The sheet looks great! Thank you!
As to the C I wrote in the RH harmony, if you listen to the reeeaaaallllly highpitches frequencies, it definitely changes pitches on those even measures; going back and forth from B to C each measure. Even if you might not hear it because it's so high, I personally think the C is important enough. When I listen, the C is much more present than the suspended strings; the A/B become a piano/pianissimo dynamic in contrast to the louder/"screeching" C. I also believe it adds an extra color/"flavor" because of that clash and keeps the [one or two vgm nerd] listeners hooked and waiting to see where it goes (not that it really goes much since it happens on the fade-out).
Thinking of dynamic contrast and listening to the song again, do you think the "sus" notes are soft enough to note that the LH should be the "temporary melody" so to speak? (Or rather, the LH is the more important part in those sections). Lots of spur of the moment questions with this song. Guess that shows how long ago I made the original arrangement.
As to the C I wrote in the RH harmony, if you listen to the reeeaaaallllly high
Thinking of dynamic contrast and listening to the song again, do you think the "sus" notes are soft enough to note that the LH should be the "temporary melody" so to speak? (Or rather, the LH is the more important part in those sections). Lots of spur of the moment questions with this song. Guess that shows how long ago I made the original arrangement.