Cashwarrior1 "Too Hot to Handle" Project Sheets

[cashwarrior1]

It's time for HOLEHILLLLLLLLLS!!!!!!!!

For this one I was struggling a little bit with how to combine the bass and the middle voices in m3-m18 in a way that's fun to play and sounds good. Right now I just settled for being more accurate but it's a little awkward to play imo but if other people think it's fine then I'll leave it. There's a lot of wacky harmonies in m31-m34, though it's mostly just chromatically rising in the chords and I dunno what's happening in the melody.

[musx] [mus] [pdf]

And joining the fray is Withered Savannah!!!

I want the right hand to play the chords on beat 1 in m1, m7, m17, and m21 but I'm struggling to find a clean way to notate that. Right now it's just in the bottom staff and I labelled it vaguely, but I also considered adding a 3rd clef or just putting it in the top staff but it looked messy to me. I did not put any key changes until m43 because there's a lot of accidentals and changing harmonies. Also I did add some interpretive notes closer to the end to fill out the sound and also to represent the percussion when there's only chords being played.

[musx] [mus] [pdf]

[Francesca]

I've never heard such intense arrangements, these are amazing so nice work!

I want the right hand to play the chords on beat 1 in m1, m7, m17, and m21 but I'm struggling to find a clean way to notate that

I think the issue here is how is the right hand even supposed to play those chords, if it's busy playing the melody part?

Also, a few things I noticed (visual changes more than anything):

• There are a few octave notes in both sheets that surpass 5 ledger lines (m39 and m47 in Holehills, all throughout the final part of Withered Savannah) it could probably be fine as is but wouldn't putting an 8vb on those improve readability, as 4 is usually seen as the limit? Also, in Holehills, would a double barline fit at the end of m18 to indicate a new part?
• Still in the topic of parts, I get that there's a time change in m41 of Withered Savannah, but considering there's already an automatic double barline two measures later for the key change, it looks a bit weird to have two double barlines so close together

[cashwarrior1]

I've never heard such intense arrangements, these are amazing so nice work!

It's HOLEHILLLLLS you have to

I think the issue here is how is the right hand even supposed to play those chords, if it's busy playing the melody part?

The right hand plays the chord on beat 1 then moves to play the melody. Since the pedal has to be held regardless of what hand plays it, it's just easier for the right hand to do it (for me at least).

• There are a few octave notes in both sheets that surpass 5 ledger lines (m39 and m47 in Holehills, all throughout the final part of Withered Savannah) it could probably be fine as is but wouldn't putting an 8vb on those improve readability, as 4 is usually seen as the limit? Also, in Holehills, would a double barline fit at the end of m18 to indicate a new part?

For the ledger lines, it depends on the context, but because they are octaves, the player can read the top note and infer what the bottom ones are. As well as they can look at intervalic relations (like in m56-58 of Withered Savannah) so they don't have to count the lines.
Double barline added. As well as one for m36 since that's also a new section.

• Still in the topic of parts, I get that there's a time change in m41 of Withered Savannah, but considering there's already an automatic double barline two measures later for the key change, it looks a bit weird to have two double barlines so close together

Yeah it does look weird. I decided to remove the one for the time signature change since the other one indicates a key change and a section change.

Updated.[/list]

[Francesca]

The right hand plays the chord on beat 1 then moves to play the melody

In that case, I think it's fine as is. Since these chords are very long and tied together, having them overlap with the melody would have a very visually unpleasant effect. But maybe for the text it would be better to just have something at the top of the staff that says "play chords in the bass clef with the right hand" or something similar?

For the ledger lines, it depends on the context, but because they are octaves, the player can read the top note and infer what the bottom ones are

Yeah, I figured as much. Looks good as is.

Also, the .musx links of both files redirect to Holehills, so could you fix that?

[cashwarrior1]

In that case, I think it's fine as is. Since these chords are very long and tied together, having them overlap with the melody would have a very visually unpleasant effect. But maybe for the text it would be better to just have something at the top of the staff that says "play chords in the bass clef with the right hand" or something similar?

The RH LH markings work well for that, I think..

Also, the .musx links of both files redirect to Holehills, so could you fix that?

Yeah because HOLEHILLLLLLS is just that good oops

[Kricketune54]

Holehills
• m1-2, and m55 4.0 sounds like an An restrike
• m2  beat 5 I hear a quarter note length En
• m3-5 and m11-16 LH 5.5 the C on top sounds like a Dn
• m9 LH 5.0 I hear Dn, m10 5.5 also Dn
• m18 RH 3.0 hearing G# not An, 4.0 hearing F below the C
• m22 RH beat 6.0-6.5 hearing a Bn and C 8th notes
• m24 RH 4.5 separate 8th note En
• m25 RH 1.0 sounds like a C grace note onto the Bn
• m26 RH 4.5 there's a G before the B on 5.0, could add to complete this rhythm
• m30 RH 4.5 the 8th notes start with the G, 6.5 should be a Dn. Also, there are notes underneath all the pitches: E-F-G-A-B
• m39,47 LH 1.0 think these C's should be up one octave
• m45 RH did you mean to include the E in this chord? Just stuck out all the clusters are 4 notes in other measures
• m46 RH 4.0 technically a C# grace note on this, or maybe you could roll this chord?
• m56 4.0 I hear A, 4.5 En (same octave as beat 5)

• Last page the first pedal mark on last system is just outside the page margin, maybe move it up 1 or 2 up arrow key clicks

[cashwarrior1]

• m2  beat 5 I hear a quarter note length En

I'm writing the bass pickup for that beat instead of the timpani.

• m3-5 and m11-16 LH 5.5 the C on top sounds like a Dn

I just changed the m5 one to G because the melody is playing that D

• m18 RH 3.0 hearing G# not An, 4.0 hearing F below the C

So I'm not hearing the F on beat 4. While I do hear the G#, I don't like how it sounds on the piano because it ruins the resolution and sounds weaker overall.

• m22 RH beat 6.0-6.5 hearing a Bn and C 8th notes
• m24 RH 4.5 separate 8th note En

How did I miss these 😭

• m30 RH 4.5 the 8th notes start with the G, 6.5 should be a Dn. Also, there are notes underneath all the pitches: E-F-G-A-B

I intentionally excluded the bottom pitches because it was more awkward to play going into the next measure (and because I excluded the bottom notes for that entire section)

• m39,47 LH 1.0 think these C's should be up one octave

Why? It sounds good and is satisfying to play.

• m45 RH did you mean to include the E in this chord? Just stuck out all the clusters are 4 notes in other measures

It's because the E is played right before this and re-striking felt awkward.

Updated.

[Kricketune54]

I'm writing the bass pickup for that beat instead of the timpani.

Okay.

I just changed the m5 one to G because the melody is playing that D

Well you could do a restrike given it's just a held note in the melody but that would make m6 kind of redundant so good point.

So I'm not hearing the F on beat 4. While I do hear the G#, I don't like how it sounds on the piano because it ruins the resolution and sounds weaker overall.

Listening again the resolution on beat 4.0 is not an E major chord. The LH should actually be, at the bottom (the timpani note) an Fn, and the note under the C on beat 4.0 RH is an A. So the lower RH layer goes A-G#-A from beats 2-4. To make this work better, change the LH beat 3.0 note to Dn, and beat 4.0 to an F at current octave and another below.

I intentionally excluded the bottom pitches because it was more awkward to play going into the next measure (and because I excluded the bottom notes for that entire section)

Okay yeah this makes sense, given further measures in this section that also don't have bottom notes.

Why? It sounds good and is satisfying to play.

Was speaking more in terms of original pitch octaves, but when it's low like that there is a degree of interpretive flexibility

It's because the E is played right before this and re-striking felt awkward.

Ah good point didn't consider this when initially looking.


• You could move the pedal in m17 beat 1 a little down. Doesn't have to align with m18 for neatness
• As far as pedals, just going to comment same about con pedale for m34-54 as I did in Bloop's Mario Kart sub for this project (could write senza pedale at m55)
• Couple minor dynamic nitpicks: cresc. in m31-32 could move a little higher so it's not touching the Eb in m32 (the cres. could also end a little more to the right), and the cresc. in m35-36 could line up better with noteheads (currently a little far to left at beginning and could be more to the right at the end)

[cashwarrior1]

Listening again the resolution on beat 4.0 is not an E major chord. The LH should actually be, at the bottom (the timpani note) an Fn, and the note under the C on beat 4.0 RH is an A. So the lower RH layer goes A-G#-A from beats 2-4. To make this work better, change the LH beat 3.0 note to Dn, and beat 4.0 to an F at current octave and another below.

Ah okay, that works better lol. I made beat 4 not octaves because it was easier to play, but I can add that if you think it'd work better.

• As far as pedals, just going to comment same about con pedale for m34-54 as I did in Bloop's Mario Kart sub for this project (could write senza pedale at m55)

Actually forgot that these exist.

Updated.

[Kricketune54]

Holehills looks good from my end, approving


EDIT: just one thing I noticed after fact, but I don't think Game Freak needs credit? I assume your copyright info is based off ~10 year old sheets on the site, think it should just be Spike Chunsoft, The Pokémon Company, Nintendo. Also, Keisuke Ito and Yasuhiro Kawagoe I believe are the only composer credits, so just update that info

[cashwarrior1]

EDIT: just one thing I noticed after fact, but I don't think Game Freak needs credit? I assume your copyright info is based off ~10 year old sheets on the site, think it should just be Spike Chunsoft, The Pokémon Company, Nintendo. Also, Keisuke Ito and Yasuhiro Kawagoe I believe are the only composer credits, so just update that info

o, oops. I also updated the Withered Savannah sheet

[Latios212]

Ah man, not doing any proper checks right now but peeking in and I really like how you arranged the C section for both of these! The powerful chords and sweeping span of the left hand work nicely to bring out the climax in each. (I need to re-listen to these pieces more, it's been ages since I listened to the GtI soundtrack...)

Just a couple of spontaneous comments:
- Are some notes/ties awkwardly flipped in the RH of m. 6-10 of Holehills? It's showing up like that in my Finale and if it's the case for you too, might need to reset some flip directions if it's leftover from some erased layer work

I want the right hand to play the chords on beat 1 in m1, m7, m17, and m21 but I'm struggling to find a clean way to notate that. Right now it's just in the bottom staff and I labelled it vaguely, but I also considered adding a 3rd clef or just putting it in the top staff but it looked messy to me.

I think what you have is fine. For m. 1 and 17 it's clear enough as you have it but for m. 5 and 21 it's not super clear that you want it to be played by the right hand. I don't think that's really an issue though since it should be perfectly fine for the left hand to play it too. Either way I assume you want this section to be pedalled since there's no way either hand can sustain the chord for multiple measures. Also, flip the LH notes in m. 9-10 and 25-26 back to normal if there's no upper layer

[cashwarrior1]

Ah man, not doing any proper checks right now but peeking in and I really like how you arranged the C section for both of these! The powerful chords and sweeping span of the left hand work nicely to bring out the climax in each. (I need to re-listen to these pieces more, it's been ages since I listened to the GtI soundtrack...)

Thanks! I decided to arrange them after trying to play threelines' version of Withered Savannah. As cool and fun as that is, I thought it'd be nice to have an easier one (and more normal i guess lol) with the same intensity.

- Are some notes/ties awkwardly flipped in the RH of m. 6-10 of Holehills? It's showing up like that in my Finale and if it's the case for you too, might need to reset some flip directions if it's leftover from some erased layer work

I kept noticing that but it never crossed my mind that they were flipped 😭

I think what you have is fine. For m. 1 and 17 it's clear enough as you have it but for m. 5 and 21 it's not super clear that you want it to be played by the right hand. I don't think that's really an issue though since it should be perfectly fine for the left hand to play it too. Either way I assume you want this section to be pedalled since there's no way either hand can sustain the chord for multiple measures. Also, flip the LH notes in m. 9-10 and 25-26 back to normal if there's no upper layer

Yeah, the only reason I want those chords played in the RH is because the last measure of the LH creates an awkward jump to hit that chord. And then I realized it was much easier to play each of the chords with the RH after trying that. I also flipped the LH notes in m24 to be the same as m8

Updated.

[Latios212]

Thanks! I decided to arrange them after trying to play threelines' version of Withered Savannah. As cool and fun as that is, I thought it'd be nice to have an easier one (and more normal i guess lol) with the same intensity.

Hahah, I definitely noticed the influence! xD

Holehills

I kept noticing that but it never crossed my mind that they were flipped 😭

Hope it's not Finale, but the notes are still flipped downwards in the RH from m. 8 until the first note of m. 10

It's nice to have the LH layers separated in the A section to see what's part of what part but they alternate so nicely it'd probably be neater for the performer to simply combine them in one layer. You absolutely don't have to though, just a thought.

Some minor things:
- LH of m. 10 - might be best to keep the last LH lower layer 8th rest below the staff to be consistent with the others, even if it fits on staff. Also, since you have a (3+2)/4 rhythm going on the LH in this part, it'd probably be best to swap the half and quarter rests in the upper layer.
- I think the chords in the awesome buildup section are all chromatically ascending fully diminished seventh chords. Specifically, the second note from the bottom should be lowered a half step in each chord in m. 31-33 from what you have written.
  - Gb instead of G in m. 31 first chord
  - Gn instead of G# in m. 31 second chord (note this matches the RH on beat 4)
  - Ab instead of A in m. 32 first chord
  - Bbb instead of Bb in m. 32 second chord
  - Bb instead of Bn in m. 33 first chord
  - Cb instead of Cn in m. 33 second chord
- I'm not super sure I hear the last three notes in the upper layer in m. 44 as written... if anything I hear D instead of E but I'm really not sure about this one.

That's all I have, real nice work again

[cashwarrior1]

It's nice to have the LH layers separated in the A section to see what's part of what part but they alternate so nicely it'd probably be neater for the performer to simply combine them in one layer. You absolutely don't have to though, just a thought.

I asked some other people and they said the separate layers were easier for them so I left it :p

- I'm not super sure I hear the last three notes in the upper layer in m. 44 as written... if anything I hear D instead of E but I'm really not sure about this one.

I'm notating the harp part there (which is originally an octave lower) but it gets kinda lost near the end of the measure. I listened again and realized I had the last 4 notes wrong, though the last note gets completely lost to me..

Updated.