to Bar 17, and I kept finding that its RH Beat 2.5 sounded more like it was harmonized with G than A flat. It was hard for me to hear any lower note in Beat 4.5 of both Bar 17 and Bar 25, though, so I switched both to G like you suggested.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m18 I'm not sure if the 32nd notes really add much, but if you still want to keep that in then you should flip the stems and raise the half rest up to it's default position

I prefer the 32nd notes in Bar 18 and Bar 26 to make differentiating between them easier (just like they're easy enough to differentiate when listening to the original, but only because of those flourishes). Flipped the voices, but I'm now worried that the half rest in its default position will make people play the whole note as if it's a half note instead. Left the stems as-is since the 32nd-note stem direction is what Musescore defaults to and the dotted quarter-note stem looked wrong when pointing up instead of down.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m20 I'd personally write the fall as a gliss extending to beat 1 of measure 21

Listened to that measure more and found the falls(/glissandos?) actually jumped higher again in Beat 4 of Bar 20.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m25 RH beat 2.5 lower note sounds like Eb; beat 3 I think it would be better to change the D to C

Good ear for both of those notes. I changed them accordingly.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m31 RH I don't think this is feasibly playable

Tried playing that passage in thirds and it's a little beyond my skill level, so I removed the inner voice for playability's sake.

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m35-38 LH I think it would be nice if you wrote out the guitar rhythm for one of the A's while keeping the other sustained

Listened to that passage yet again in the original and, as far as I can tell, those low guitar(/bass?) notes in the original really are sustained and are not playing a shorter (e.g. quarter note) rhythm. Are you confusing the low guitar notes with the voices on top (which echo like crazy, which is more apparent at slower speeds)?

Quote from: Zeila on July 27, 2021, 02:50:53 PM

• m43-46/51-54 LH why did you exclude the 5ths here?

I just plain don't hear the 5ths there at all, even at slower speeds, unlike the 5ths in the F sharp minor(/major?) solo sections.

This is my first piano transcription of an orchestral video game theme (that I did completely by ear) - I finally got brave enough!

Several of the notes in this piece may not be accurate (thankfully mostly accompaniment notes). In particular, I am quite unsatisfied with Bars 65-71, as I drastically moved around accompaniment parts in my quest to keep the lowest notes and the sung melody while trying to keep the section remotely playable. I also messed around with the left hand of Bars 31-45 to keep the lowest notes and the highest mid notes of the accompaniment and keep a quarter-note pulse (the pulse is less clear in the original there), and I fleshed out the right hand of Bars 47-62 after finding previous versions too empty.

My goal is to keep this transcription playable by an accomplished pianist without too many difficulties - my aim is to keep this transcription about as difficult as my "Sullied Grace" one and prevent it from becoming as difficult as my transcriptions of Meta Knight's (Kirby Super Star) and/or Morpho Knight's (Kirby Star Allies) themes (cross-rhythms in Meta Knight's theme are hell; the extreme, fast leaps in Morpho Knight's theme are ones I may want to take back). I can actually pull off the extreme leaps in this transcription of "The Raging Lion Roars" at close to full speed, but not accurately.

Yeah, I'll need some help for this piano transcription, too:

I already had to adjust the lowest notes of Bars 70-76 upwards due to being out of the piano's range in the original(!). I'm not completely confident in the chord contents of this entire transcription, while passages of running 16th notes or faster, along with the lowest right-hand notes, may not be completely accurate. Some left-hand parts have been adjusted from the original in order to make them more interesting (mainly changing straight 8th notes on the same note into broken octaves). Some high notes have been omitted, and the occasional notes corresponding to drum beats have been added.

Why do I keep needing help for my piano transcriptions? Maybe it's the repertoire I'm arranging?

The right hand of this theme was actually fairly easy to transcribe (as long as I purposefully didn't transcribe the quieter, often higher accompaniment parts). The left hand was not. The left hand of Bars 46-53 were particularly rough to transcribe because the ostinato (both versions) no longer reliably plays there. That's where I need some of the most help (I used YouTube at 25% speed, 3 videos, and a bit of guessing there). The chords in Bars 24-25 also may not be completely accurate. Bars 1-2 and the right hand of Bar 13 were purposefully simplified from the original, though, and accompaniment lines were moved around octave-wise (and notes were added for drum beats, etc.).

It's a good thing I made it to the end of the post-game by the time you posted this, but I wasn't quick enough for the "The Raging Lion Roars". I'd better take advantage of my free time today and finally finish off the game.

Quote from: Maelstrom on July 09, 2014, 10:20:34 AMBeneath the Duchy's Banner (Bravely Default) should be up sometime later this week.

Quote from: Dekkadeci on February 17, 2019, 01:56:47 PMI know this quote is from 2014, but did you ever finish your arrangement of "Beneath the Duchy's Banner"? I was just starting to consider transcribing this piece, but after seeing that you were nearly done your arrangement, I figured I'd rather listen to yours instead.

Quote from: Maelstrom on February 18, 2019, 05:18:36 AMI did not. About halfway through the piece, younger me realized that the song was not in 4/4 and didn't feel like changing everything from triplets. If you want it, go ahead.

It's been far too long.

I'm using the name of this theme according to the Bravely Default: Flying Fairy Original Soundtrack (https://vgmdb.net/album/33726), which notably does not match names that may be better-known to fans, such as "Below the Duchy's Banner", "Under the Duchy's Banner", and "Beneath the Duchy's Banner". Which name set should we use?

I outright modified the right hand of the second half of Bar 28 from the original to keep both the sustained high F in the melody and the organ-note pulse in the right hand. In other places, chord voicings and octave positions of musical lines may not match the original (especially in the F sharp minor section), the left hand of Bars 39-40 and Bars 47-50 were quite hard to hear and may be especially inaccurate, some high notes have been omitted, and some notes have been added that correspond to drum beats.

This is probably the easiest-to-play piano transcription of video game music I've done all calendar year, hah. Rough drafts of this were reasonably doable on the piano at close to full speed.

I'd appreciate help for this one, too.

This transcription - or at least the current version of it - has one of the toughest left-hand parts I've ever put in a transcription in Bars 8-22. I'm barely able to play it myself at full speed, and inaccurately at that. Wondering what the best compromise for that section really is, since I still want to keep the lower melody that comes from Bars 1-8, and putting it one octave lower didn't sound that attractive when I tested that...

Beats 3-3.5 of the bassline of Bar 58 were simplified (there are 4 repeated 16th notes in a row there in the original). The quietest (and often highest) accompaniment lines have also been omitted in places (notable examples - the G minor and C sharp minor sections). Some notes have been added that correspond to drum beats, the bassline may be sketchy in places, some accompaniment notes have been moved around octave-wise...

This is my first transcription of a song with lyrics!

I simplified all the glissandos in the original to 16th-note runs because I found those glissandos pretty hard to play and pretty unconvincing at the piano. I also skipped some accompaniment notes (generally ones more noticeable in the all-instrumental "strings" version of this boss theme than in this version with lyrics) and added some notes corresponding to drum beats. Accompaniment notes may have had their octave positions adjusted.

Hey neat, my second ever F-Zero piano transcription!

I still ended up simplifying the right-hand part of Bars 54-61 and pretty much any measure with 32nd notes in Beats 4-4.5 only, omitting some high notes, moving some accompaniment notes around octave-wise to make them easier to play, and adding some other notes that correspond to drum beats.

Note that the only differences music-wise between Bars 10-17 and Bars 54-61 in the original are the presence of a high part and the (slightly different) drumming in the later passage - thus Bars 1-17 being for the left hand only. (Bars 1-19 always somehow have no really low notes in the original, anyway.)