Th3Gavst3r's Halloween Sheet

[Th3Gavst3r]

The scariest song you've ever heard

[MUL] Mamorukun Curse!

Bless you! boy (Prologue 1)							[musx]

[Static]

For those unfamiliar with the game, this may not appear to be an appropriate Halloween sheet, but I think there's enough spooky scenery and mythology stuff going on to make this one fit.
Anyway, I'll start with the note stuff, and then we can get into some formatting details later.

• You can go ahead and unhide all the chord markings. They're actually pretty helpful for people wanting to use your arrangement and score it for a band, or just improvise over it. You already put in the work naming all of them, so don't let it go to waste.
  However, a lot of them are incorrectly labelled. I'd be happy to go over them with you, but if you want to get to them yourself, here's my analysis:
  If you don't want to fix and add in the chord labels, still check this list for some enharmonic spellings you should change, as well as guides for some of your RH harmonies. Most of your notes are already correct (just the chord labels themselves are wrong), but below I'll go over some things you could change.
  
  Spoiler

  • m3/11 beat 4.5: C7b9 (respell Fb as En)
  • m4/12 beat 4.5: Fm9
  • m5 beat 4.5: Bb7b9 (respell Bn as Cb)
  • m6 beat 4.5: Cmaj9
  • m7 beat 4.5: Fmaj9
  • m8 beat 3: Bb9
  • m13 beat 4.5: Bbsus4
  • m14 beat 3: Bb (not currently labelled with anything)
  • m14 beat 4.5: Cbmaj7 (To get Finale to show the correct enharmonic spelling, choose the Chord Tool, go to the Chord drop-down menu at the top, and uncheck Simplify Spelling.)
  • m21 beat 1: Fm9
  • m23 beat 4.5: Bb9sus4
  • m27 beat 1: G7b9 (respell Cb as Bn)
  • m27 beat 4.5: Cm7
  • m28 beat 3: This is still part of the previous Cm7 chord, so you don't need to label it separately.
  • m29 beat 1: Fm9
  • m29 beat 4.5: Gm7b13
  • m30 beat 3: Cm7
  • m31 beat 1: Fm9
  • m31 beat 4.5: Bbsus4
  • m32 beat 3: Bb (not currently labelled with anything)
  • m33 beat 1: G#m9
  • m33 beat 4.5: C#7b9
  • m35 beat 1: F#maj9
  • m35 beat 4.5: D#7b9 (respell Gn as Fx)
  • m37 beat 1: G#m11
  • m37 beat 4.5: C#7b9
  • m39 beat 1: D#sus4
  • m39 beat 2.5: D#7b9 (respell Gn as Fx)
  • m41 beat 1: G#m11
  • m41 beat 4.5: A#m7b9
  • m43 beat 1: D#m11
  • m43 beat 4.5: B#m7
  • m44 beat 3: Fxm7 (respell Gn and Dn as Fx and Cx, respectively)
  • m45 beat 1: B#m11/E# (respell Fn as E#)
  • m45 beat 4.5: Fxm7 (respell Gn as Fx)
  • m46 beat 3: B#m9 (respell Cn as B#)
  • m47 beat 1: Bmaj7
  • I can explain these in more detail if you want, but in short it's just because of how these chords resolve. Lots of circle-of-5ths progressions in this piece.

  [close]
• For that chord tied into m1/9, I think the Eb is a D there, but you can leave it if you want.
• m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.
• m7 LH beat 3.5: Bn should be Cn.
• m8 RH beats 3-4: Since the melody takes over at beat 3.5, you might want to consider making beat 4 just Eb instead (since it's the same as the pickup measure).
• m13/31 beat 4.5: This chord is actually a Bbsus at first, resolving to Bb on beat 3 of m14/32. There's no D in the accompaniment before beat 3.
• m21 RH: I would move the F to G instead, since it's actually an Fm9 chord and the F is doubled in the bass.
• m25 RH beat 4.5: Wouldn't it make more sense to use the Gn grace note here since that's the top voice?
• m33: This chord is missing a B (G#m9 chord).
• m34 beat 3: This chord on beat 3 adds an Dn, creating a C#7b9 sound.
• m37/41 beat 1: This chord is also missing a B (G#m11). I probably would go with B-C#-F#-A#, bottom to top. You don't need to double the 9th (A#), and the 5th (D#) isn't required.
• m37 beat 4.5: This C#7b9 chord is missing the Dn. The Dn plays throughout m38.
• m41 beat 4.5 RH: The flat 9th (B) is pretty prominent in this chord, so if you want you can move the bottom C# to a B (either up or down).
• m45 beat 1 RH: This chord is B#m11, so you can include the 9th (Cx) if you want.
• m47 LH beats 3-4: I hear the bass going B-F#-B-C# here instead of B-G#-A#-C#.
• m48 LH beat 3.5: The bass restrickes on C# here, so it's a 3-note pickup back to m1.
• m33-end: This might work better in Gb major, not only since it keeps everything in flats, but also because of how it resolves back to Eb major. In m45-48, you'll notice it has roughly the same progression as m13-16, which is written with flats there. Writing it in Gb will remove a lot of those double sharps.

Let me know if you have any questions

[Th3Gavst3r]

You already put in the work naming all of them

Renamed those 37 chords

For that chord tied into m1/9, I think the Eb is a D there, but you can leave it if you want.

Oh yeah you're right about that. I feel like I had D there at some point but changed it for unknown reasons

m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.

Yup I missed that one

m7 LH beat 3.5: Bn should be Cn.

Yeah that does sound right

m8 RH beats 3-4: Since the melody takes over at beat 3.5, you might want to consider making beat 4 just Eb instead (since it's the same as the pickup measure).

The voice leading sounds a little weird to me with that one. With an Eb, the downward slope leads your ear into the D instead of the melody's Bb. I think I'm gonna leave it be

m13/31 beat 4.5: This chord is actually a Bbsus at first, resolving to Bb on beat 3 of m14/32. There's no D in the accompaniment before beat 3.

There's actually a D in the saw through those four beats, but judging from the progression at m31 I think they were going for a Bbsus there so I changed it

m21 RH: I would move the F to G instead, since it's actually an Fm9 chord and the F is doubled in the bass.

Yeah I think that sounds good

m25 RH beat 4.5: Wouldn't it make more sense to use the Gn grace note here since that's the top voice?

When I tried playing it I found it really difficult to roll 4 into 3+5 with 4 on white and 5 raised on a black key. It's a lot harder to move 4 and 5 independently, so using the index finger for the grace note and rolling upwards into the dyad was much easier for me

m33: This chord is missing a B (G#m9 chord).

I can't hear a B here no matter how hard I try. I can maybe hear something very subtle in the register above the melody, but it could easily just be overtones or something. That said, G#m9 does make the most sense over any chord options which omit the B, but I don't think it fits well with the particular voicing here. Putting a B on the bottom is a pretty large and awkward stretch, and putting it on the top next to the Bb causes a cluster of dissonance near the melody. I think it's best to leave it out even if the chord symbol doesn't quite match

m34 beat 3: This chord on beat 3 adds an Dn, creating a C#7b9 sound.

I do think I can hear this one. Added it with an additional chord symbol

m37/41 beat 1: This chord is also missing a  B (G#m11). I probably would go with B-C#-F#-A#, bottom to top. You don't need to double the 9th (A#), and the 5th (D#) isn't required.

Again, I maxed out my deductive tools here and I can just barely make out a B in m37 with some frequency isolation. At the very least the C#-F#-A# completely dominate the sound, so including the B in any available inversion adds a lot of extra tension that I don't hear myself. I'm going to leave it out like in the other places

m37 beat 4.5: This C#7b9 chord is missing the Dn. The Dn plays throughout m38.

Oh yeah, this fills a bit of a gap I was hearing between the B and F. That said, I moved beat 2 to a C# instead of continuing the D because of the accompaniment that plays higher than the melody normally. I moved it down to make the main melody line stand out

m41 beat 4.5 RH: The flat 9th (B) is pretty prominent in this chord, so if you want you can move the bottom C# to a B (either up or down).

I originally took the B out because the low B was a big stretch, but I don't think it sounds too bad up an octave. Added the higher one

m45 beat 1 RH: This chord is B#m11, so you can include the 9th (Cx) if you want.

I left that pitch out because the fingering makes a weird claw shape that's kind of awkward to form coming out of the eighths in the measure before

m47 LH beats 3-4: I hear the bass going B-F#-B-C# here instead of B-G#-A#-C#.

Oh yeah I dropped that part into the bass from a run that happens in the upper register because I felt like the normal bass fifths sounded thin with only the F#-A# dyad in the RH. I think I just left too much out of the RH chord though, so I added a D# to the RH and swapped in the normal bass line

m48 LH beat 3.5: The bass restrickes on C# here, so it's a 3-note pickup back to m1.

I originally had a 3 note pickup there, but the main bass either doesn't restrike or plays extremely legato. That said, the snare hits clearly signal 3 notes so I think it still works to add in the extra note. On top of that, listening back from this comment made me realize there are actually two basses in there, one is just waaaaay back in the mix. The secret bass plays the 3 note pickup too so I think it's the right change

m33-end: This might work better in Gb major, not only since it keeps everything in flats, but also because of how it resolves back to Eb major. In m45-48, you'll notice it has roughly the same progression as m13-16, which is written with flats there. Writing it in Gb will remove a lot of those double sharps.

Yeah I changed it to Gb. I changed the chord symbols before editing the key and looked at the accidentals again after, so hopefully everything is still spelled right


Oh yeah and THANK YOU thank you for reviewing the chords. This was the first time I've tried to name chords and I was hoping someone might pick them up for review even though I hid them. I learned a ton about chord notation from your comments, you da bes

[Static]

m1/9 LH beat 3.5: There's an Eb 8th note here (middle of staff) instead of just a held quarter note.

I meant in the LH, but there is an Eb there in the RH too.

Everything else looks great! I took a listen to those spots and I think I'm hearing what you have now. In any case, what you have definitely feels better to play on piano. Just watch some of your accidental spellings; on page 3 the b9 of Eb7(b9) should be Fb. Likewise, for Db7(b9) it's technically Ebb, but keep it as Dn since it's simpler and matches the chromatically-moving bassline in m38.

I just have some formatting/aesthetic points now:

• The game was co-developed by Gulti, so you can add them to the copyright info.
• Any time you have a grace note in the middle of a set of four 8th notes (such as m5 beats 3-4), you should beam those back together. For some reason, Finale breaks beams when you add grace notes.
• There's a lot of ties that are touching surrounding notes (m7 RH beat 3, m15 RH beat 1, etc.) I'd go through the sheet and adjust those.
• There are also ties that don't match direction when they go across systems, such as m3-4.
• You're a bit inconsistent when it comes to using dotted half notes. Throughout all of Page 1, you use dotted halves on beat 1, but on Pages 2-3 you use half notes tied to quarters. I think just making all of them just dotted halves would look better and reduce clutter from the ties.
• Similarly, you're also inconsistent when using dotted quarter notes. Page 3 has a bunch, but on Pages 1-2, you use quarters tied to 8ths instead (or the other way around). I'd just make them all dotted quarters.
• m14 RH beat 4.5: If you want, you can unhide the half rest here and flip the ties to their normal positions. the ties at the end of m14 should match the ones at the start of m15.
• There's other spots you can hide rests, such as m37, 39, and 41 RH. You already did that in m33 anyway. Leaving it is fine too.

[Th3Gavst3r]

I meant in the LH, but there is an Eb there in the RH too.

Ohh that's actually a much better place. Switched it to the LH

on page 3 the b9 of Eb7(b9) should be Fb. Likewise, for Db7(b9) it's technically Ebb, but keep it as Dn since it's simpler and matches the chromatically-moving bassline in m38.

Ahh I knew I'd miss something. Thanks for the catch

The game was co-developed by Gulti, so you can add them to the copyright info.

Sure, I usually reference the box art but it shouldn't hurt

Any time you have a grace note in the middle of a set of four 8th notes (such as m5 beats 3-4), you should beam those back together. For some reason, Finale breaks beams when you add grace notes.

Oh that's annoying. I wonder if it's because they consider a grace note a short duration, like how a 16th would break the beam... I'll have to keep that in mind in the future

There's a lot of ties that are touching surrounding notes (m7 RH beat 3, m15 RH beat 1, etc.) I'd go through the sheet and adjust those.
There are also ties that don't match direction when they go across systems, such as m3-4.

I've always thought Finale's ties looked bad, and now I know why empirically lol
Did an absolute ton of manual adjustments on ties throughout. Let me know what you think and if there are any places that still could be better

You're a bit inconsistent when it comes to using dotted half notes. Throughout all of Page 1, you use dotted halves on beat 1, but on Pages 2-3 you use half notes tied to quarters. I think just making all of them just dotted halves would look better and reduce clutter from the ties.
Similarly, you're also inconsistent when using dotted quarter notes. Page 3 has a bunch, but on Pages 1-2, you use quarters tied to 8ths instead (or the other way around). I'd just make them all dotted quarters.

Yeah I forgot this happens when you start from a midi import. Went through and made everything more uniform, and it did help a lot with clutter

m14 RH beat 4.5: If you want, you can unhide the half rest here and flip the ties to their normal positions. the ties at the end of m14 should match the ones at the start of m15.

After fixing the tied quarter on beat 3 a lot of the clutter disappeared, so I think it looks ok with normal ties on the last note

There's other spots you can hide rests, such as m37, 39, and 41 RH. You already did that in m33 anyway. Leaving it is fine too.

After changing the tied half notes to dotted I felt like the lack of a visual beat on 3 was a little unclear, so I unhid the rests in those places and flipped the ties down to make it explicit which voice comes back in on beat 4

[Static]

Looks great! The ties especially look much better now, but if you wanted to do some more tiny adjustments, I'd align the right side of the ties as the beginning of m4, and in m7.

[Bloop]

Nice work! This will probably be the happiest sheet this Halloween, haha.

Anyway, onto my comments (all right hand stuff):
-m4 and m12: The Fb's in the second layer here should be En's too.
-m11: The courtesy accidental Ab here isn't really needed right? You're not coming from an An or something.
-m20: The should be a staccato on the 8th note Bb at beat 4.5
-m22: Beat 2 and 4 (the C and Eb) are played shorter, maybe add staccatos or change them to 8th + 8th rests?
-m23: I hear a grace note C before the D before beat 3.
-m25: You can add the G to the grace note before beat 4.5 too: the thirds aren't that hard to play. If you do prefer a single note, I think it'd be better to choose the G anyway, as that is the melody.
-m28: There should be a staccato on the 8th note D at beat 4.5
-m29: Again a staccato on the D but now on beat 4
-m30: And like in m22, a staccato or 8th+8th rest at beat 2 and maybe beat 4, though that one is a bit longer.
-m33 and 41: I hear a grace note Cn before beat 1
-m37: Grace note Ab here too
-m45: Though not necessarily wrong, maybe you could rewrite the grace note before beat 4.5 as a C# instead of a Db, as the song is in a modulating part where these chords fit into Eb major more.

And a few things about the bass patterns:
-m17-32: Maybe you could add tenuto markings or legato slurs to the notes that don't have a staccato dot (except the tied notes), so it's a bit clearer which notes aren't staccato too.
-m33 and on: I'm not really sure if the bass pattern here needs those extra octaves and fifths: this voice is pretty subtle (if there at all sometimes), but it makes the left hand pattern a bit tiring because of all the repeated notes in the pinky. I think a better pattern would be something like the beginning part.
 

[Th3Gavst3r]

Looks great! The ties especially look much better now, but if you wanted to do some more tiny adjustments, I'd align the right side of the ties as the beginning of m4, and in m7.

I'm all about tiny adjustments. Fixing the ties already took hundreds of them, so I can do a couple more

-m4 and m12: The Fb's in the second layer here should be En's too.

Oops fixed em

-m11: The courtesy accidental Ab here isn't really needed right? You're not coming from an An or something.

I put the accidental there and in m3 because Ab isn't part of Gm7 so I thought it might be easy to miss, but maybe it's just a m7b9 chord instead. I changed the chord symbols to include the b9, but I'm still new to these chord things so let me know if that's right

-m20: The should be a staccato on the 8th note Bb at beat 4.5
-m22: Beat 2 and 4 (the C and Eb) are played shorter, maybe add staccatos or change them to 8th + 8th rests?

Ah yeah it looks like Finale keeps the midi duration from the import despite the written duration, so I didn't notice when listening back. Yet another thing to watch out for I guess. I just changed them all to staccatos, the m22 durations feel more staccato-y to me

-m23: I hear a grace note C before the D before beat 3.

Oh yeah, I had it in the original project but I must've accidentally deleted it at some point. Good catch

-m25: You can add the G to the grace note before beat 4.5 too: the thirds aren't that hard to play. If you do prefer a single note, I think it'd be better to choose the G anyway, as that is the melody.

I mentioned this is Static's feedback too, but I think it's kind of difficult to cleanly move 4 into 3-5 there at high tempo. It's a lot easier for me to just roll the whole hand from 2. I think either the top or bottom grace note is able to get the point across fine and they sound much different at tempo, but I'm not a very good pianist lol so if it's not actually a very hard fingering I can still change it

-m28: There should be a staccato on the 8th note D at beat 4.5
-m29: Again a staccato on the D but now on beat 4
-m30: And like in m22, a staccato or 8th+8th rest at beat 2 and maybe beat 4, though that one is a bit longer.

More of 'em, very sad
I left the stacatto off of m30b4. I expect there'll be a slight gap there anyway from repositioning for the next chord, and even if the player can pull it off without the gap I think I like the more legato sound than staccato anyway

-m33 and 41: I hear a grace note Cn before beat 1
-m37: Grace note Ab here too

I left these grace notes out because the player doesn't have much time to reegngage the pedal before they have to lift off the chord and move to the arpeggio, and I didn't want them to catch the clash from the grace note. Also freeing up the pinky lets you use it for the Eb to start the arpeggio which is a slightly nice. This also made me realize m37 wasn't the easiest thing in the world to pull off, so I moved the bottom Bb octave up to Eb instead

-m45: Though not necessarily wrong, maybe you could rewrite the grace note before beat 4.5 as a C# instead of a Db, as the song is in a modulating part where these chords fit into Eb major more.

I'm not sure about this one. I think it might be up to the player, but it's easier for me to parse the single natural accidental as a minor second rather than reprogramming my brain for the only sharp in the piece At least for readability, I think leaving it as Db is more useful than indicating where the modulation is going

-m17-32: Maybe you could add tenuto mark ings or legato slurs to the notes that don't have a staccato dot (except the tied notes), so it's a bit clearer which notes aren't staccato too.

I added some slurs, I think they make less visual clutter than tenutos

-m33 and on: I'm not really sure if the bass pattern here needs those extra octaves and fifths: this voice is pretty subtle (if there at all sometimes), but it makes the left hand pattern a bit tiring because of all the repeated notes in the pinky. I think a better pattern would be something like the beginning part.

I changed up the pattern a lot to have fewer doubled notes and a lot of alternating octaves instead. I added the fifths because unlike the first section the RH doesn't play offset accompanying chords, so the continuous bass octaves sounded kind of lame to me. There's a low guitar in there playing power chords that you can pull from, so I included some fifths for a little additional motion

[Radiak488417]

This looks fantastic, I'm so glad this sheet is going to be on the site!

-For m8 RH, I've always heard the melody note on beat 3.5 as being an octave lower than you currently have it. I know it's a weird jump from the chord on beat 3 but that's what I hear as the more prominent note (you could leave out the F for playability if you want). I also hear a D on beat 4, you could include that instead of the F there if you wanted. Also shouldn't the chord symbol here be something more like Fm/Bb or Bb7sus2?
-For m23, you have the chord labeled as a Bb9sus in the sheet, and Static listed it as a Bb9sus4, but the 4th isn't actually there—it's a 7sus2 chord. Whenever I see "9sus" or "13sus", I usually infer that it's a sus4, but in this case since it's a sus2 which is a bit more uncommon I think just calling it an Fm/Bb might be better. I'm no expert on this though, so let me know if I'm wrong.

Sorry for the last-minute feedback, hope it's not too much trouble!

[Th3Gavst3r]

-For m8 RH, I've always heard the melody note on beat 3.5 as being an octave lower than you currently have it. I know it's a weird jump from the chord on beat 3 but that's what I hear as the more prominent note (you could leave out the F for playability if you want). I also hear a D on beat 4, you could include that instead of the F there if you wanted. Also shouldn't the chord symbol here be something more like Fm/Bb or Bb7sus2?

After talking about it a bit, I think this is what's going on in there

Spoiler

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I was focusing mainly on the high synth and chime parts for the melody, so I think that using a low Bb is a bit distracting with a random register change. I left the Bb where it was moved up an octave, and took the last F off of beat 4 to make transitioning to the next chord a little easier

-For m23, you have the chord labeled as a Bb9sus in the sheet, and Static listed it as a Bb9sus4, but the 4th isn't actually there—it's a 7sus2 chord. Whenever I see "9sus" or "13sus", I usually infer that it's a sus4, but in this case since it's a sus2 which is a bit more uncommon I think just calling it an Fm/Bb might be better. I'm no expert on this though, so let me know if I'm wrong.

So we talked about this for a bit and it seems like Bb7sus2 is a better representation of the movement from V to I, but chords are very hard so if anyone else can present a case one way or the other I'd love to learn lol

[Bloop]

Oops fixed em

They're still there in m12 though

I put the accidental there and in m3 because Ab isn't part of Gm7 so I thought it might be easy to miss, but maybe it's just a m7b9 chord instead. I changed the chord symbols to include the b9, but I'm still new to these chord things so let me know if that's right

I think I see what you're thinking, but I think the Ab is just a passing tone, not a part of the chord. m7b9 chords don't appear that often anyway I believe, because they don't really sound that good. The Gm7 isn't a strange chord to have in Eb major, so I don't think people would quickly forget the Ab's they played before.

I mentioned this is Static's feedback too, but I think it's kind of difficult to cleanly move 4 into 3-5 there at high tempo. It's a lot easier for me to just roll the whole hand from 2. I think either the top or bottom grace note is able to get the point across fine and they sound much different at tempo, but I'm not a very good pianist lol so if it's not actually a very hard fingering I can still change it

Ahh sorry didn't see that. I don't feel a 2-4 to 3-5 grace note to be that problematic, and with just a G you can switch to 3 to 2-4 too so it's a bit easier. I think all combinations work well though, so if you wanna keep it as an En, that's fine too!

I left these grace notes out because the player doesn't have much time to reegngage the pedal before they have to lift off the chord and move to the arpeggio, and I didn't want them to catch the clash from the grace note. Also freeing up the pinky lets you use it for the Eb to start the arpeggio which is a slightly nice. This also made me realize m37 wasn't the easiest thing in the world to pull off, so I moved the bottom Bb octave up to Eb instead

That sounds logical, then it's fine!
 

I'm not sure about this one. I think it might be up to the player, but it's easier for me to parse the single natural accidental as a minor second rather than reprogramming my brain for the only sharp in the piece At least for readability, I think leaving it as Db is more useful than indicating where the modulation is going

oh wow it would be the only sharp yeah
Anyway it's pretty quick to see that it is a Db, because of the natural that comes after it, but this is also the only grace note that comes from the same note name (a D to a D) instead of a note below, that was the thing that stood out to me. Either way is fine though!

I changed up the pattern a lot to have fewer doubled notes and a lot of alternating octaves instead. I added the fifths because unlike the first section the RH doesn't play offset accompanying chords, so the continuous bass octaves sounded kind of lame to me. There's a low guitar in there playing power chords that you can pull from, so I included some fifths for a little additional motion

Ahh so that's where the fifths came from then haha, but yeah I like this more! Great work!

So we talked about this for a bit and it seems like Bb7sus2 is a better representation of the movement from V to I, but chords are very hard so if anyone else can present a case one way or the other I'd love to learn lol

Yeah I think Bb7sus2 works best, because the C does act as a suspension to the D. If there was an Eb in the chord, Bb9sus would have been fine.

[Th3Gavst3r]

They're still there in m12 though

Whoops guess I forgot about the second time

I think I see what you're thinking, but I think the Ab is just a passing tone, not a part of the chord. m7b9 chords don't appear that often anyway I believe, because they don't really sound that good. The Gm7 isn't a strange chord to have in Eb major, so I don't think people would quickly forget the Ab's they played before.

Alright sounds fine to me, changed it back to Gm7 with no courtesies

[Bloop]

Awesome! Then I'll accept this!You cannot view this attachment.