Whenever I transcribe video game music for piano, if it comes from more than one video game, I tend to transcribe multiple versions in the same arrangement. This is no exception.

Bars 1-22 are from Kirby and the Amazing Mirror.
Bars 23-40 are from Kirby: Triple Deluxe.

...Alright, I moved the long trumpet chords in the Triple Deluxe version an octave up from where they should be.

If you don't like the 8th-note triplet runs in Bars 19 and 37, you don't have to play them.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 41-45 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Whenever I transcribe video game music for piano, if it comes from more than one video game, I tend to transcribe multiple versions in the same arrangement. This is no exception.

Bars 1-37 are from Kirby's Return to Dream Land.
Bars 38-70 are from Kirby Super Star Ultra.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 71-81 are an ending I semi-improvised.

My goal for this transcription is 100% melodic accuracy. I'm amazed that none, yes, NONE of the remixes I've heard nail the tune. Jonny Atma of GaMetal fame got this close to nailing the solo in 2015, but he still put in a drum fill instead of playing the actual end of the loop (Bars 34-37, Bars 67-70). Remixes just get more inaccurate from there--as good as it is, iR2-X's version sounds like a fantasia on the original theme.

...OK, this version has different octave voicing in some places from the original tunes. This is for arrangement reasons. (So I only seek 100% melodic pitch class accuracy.) Also, harmonic and accompaniment accuracy may have gone out the window.

I finished this before Kirby: Planet Robobot came out. I suspect its version requires 2 pianists. (Compromises have already been made in this version.)

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

I was listening to my favourite music, and then I started wondering: Why gripe that piano transcriptions of my favourite video game music tracks don't exist when I can gripe that piano transcriptions of my favourite century-plus-year-old marches don't exist?

When piano transcriptions don't exist, I make my own.

Thank goodness https://www.bandmusicpdf.org/instormandsunshine has the complete sheet music for this march from 1905. I used it as my main resource for this concert paraphrase.

All repeats are written out. First repeats aim to be faithful (enough) piano transcriptions of John Clifford Heed's "In Storm and Sunshine". Second repeats aim to be virtuoso slight variations, reminiscent of other published concert paraphrases.

The default playback speed of this version is, admittedly, incredibly fast. This is because the first version of this march I listened to was from the CD called "Screamers", and screamers are rapid circus marches. Unfortunately, I believe my default playback speed is faster than any version of the march I've listened too, including the "Screamers" version. Oh well--at least I've listened to a version by the US Navy Band that's around 3 minutes long and still sounds great! (You can definitely play this march significantly slower than the indicated tempo marking.)

Because I cannot take credit for composing the tune, but J. C. Heed's works have fallen into the public domain, I am using the CC0 license. Feel free to do nigh-anything you want with this!

It's a piano transcription of Helix6's Archetype, published in Newgrounds and used in Castle Crashers (as its arena theme) and Thing-Thing Arena 2!

...Wow, I don't remember the piece being this harmonically repetitive before starting this. I only used 3 chords in this transcription: C# minor, G (minor? power?), and F# minor.

Because the Newgrounds original ends conclusively, there is no semi-improvised ending on this transcription.

According, to http://www.newgrounds.com/audio/listen/21749, the Newgrounds original has a non-commercial license on it, so this does, too.

Falsion is somewhere in the realm of obscure 8-bit video games. It 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.

This is the Level 1 theme of the game Falsion. The remix of this theme in https://www.youtube.com/watch?v=-boO95mNhOQ (which is not by me) misspells the name (possibly intentionally) as "The First Space Fight", which is incorrect.

Although I was lucky enough to get the full audio file for this game in http://www.zophar.net/music/nsf/falsion.html, I had to change the octave voicing of several accompaniment lines because they were either otherwise unplayable or they were above the melody. You have been warned.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 43-51 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

It's the Revenge of Meta Knight ending theme. It's also called "Friends and Sun", "Sundown and Friends", "My Friend and the Setting Sun", "Meta Knight Defeated"...sheesh, that's too many names for the Kirby Super Star version of the song already.

I'm lucky enough that several games' versions of this song sound basically the same (barring instrumentation), so I don't need to transcribe multiple versions into this arrangement.

The Kirby: Planet Robobot version has a slightly different introduction and different octave voicing, which is why it is not in the tags. By the way, I hate how that game treats this theme--"Meta Knight Defeated" sounds entirely inappropriate as Meta Knight's level clear theme, and any version or clone of King Dedede should honestly be using the Revenge of the King ending theme instead of this. (The Revenge of the King ending theme sounds like this one but incorporates King Dedede's theme.)

If you're wondering where all the dotted sixteenth notes come from, I've checked the version of the Revenge of Meta Knight ending theme in http://vgmisbadforyou.blogspot.ca/2013/03/kirby-super-star-introduction-rhythm.html ...and you know what? Its arranger is correct--if this were written in 4/4 time, those really would be sixteenth notes. (I had to verify all the notes by ear.)

This has a purposefully thinner texture than the full song--I can actually play this at full speed with almost no mistakes!

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 19-32 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

The first level of Kirby: Squeak Squad, Prism Plains, gets a typically chipper C-major theme that I have transcribed here. This is actually an extended remix of the Grass Land 3 theme from Kirby's Dream Land 3.

Like its much more famous brother, Green Greens, this theme has a surprising darkness as it veers towards C minor. Unlike Green Greens, this cleverly hides spicy augmented chords that play a dominant-like role. (I've listened to several remixes of this theme, and their arrangers typically substitute dominant chords for the distinguishing augmented chords. Unfortunately, as the Grass Land 3 theme does not contain augmented chords, this makes those remixes sound less like the Prism Plains theme, even if they adapt the C minor portion.)

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 34-45 are an ending I semi-improvised. Yes, my endings do tend to be based on the original themes and often quote significant portions of them.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

(As an aside, I've noticed many things in common among Kirby themes: first-level themes tend to be in the simple C major, while boss themes tend to be in A minor (its relative minor) and/or C minor (its tonic minor). I like how HAL Laboratory has been branching out in its latest such themes (Kirby's Return to Dream Land got a F major first-level theme, a F minor regular boss theme, and a final boss theme that prominently uses F minor, while Kirby: Triple Deluxe and Kirby: Planet Robobot both have at least one final boss theme in G minor). However, HAL Laboratory still falls into those stereotypes repeatedly (Kirby's Return to Dream Land also has a final boss theme in A minor, the only final boss theme in Kirby: Triple Deluxe that does not quote any other themes is in A minor, and Kirby: Planet Robobot has one final boss theme in A minor and another in C minor).)

APPROVED BY OMMAIGADD

As of the time this was published, OMMAIGADD's Elysian Quest OST Track #6, "Dangerous Enemy", is my favourite boss theme originally published in Musescore. You can listen to its current version in https://musescore.com/user/298801/scores/2688596 (the link might be broken, especially if you're reading this years after this was published). It didn't take long before I made a piano transcription of it and asked his permission to publish it.

OMMAIGADD left behind acknowledgement that I successfully got permission to publish this piano transcription of his boss theme in https://musescore.com/user/9996931/scores/2736791#comment-2890156. (This link had better not break.)

This transcription is based on an earlier version of "Dangerous Enemy", so if you're not hearing the same melody/countermelody lines emphasized here as in the current version of his boss theme, that would be why.

All small notes should be played significantly more quietly than the other notes in their passages.

Some accompaniment lines have been shifted up an octave to make them more playable. Percussion breaks have been assigned piano notes.

Unlike most of my other transcriptions, this does not end with material I semi-improvised. The end of the loop may sound a bit abrupt.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them. If you want permission to use and/or modify this in any way, please consult OMMAIGADD instead of me.

While not among my favourite pieces, Chopin's Prelude in C minor among his Op. 28 is a powerful piece and worthy of its fame.

This band arrangement was made for "The Group for ALL the Composers"'s "THE NEXT CONTEST...", which you can read about in https://musescore.com/groups/the/discuss/2539871. If you're wondering why there are no percussion parts, nothing for the tenor sax, and nothing for the tuba despite sounding an awful lot like a full concert band arrangement, that would be why.

A few liberties were taken in the creation of this arrangement. The lowest notes had to be removed because none of the instruments could play them. Much of the flute part is one octave higher than Chopin's written music. Some other notes may have their octave voicings changed. The dynamics have been made less ambiguous. Tempo markings have arguably been added (I've seen versions of this piece with one ritenuto and versions with two).

Because I cannot take credit for composing the tune, but Chopin's works have fallen into the public domain, I am using the CC0 license. Feel free to do nigh-anything you want with this!

This theme plays during the pre-Final Four battles of Kirby Super Star Ultra's True Arena mode. While it sounds rather similar to the Arena theme of the original Kirby Super Star, this version stays in A minor instead of inflecting towards A major and contains some different melodies.

This piece is rarely remixed, so I figured I'd transcribe it...then found out why people avoid remixing it for the most part. This was hell to transcribe 100% accurately--probably the second hardest piece I've tried to transcribe (in some ways, Meta Knight's theme is still worse)--and I give up there. I still have my doubts that the melody is completely rhythmically accurate, and I selectively omit certain parts of the accompaniment and Bars 1-9. (I expose different musical lines between Bars 2-5 and Bars 6-9.)

This theme does come back in Kirby: Triple Deluxe, but the rhythmic accompaniment is sort of different that time around, which is why it is not in the tags.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 49-67 are an ending I semi-improvised...

...although, if you're observant enough, you'll notice that this theme and Galacta Knight's theme have several things in common. They both are in A minor, they both use some of the same rhythmic motifs, they both have similar instrumentation (the Kirby Super Star Ultra ones have matching sound fonts, while Galacta Knight's theme in Kirby's Return to Dream Land and the True Arena theme in Kirby: Triple Deluxe have matching sound fonts), and they both are rather heavy metal (the True Arena theme does trend towards a grungier sound, while Galacta Knight's theme has been compared to death metal by arrangers such as Jonny Atma and mXenon). This is why I quote the introduction to the Kirby's Return to Dream Land version of Galacta Knight's theme in Bars 66-67.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

(I've found only ONE remix of this song so far (that's not from a Kirby game) in https://www.youtube.com/watch?v=-I2uWUbWZCs. Yeah, I don't write for Salvation By Faith Records.)

Like many other people, I was first exposed to Real Faction's music through listening to the Castle Crashers soundtrack. Waterflame's composed some of the coolest music there, and I'm a big fan of his "The Race Around the World" (and several of his songs that aren't in Castle Crashers), but Real Faction is underrated, IMO.

This is a transcription of one of my favourite Real Faction pieces. The original is a looped chiptune that can be used as ambient music for video games.

Whenever I listen to the looped version of this song, I don't hear the starting G# again, so I've dropped it from the start of this transcription.

Bars 13-14 were an utter pain to transcribe, but I'm fairly confident that the rest of this piece is 100% correct notes-wise. I used my absolute pitch to transcribe every single note in Real Faction's original piece. Being 8-bit with 3 music channels and no noise channel helped.

Unlike most of my other transcriptions, this does not end with material I semi-improvised. The end of the loop may sound a bit abrupt.

According to http://www.newgrounds.com/audio/listen/595823, the Newgrounds original has a non-commercial license on it, so this does, too.

(Like Real Faction? Check out his YouTube channel at https://www.youtube.com/channel/UC6Y60MxG16TfqSGBIQ6gBgQ and his Newgrounds account at http://realfaction.newgrounds.com/! He'll even write music you request at Flareheart Studio at https://flareheartstudio.com/! Hey, seems like I'm supposed to link to his media accounts whenever I publish his stuff...)

It's a piano transcription of Real Faction's Simple Sight, published in Newgrounds, put in the Piercing Lazer album, and rocketed to stardom with its use in Castle Crashers as the Necromancer's theme!

How this piece didn't already have a transcription on Musescore before this was published is beyond me...

Transcribing this was trickier than I initially thought due to its high levels of distortion and fuzzy timbres. (It still wasn't anywhere near as tricky as some of the other stuff I've transcribed, though.) I hear the F flats in the starting melody only some of the time through some speakers nowadays. I'm not completely confident about a couple of the harmonies.

Simple Sight is in verse-chorus form (there's even a version of this piece floating around with lyrics!). I varied the accompaniments and textures each time the verse or chorus returned to increase variety and keep up interest. No doubt that makes this more of an arrangement than a stricter transcription would, though.

Because the Newgrounds original ends conclusively, there is no semi-improvised ending on this transcription.

According to http://www.newgrounds.com/audio/listen/120136, the Newgrounds original has a non-commercial license on it, so this does, too.

(Like Real Faction? Check out his YouTube channel at https://www.youtube.com/channel/UC6Y60MxG16TfqSGBIQ6gBgQ and his Newgrounds account at http://realfaction.newgrounds.com/! He'll even write music you request at Flareheart Studio at https://flareheartstudio.com/! Hey, seems like I'm supposed to link to his media accounts whenever I publish his stuff...)

(Structure, reverse-engineered from analysis: Intro (based on verse part A)-Verse Part A-Verse Part B-Chorus-Verse Part A-Verse Part B-Chorus-Verse Part B-Chorus-Verse Part B-Interlude (based on accompaniment of chorus)-Chorus-Verse Part B)

I like marches. I like marches in video game music. It's probably no accident that I like this majestic, march-like Shovel Knight piece.

You can get the entire soundtrack of Shovel Knight in .nsf form from https://dl.dropboxusercontent.com/u/56073318/Famitracker/Other%20Songs/Shovel_Knight_Music.nsf, and you can read it as a form of sheet music with NSF Importer, so if everyone's transcriptions look and sound similar, that would be why.

I had to move the octave voicings of various harmonic lines, then I trimmed some of the notes to make this transcription more playable.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 20-29 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

It's Meta Knight's battle theme from Kirby Super Star!

...Not Kirby Super Star Ultra (which is why that game is not in the tags)--that one has one more melody note in Bars 18-19, the fast treble figure in Bars 1-4 coming back in Bars 20-23, and a different treble flare in Bar 31. (By the way, I skipped the treble flare in Bar 31 of my transcription because I couldn't make it sound good.)

Ideally, the goal of this transcription is 100% rhythmic accuracy, especially in Bars 24-33. However, I couldn't make a nonuplet that crossed bars, and maybe the current situation in Bars 18-19 is more readable.

By the way, Bars 24-33 were absolutely hellish to transcribe. Getting them 100% melodically accurate was somewhat easy. Getting them 100% rhythmically accurate...I'm still not sure I've done this. If you've found more accurate rhythms for that section, please put that in the comments and I'll correct this!

I also moved the lowest C's in the left hand of Bars 13-18 up an octave and cut off the glissando in Bar 33 just before the last bass note so this transcription would be more playable.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 34-50 are an ending I semi-improvised.

This theme does come back in Kirby: Planet Robobot, but that version comes with an introduction. The Kirby's Epic Yarn version is even more different, and so on...

...and this isn't the only theme that Meta Knight's fought to. Regular boss themes, even King Dedede's theme in Kirby: Squeak Squad (that one I'm not sure why)...and the latest such theme is a remix of the Revenge of Meta Knight ending theme. Hopefully that remix doesn't replace this theme permanently.

Oh well, as a boss, at least he hasn't had the embarrassment of fighting to his opponents' themes...yet.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Hah, I finally managed to get to a Kirby series knight theme before it got remixed in a game.

As of the day of publication, the latest Kirby game is Kirby Star Allies, and Morpho Knight debuts in that game.

Ideally, my goal for this transcription is 100% melodic and harmonic accuracy (within limits--I dropped out the quietest instruments throughout, and I left out the high notes in Bar 5 because I don't think most people can manage that leap), but I had significant trouble figuring out several of the chords and a couple of the slap bass notes. Feel free to correct them and point those out in the comments!

I transcribed the more prominent drum beats as piano notes in Bars 37-44 and Bar 52.

I've tested the hand crossing in Bar 51 on a real piano, and it's completely fine.

Just in case, musical directions above the top staff are for the right hand only, musical directions below the bottom staff are for the left hand only, and musical directions in the middle are for both hands.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 53-65 are an ending I semi-improvised.

If you don't recall hearing this theme despite fighting Morpho Knight multiple times, I'll have to warn you that if you play as any of the DLC characters, music associated with those characters will play instead in this fight.

...Ironically, this means that in the Dark Meta Knight vs. Morpho Knight fight, neither knight's theme will play.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

It's influenced at least 2 of my marches and is likely prepped to influence several more over my lifetime. It's surprisingly harmonically complex, from its diminished chord-filled opening bars, through its striking chromatic mediant use later in the march proper, to its use of secondary dominants in the trio. It has an accessible A-B-A-B'-Coda structure...and a rather pessimistic ending. Yup, I figured I'd better transcribe Edward Elgar's Pomp and Circumstance March No. 3 in C Minor, Op. 39.

As of the day this was published, you'd have to pay for a piano transcription of this excellent march. No. At this point, I'm transcribing my own instead.

This is mainly based on the Royal Scottish National Orchestra interpretation, the first one I ever listened to fully (listen to it in https://www.youtube.com/watch?v=XIKaWwmS9hY - it might end up disappearing some day, though), although I did take some other interpretations into account while writing this.

As is typical of piano transcriptions of orchestral works, I skipped a lot of notes. This is perhaps the most obvious in Bars 116-123, where I emphasize the fast runs new to the A section instead of the triplet-filled horn part. Throughout, I tended to eliminate the highest and lowest notes.

I simplified away the triplets in Bars 163-170 because I couldn't really hear them in the Royal Scottish National Orchestra interpretation.

This is meant to be played by pianists who can span a 10th--or hopefully an 11th!--in both hands. Feel free to redistribute notes between hands or arpeggiate chords as necessary. Bar 186 might especially need it.

All parts notated "trem." are meant to imitate drum rolls. I only transcribed the most obvious drum rolls in the Royal Scottish National Orchestra interpretation in this way.

The ending tremolo is actually meant to be a 32nd-note tremolo. However, due to how Musescore implements fermatas--it literally slows down the tempo by a certain stretch factor (2.33 times as slow, in this case)--I needed to use a 64th-note tremolo to get the sound of a 32nd-note tremolo.

I've tested Bar 80 on a real piano, and trust me, its use of intersecting hands is completely fine.

Bars 52, 140, and 190 were always pains to transcribe and play, though. I believe they're the most difficult bars of this entire piece to play. I still hope they're possible at full speed.

You might have heard an excerpt of this march in Fantasia 2000...or, just like me, you might not have remembered it.

Because I cannot take credit for composing the tune, but Edward Elgar's works have fallen into the public domain, I am using the CC0 license. Feel free to do nigh-anything you want with this!

Our hero Marth gets attacked by assassins in Fire Emblem: New Mystery of the Emblem, and that's when this theme plays.

It's unexpectedly metal, but maybe that's what happens when you're unexpectedly threatened with your life at stake.

Bars 7-10 notably contain a corrupted quote of a Fire Emblem: New Mystery of the Emblem map theme, "One Who Carves a New History".

I'm not 100% certain about the 16th-note run in Bars 9-10, the high chords in Bars 5-6, or the chords in Bars 20-21 and Bars 25-26. If they're wrong, feel free to correct them and point those out in the comments!

I'm also not fully certain about the tempo change in Bar 18. I put "meno mosso" there so I don't have to nail down my guess at what the actual tempo is in the slowed-down section.

Be aware that I likely changed the octave voicing of several accompaniment parts, though. I also gave drum beats their own notes.

Whenever you see collided notes, play them again.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 29-41 are an ending I semi-improvised. Yes, my endings do tend to be based on the original themes and often quote significant portions of them.

This might be my last transcription for the month--I decided that this October would be Transcription October, where I release nothing but transcriptions! Consider this my early way of celebrating Halloween this year.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Just before battling Dark Meta Knight in Kirby & the Amazing Mirror after his disguise is blown, this theme plays. I've found it online by too many titles--"Dark Meta Knight Battle Intro", "Dark Meta Knight Appears", "Dark Meta Knight Battle Encounter"...I'm going with the only name I've seen twice for this sheet music.

This introduction doesn't last long: it's only 4 bars before it loops!

I transcribed some of the drum beats as piano notes, as this theme loses some of its momentum otherwise.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 5-6 are an ending I semi-improvised. This time, I meant it to plausibly segue into Dark Meta Knight's battle theme.

Unusually, this actually gets remixed in a later Kirby game! ...Team Kirby Clash Deluxe, in fact. It gets remixed and extended substantially as incidental music while plot-related text goes by. You might know that version better as "Approaching Dark Taranza".

This blatantly rips off Meta Knight's theme from Kirby Super Star--thus my composers' credits combining both Kirby & the Amazing Mirror's and Kirby Super Star's composers. Dark Meta Knight tries so hard to musically disguise himself as Meta Knight...but he still kinda fails, as this is in 4/4 time and Meta Knight's theme is in quintuple meter.

Hironobu Inagaki and Atsuyoshi Isemura arguably made a smart choice by having Dark Meta Knight's battle theme NOT sound like Meta Knight's battle theme at all. That's bound to raise the confusion until you get his mask off him.

YouTube comments on videos containing this intro theme consistently indicate that this prominently resembles Galacta Knight's theme. I personally blame their common use of 4/4 time and their similar chord progressions and positions. Admittedly, the Kirby series knights may all be sharing that chord progression for a reason.

And based on their use of a common source, I believe that any resemblance this has to Morpho Knight's theme is NOT coincidence.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

With such a steady and relentless start, I've always thought that Edward Elgar's Pomp and Circumstance March No. 2 in A Minor, Op. 39 sounds remarkably like video game music. Being harmonically complex, just like the other Pomp and Circumstance marches (check out the A flat major chords in Bar 8!), helps its case.

And since we'd otherwise have to pay for a piano transcription of this excellent public-domain march, why not transcribe it myself?

This is mainly based on the Royal Scottish National Orchestra interpretation, the first one I ever listened to fully, although I did take some other interpretations into account while writing this.

As is typical of piano transcriptions of orchestral works, I skipped a lot of notes. Throughout, I tended to eliminate the highest and lowest notes. I also cut out plenty of inner voices, often to lend an airier texture to the work. ...And often to make the 16th-note runs easier to play.

This is meant to be played by pianists who can span a 10th in both hands. Feel free to cut notes as necessary if you've got smaller hands like me. Also feel free to cut notes at some of the fastest transitions, such as Bars 109-110 and Bars 137-138.

All parts notated "trem." are meant to imitate drum rolls. I only transcribed the most obvious drum rolls in the Royal Scottish National Orchestra interpretation in this way.

The ending tremolo is actually meant to be a 32nd-note tremolo. However, due to how Musescore implements fermatas--it literally slows down the tempo by a certain stretch factor (2.25 times as slow, in this case)--I needed to use a 64th-note tremolo to get the sound of a 32nd-note tremolo.

I ditched the accents in Bars 158-159 because I couldn't make them sound good on Musescore.

Whenever you see collided notes, strike them again.

You might have heard an excerpt of this march in Fantasia 2000...or, just like me, you might not have remembered it.

Because I cannot take credit for composing the tune, but Edward Elgar's works have fallen into the public domain, I am using the CC0 license. Feel free to do nigh-anything you want with this!

"Swing your partner 'round and 'round! Take heavy fire and collapse to the ground!"
- Team Fortress 2's Love and War Day 1 Preview, regarding the Square Dance taunt

Somehow, that line still cracks me up every time I read it.

And, somehow, I like the taunt music in Team Fortress 2 better than the rest of its music. Kazotsky Kick/Soldier of Dance is my favourite, but the Square Dance is also pretty decent.

The Square Dance taunt's music is split into 3 sections according to https://wiki.teamfortress.com/wiki/Square_Dance , so I split my transcription accordingly. All sections either get abruptly cut off or end conclusively in-game, so there are no semi-improvised endings this time.

All the pickup bars' tempos are approximate. The rest of the tempo indications are less approximate.

The last D in Bar 1 is supposed to be tied, but I couldn't figure out how to do so without connecting it to the D in Bar 2 (which I do NOT want to do).

I hope I got the speed of the tremolo in the Introduction (Sustained Note Version) correct.

Several of the accompaniment notes in the Reel were pretty hard to catch, and I hope I got them right, too!

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Doesn't Edward Elgar's Pomp and Circumstance March No. 4 in G Major, Op. 39 sound the most Christmassy of the five? It's also likely the most harmonically conservative, although there are some strange chord progressions in Bars 42-44.

You can actually get another piano transcription of this excellent march online for free, although you'd need to create an account for the website that distributes it. At least you can take screenshots of this and print them out if you're truly desperate for this score without creating a Musescore account...

Of all the Pomp and Circumstance marches, this is the one that resembles the famous Pomp and Circumstance March No. 1 in D Major the most. Like the 1st march, this has a cantabile trio. Heck, this march's trio has acquired multiple sets of lyrics: it's sung to the words of "The King's Way" and "Song of Liberty".

This is mainly based on the Royal Scottish National Orchestra interpretation, the first one I ever listened to fully, although I did take some other interpretations into account while writing this.

As is typical of piano transcriptions of orchestral works, I skipped a lot of notes. Throughout, I tended to eliminate the highest and lowest notes. I also eliminated some inner voices, especially the ones I didn't really hear in the Royal Scottish National Orchestra's interpretation of Bars 247-254. Another place where I removed inner voices is Bars 1-8, as Bars 9-16 sound fuller than the previous 8 bars in the original version.

This is meant to be played by pianists who can span an octave in both hands. Feel free to consult the original score and add notes if your hands can span a 10th.

All parts notated "trem." are meant to imitate drum rolls. I only transcribed the most obvious drum rolls in the Royal Scottish National Orchestra interpretation in this way.

The "like a cymbal" notations are for the purposefully non-tied notes in Bars 250 and 254. I removed their ties because I felt that I needed to transcribe some cymbal crashes as piano notes or this march would lose momentum.

You might have heard an excerpt of this march in Fantasia 2000...or, just like me, you might not have remembered it.

Because I cannot take credit for composing the tune, but Edward Elgar's works have fallen into the public domain, I am using the CC0 license. Feel free to do nigh-anything you want with this!

While I'm a sucker for The Wonderful 101's patriotic music, I'm sure the fandom for its soundtrack goes way beyond just me--the Super Smash Bros. 4 games included two of its most famous themes!

...Neither of which are this one, even though this is also in the most popular The Wonderful 101 themes.

Yet, it's hard to find remixes of and even harder to find transcriptions of any of The Wonderful 101's music. Maybe it's because of these themes' full and orchestral nature.

...Yeah, I don't dare try a piano transcription of this beast of a theme right now. I'm having a hard time getting most of the bass notes.

So, this is the start of a series of monophonic transcriptions. These will all be for video game themes I cannot otherwise find sheet music for and that I do not think I can successfully transcribe for solo piano. Most, if not all, of them will be for themes that are rarely remixed. These transcriptions will all be for B♭ clarinet because I played it for a year in school and I figure it's more popular than the bass clarinet (which I played for longer). These transcriptions will be reflective of my singing style--I tend to incorporate accompaniment parts along with the main melody when singing video game themes, and this is especially apparent in Bars 33-34, where I use some of the timpani notes.

In The Wonderful 101, Tables Turn plays as a power-up theme, when you're going to be smoking the opponent. Here's hoping you'll be smoking with this clarinet transcription!

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 50-56 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Queen Sectonia is the final boss of Kirby: Triple Deluxe, and her Phase 1 boss theme is this doozy. Starting off with (vaguely stereotypical) ominous organ music, this introduction lasts for over a minute before rockin' electric guitars kick in. And the theme lasts for over 3 minutes and 30 seconds before it loops.

So yeah, this theme is very percussion-heavy. 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).

This is more of a concert performance edition than some of my other transcriptions, and while Bars 127-133 were sadly transcribed with accuracy in mind instead of playability, Bars 1-8 were transcribed with the pianist in mind. I personally believe that the lengths of the pauses and the precise tempos of the fast notes can be changed around without making this theme sound too unfaithful.

Kirby: Triple Deluxe was released in Japan first, and this theme has gained some infamy under its Japanese name, "Dirty&Beauty". Yes, that's the Japanese using the Roman alphabet in song titles.

The electric guitars (and basses?) get pretty low at times, and I had a hard time figuring out their notes in Bars 65-88. I also had a rough time figuring out the upper parts of Bars 127-133. I'm not quite sure I got any of those parts correct. In particular, I sometimes hear different notes for the last four 16th notes of Bar 131.

I'm also mildly uncertain about the lowest organ notes of Bar 14 and some of the left-hand notes in Bars 49-64.

I've always preferred tremolos in the right hand of Bars 111-126. Don't worry; you don't have to play the tremolos that fast. I personally can only play 16th-note triplets there at fastest.

Whenever you see collided notes, play them again.

I've updated the right hand parts of Bars 17-24 and Bars 49-64 so they're less of a mess.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 135-147 are an ending I semi-improvised.

Queen Sectonia's quite a popular final boss, and a version of this with mildly changed instruments and the introduction chopped off appears in Kirby: Planet Robobot when you fight Queen Sectonia Clone. And Taranza's also caught with a more drastic remix of this theme (and Sectonia's other boss themes) at one point in Kirby Star Allies (Wave 3 DLC)...

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

Distant Traveler first appears in the Kirby series in Kirby's Dream Collection as the Magolor Race EX theme. It next appears in Kirby: Triple Deluxe as the music for the last stage of the rhythm mini-game Dedede's Drum Dash. It promptly gets remixed in Dedede's Drum Dash Deluxe as the credits theme.

Portions of this theme probably require three hands to play on the piano. Ick. Maybe that's why I basically haven't previously seen any transcriptions of this theme before. And maybe its already being a remix of "Magolor the Wayfarer" from Kirby's Return to Dream Land is why I've only heard one remix of this theme that isn't from a Kirby game...

This continues my series of monophonic transcriptions. These will all be for video game themes I cannot otherwise find sheet music for and that I do not think I can successfully transcribe for solo piano. Most, if not all, of them will be for themes that are rarely remixed. These transcriptions will all be for B♭ clarinet because I played it for a year in school and I figure it's more popular than the bass clarinet (which I played for longer). These transcriptions will be reflective of my singing style--I tend to incorporate accompaniment parts along with the main melody when singing video game themes.

There aren't that many accompaniment parts this time, unless you count passages like Bar 14 where they arguably overpower the melody.

The accompaniment(?) 16th notes in Bar 2 were pretty hard to catch, though. I think the Beat 3 16th notes are guesswork based on the Beat 4 ones.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 47-63 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.

The Incredible Machine is the first in a series of computer games where you build Rube Goldberg contraptions to meet certain goals. It features music in a huge variety of genres, classical included.

This transcription of the "Classical" tune, which plays in the "Tilting at Windmills" level, is based on a combination of both the MIDI version and the CD version. The MIDI version is available in http://www.mirsoft.info/wogm_download.php?data=YToyOntpOjA7czo1OiIxMzM1OCI7aToxO2k6MTU1MDgwMzE5NDt9 . 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.

In both the MIDI and CD versions, the trills are for both half notes in the right hand.

I don't like leaving myself hanging whenever I play or listen to my own transcriptions, so Bars 23-25 are an ending I semi-improvised.

"All Rights Reserved" are on all my transcriptions because the pieces' melodies are not by me. All I do is transcribe them.