Yug's 'Too Hot To Handle' Sheet(s)

[Yug_Guy]

No worries, there's still quite a bit of space left on the first page to move around dynamics and stuff ^^

I think I've got it. Let me know if it's too cramped.

As close to the original doesn't have to be as close to the original pitches, imo: the lowest octave on the piano sounds more rumbly compared to the same notes on a bass guitar. By moving them up an octave. Lately I've been thinking a bit more about playability and the sound of an arrangement, and sometimes trying to include as much as possible won't necessarily sound better or play more easily.

Yeah, I guess I'm too used to notating exact pitches lol.

I've taken out the 8vb and left a note saying that the bass can be optionally double one octave down.

My problem wasn't necessarily with the time needed to reach the notes, but more that the tied notes aren't able to be held down for their full length (or even an portion of their length), if you want the player to reach some notes of the guitar voice. For example, in m81-82, the player would need to release the E of the C-E dyad in layer 1 on beat 2 of m81 already, and by m82 beat two there's no way for the R.H. to hold the dyad. Using the pedal will also hold the notes in the L.H., which might work too actually, but may sound a bit weird compared to the rest of the song.

Whenever I have a held note + some accompaniment, I don't usually expect the performer to hold down the note for the length written. I suppose I could just let it be quarter notes instead, but that just feels wrong.

Honestly, I'm kinda stumped on what to do here. Do you have any advice?

[Bloop]

Whenever I have a held note + some accompaniment, I don't usually expect the performer to hold down the note for the length written. I suppose I could just let it be quarter notes instead, but that just feels wrong.

I might be a bit strict about that sometimes, but I usually think of how the player would interpret the sheet music, and I'd feel it wouldn't make sense in cases like m81-83 to tie over the chord over two barlines, when the player can't possibly hold it for that long (without pedal). Another thing btw that feels a bit weird to me is that the voice itself drops in and out whenever needed, sometimes for pretty short times, which makes it feel more disconnected.

Honestly, I'm kinda stumped on what to do here. Do you have any advice?

What I might have done is to fill in the empty space with an arranged version of the drums combined with the bass:
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It helps differentiate this section from the previous sections, and it makes sure the arrangement doesn't feel too empty.

If you really want to keep the guitar voice though, here's two other things you could do:
-You could notate the guitar voice in smaller noteheads and leave a note saying they're optional. I'm not too keen on this idea though, because if left out the arrangement will probably sound emptier than you want.
-You could add pedal marks for three bars in every system, so the guitar notes at least somewhat ring on and fill the empty register, and the melody (and chords from m81 on) won't be cut off early. The voice dropping in and out might still sound a little bit weird, but maybe less so.

[Yug_Guy]

I've been looking over this feedback & while I absolutely see where you're coming from, I just cannot bring myself to do these kinds of changes. I've never been one to significantly change any part of the original song for the sake of transference to piano, even if that leaves the piece a bit lacking. I guess I expect others to perform arrangements like these the same way that I do: by leaving out any of the bits that are too hard or impractical.

Not really sure where to go from here tbh.

[Yug_Guy]

Went over it a little with Bloop over Discord, ended up taking the small noteheads idea as seen here:

-You could notate the guitar voice in smaller noteheads and leave a note saying they're optional

Let me know if you have any other issues.

[Bloop]

No comments anymore for me, I'm ready to accept!
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