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Ah yes, the one from the performance event! Nice piece ;3

-m7 and 17: I hear an A in the R.H. below the C on beat 2.5 (not quite sure though), and a D below the A in beat 3.5 (a little bit more sure about this one)
-m18: I hear a Bn in the R.H. too on beat 2. I also wonder if F# in beat 1.5 might make more sense than Gb, because of the leading-tone to G expectation that gets subverted. Keeping it as Gb is fine too though ^^
-m29: It's a bit hard to hear but it feels like there's a Bb on beat 2 in the L.H. too (which would mirror m26 pretty well too)
-m30: I hear a D on the bottom of beat 1.5 R.H. too
-m35: Is there a specific reason you wrote the lower counter melody in the R.H.? It's probably easier to play it with the L.H.
-m37: I think I hear the Bb and D restruck on beat 2 too, together with the En
-m39: I think the R.H. just plays single notes in beat 2.5-3.5 (the top notes), other tones might be overtones or stuff tricking the ear
-m44: Maybe you could add a fermata or caesura at the end of this bar? There's quite a long pause and even a pedal switch before ending on the last chord.

i love playing this song lol, the chords are so satisfying

In places where the R.H. doesn't have anything to do (like m1-6) I know it's possible for it to play the missing F5's on beat 2, but I left them out for consistency. There are a lot of small notes which are all optional to play.

• m1 beat 1: The Ab sounds an octave lower, the En an octave higher
• m2: The LH Ab sounds like a Bb

Fixed these!

• m3-4: I think this can be easily played if distributed between hands, no need to make these notes optional

In m3 beat 4 to beat 4.5, both hands need to jump down about two octaves to reach the C's, which is possible but definitely on the harder side. Also, the arrangement doesn't necessarily need this voice, and it only appears in this part in the sheet. Since it's possible I didn't wanna exclude them per se, but wanted to notate that they're not needed to play the sheet.

• m5-6: I think the line starting on beat 3 in the LH can be kept to its original pitches
• m8: same comment as m5-6

Aren't they already in their original pitches? Moving them an octave lower sounds like it's too low,

• m7: The 'optional' C can be left out imo, there are 2 Cs in the LH that make up for it in sound

Good point! I left the one that wasn't optional in in m9, as it's easier to get to and also to mirror m17.

• Was the pizz. strings harmony omitted intentionally? I think it could make a nice addition, especially in the second measures of the pattern, where the RH doesnt have as much to do

The harmony gets in the way of the clarinet parts, which I especially wanted to let ring to contrast the staccatoness of the main themes. Also, assuming you meant the L.H. in the second measures, I found it nice to have the L.H. take a little break of the pattern in the main themes haha

• m13-14: You could include the full harmony in the lower RH layer

Tbh I might just have missed the lower harmony haha, it's pretty quiet but I can hear it. I added it in the L.H. though, as the R.H. can't really comfortably hold the low C when going to the high Eb

• m26: beat 3.5 RH sounds like an eighth note

I think you're right yeah (similarly in m34 I think), but it feels like the extra pedalling required to make sure the note doesn't ring feels a bit weird for such a small effect (and it gives the L.H. less time to jump up to the high E afterwards :p)

• m37: beat 3.5 I hear E5

That seems to be part of a different voice (the rising woob woob voice that's the same as the small notes in m3-4), which I chose to exclude here.

• m28: I think including the 2nd on beat 4 would add more character, in the original its quite distinct as well
• m37: The key sig is a little close to the barline, could it be moved slightly left? The DS should be right-aligned to the barline as well

Fixed these!

[accept]

Great, I can accept!

[accept]

Alrighty, I can accept!

[accepted]

Nothing more from me either, accepted!

-m8: Very nits being picked, but maybe you could put the R.H. bottom D-G in a separate layer as whole notes, as those still ring one to the end of the bar but the top C doesn't? (don't forget the fermate too then)
-m55: Though maybe a bit weird looking, the Ab in the R.H. should be G# (chord is E7b9 but with an additional spicy b13 which is the C)
-m82: I hear the A-F in the R.H. rolled (so with wavy line)
-m94: I hear a very high G in the R.H. here (pretty soft though)

That's all though, very nice work and nice piece!

About slur placements: I don't usually see slurs going over rests in piano music. Usually slurs mean playing passages legato, as well as them being used as phrasing marks. Maybe for the vibraphone parts you could put the first four and second four notes in two separate slurs, and just leave the slur out for the staccato countermelodies:
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In m9-16, slurs seem to switch voices between their starting and ending points (for example, m9 starts on the upper melody voice, but ends in m10 on the lower harmony voice). I think it'd make more sense to notate the slurs over only the melody voice, and if you specifically wanna note that the last two notes in the harmony voice should be legato, you could add a second slur to them? Like this:
You cannot view this attachment.

About the horizontal offset in m13 and 15, I actually do usually move the up-stemmed notes a bit to the right so they don't clash with each other. In this example it's not too crazy, but moving just a few ticks to the right doesn't impact readability that much, so I don't mind making that edit for you if you want ^^

A few other tiny things:
-m10 and 14: When there's no second layer above or below the notes (like in beats 1-2.5 here), staccatos should go on the notehead side of the notes.
-m12: I hear a low F on beat 4 in the bass

Just a few tiny things left, but everything else looks good!
-In m16, maybe you could add some text saying L.H. for the bottom voice in the R.H. at beat 3, just to make sure it's clear the L.H. should take this?
-m23: I hear the chord on beat 3 staccato instead of tenuto
-m27: Maybe you could move the bottom En in the R.H. to the L.H. too, it's easier for the L.H. to play after m26

Very nice work, just a few small things I noticed:
-m4: I hear a grace note D after the C grace note too
-m22: If you want, you could notate in some way that the player can play the R.H. F-Bb dyad in beat 3 with the L.H., seems a bit easier than to jump around with the R.H. ^^
-m30: I don't explicitly hear the R.H. Eb in beat 2.5, I think it's an F in another voice?
-m58: I can kinda hear an F on beat 3, but listening to the bar itself it sounds like beat 3 is supposed to be an Ab major chord in some way, or at least also an Ab on the bottom (I think I hear Ab-C-Ab in the electric piano)
-m60: I hear a Bb on beat 4 in the L.H. (Bb below middle C)

do you have any thoughts on adding a courtesy key change indication for F major at the end of m37? For when the performer goes back to m3. Maybe that's overkill considering the key is listed just a bit to the left when the performer repeats, but a closing thought.

I added one! Seems I forgot to this time, I usually wanna make sure D.S.'s have cautionary time signature changes too.

I thought MaestroTimes was the notefont for the tempo marking, and Times New Roman for BPM value?

(moved this to the updater discord for now)

• m5, m26 RH I hear an En on 1.0 only. I don't think the B# is actually present on 1.0 here as well, the horn seems to go from Eb's in m3-4 for example to an En on m5 1.0, and then B# as you have it for 2.0 and so on. Let me know if you can hear the same or if further explanation would help.

Huh, it seems you're right yeah, the E is a bit harder to hear but I can definitely hear that the B# is not there. I wonder why they've decided on that.

• m73 RH 2nd layer I think Fn would work slightly better instead of Eb, given this chord is F minor?

Fixed this as well!

[approve]

I hear the F# on beat 4, if that's what you meant. Beat 4 I still hear A though

Oh yeah, beat 4 instead of 3, my bad! I do think I hear the A on beat 4.5, but it's kinda weird, I think the attack of the plectrum hitting the guitar makes it sound like a lower D at first, or the sound of the sound of the D, A and F# ringing on automatically filling in a nonexistent lower D because they're all harmonics of that D.

I still hear the F# strike on beat 2, I think.

Ah I think the F# I'm hearing is in the guitar, which is just befrore beat 2 in a rolled chord as well as beat 2.5. Now that I listen to the bar again I'm hearing some more guitar stuff in beat 3.5-4.5, but I'm assuming you wanted to focus on the strings in this bar? Everything else looks good though, so I'll approve either way whether you wanna keep this bar as is or not ^^

The m3-m6 part kinda reminds me of some of Bernard Hermann's music from Psycho

I hear the resemblance yeah, haha

• Note font and tempo marking seem to be from an older template

I don't think they are? They are Finale's standard music and text font, EngraverTextT 12 regular.

• m16 and 18 RH 1.5 - you could add a Bn grace to the Cn, I hear a very subtle one taking place here but will leave it up to you
• m27 LH you could have same percussive roll like m6 4.5 and 4.75

Did both of these!

• m36 3.5 LH not hearing an En here?

Did you mean m35? There's no En in m36's L.H. on 3.5. In m35, that's an Eb, which is part of the low string accents (like in m34)

• m49 RH 3.0 hearing Bb instead of Db in this cluster
• m50-51, m54-55, m57-59 RH hearing this a bit different - Dn instead of F# (1.0, 2.0, 3.5)
• m60-61 RH also hearing this different - For every 8th note I hear Fn and Gb, but for 1.0, 2.0, and 3.5 I hear Bb (above Fn and Gb).
• m74 LH 3.0 I hear this up an octave[/quote]
Fixed all of these!

And if I'm not mistaken, those beats are the only pitches in m61 (no notes on 1.5, 2.5 and so on)?

I can hear them but veeery faintly, they get a bit drowned out by the brass.

Reuploaded the files!

Gotcha - I would do the top note for these parts if you were to only have one pitch instead of two because I think it would be better to have an additional different pitch (considering LH is playing Cn for example already at m9), and it also is slightly easier if you were trying to hold an upper layer note.

Good point! That made me actually un-shrink those notes except for the C haha. I noticed the extra Eb is in m5 as well btw, so I added one there too.

• m18 LH 3.0 and 3.5 hearing this as Bn followed by Dn

Fixed this one!

• m35 Would the G#'s not be Ab as well like m36?

Technically it could be yeah, but harmonically the chord in m35 is an E augmented (or I guess C+/E) chord, that you'd expect to resolve back to Am (G# as leading tone to A). But m36-37, like m1-2, is a C augmented (or Ab+/C) chord that resolves back to Fm instead (En as leading tone to F, Ab being a note in the key of Fm). It did feel weird to have both Ab and G# in these 3 measures, but G# made more sense in m35 (mostly because of the thirds in beat 2 r.h. and beat 4 l.h.), and Ab more sense in m36-37 (resolving back to Fm, also the melody going C-Bb-Ab in m37).