Hey, thanks for looking at this one! Sorry there's a lot to correct... and for taking a while to fix it
- I think the LH dyads in m17-23 would be better written with all the notes in the same way that they are in the original, especially since it's a keyboard playing those parts in the original. Chords are Ab-Bb-Db in m17-20, Ab-C-Eb in m17-21, Ab-Db-F in m21-22, and Gb-Bb-Db-F in m23. I also think the chords in m24 LH would be better inverted up to like they are in the original track (Db-Eb-Ab and Eb-Ab-C; the Ab could be omitted on the first one since the RH plays it).
My concern here (and for the LH throughout the whole piece) was difficulty really, the dyads I have written in are a subset of the harmonies that highlighted the notes not already present in some form. But looking at it again I don't really mind writing these in. It does sound better that way and it's not toooooo bad to play although the jumps are quite quick. For the last chord in m. 24 I'd like to keep the C on the bottom to prevent the chord from getting too high and so that the suspended 4th (Db) can resolve downwards to C.
- In m23 LH, the chord should be repeated on beat 4.5.
- In m25 LH, I would suggest adding a Db at the bottom of the chords to give it the 7th chord sound from the original that's currently missing. (You might also consider inverting it up so that the F is on top, like in the original, but that's harder to play.)
I wanted to prioritize the bass (not have it get lost under the chords). The major 7th sound is pretty apparent right now in m. 25 as written at the speed it's played.
- Was the Ab on beat 3 of m27 RH omitted intentionally?
Nope, I kinda just barely notice it's there... wrote it in
Everything else sounds good and I think I got all of it. Let me know if I missed anything
