Atcero's "Too Hot to Handle" Project Sheets

[Atcero]

Oh boi I got twooooo (but one is only 9 measures long with one of those being a rested pickup)

Shadowgate - Dragon's Den
[MUS]

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Have had this one done for a few years now but never got around to submitting it. Shoutout to Libera and Latios for helping with the rhythm way back in the day. I was unsure of the accidentals but I just tried to make it the best for playability with the least amount of switching back and forth between naturaled and sharped/flatted.


Castlevania: Portrait of Ruin - Hail to the Past
[MUS]

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Also a song I've had on the backburner for a few years but completely redid this one from scratch since my OG sheet sucked majorly. I do want to add in dynamics for only the right hand since it gets quieter or louder depending on the instrumentation while the bass keeps the same sound level, and I think for this sheet it might work really well but I'll wait to add that after I get some opinions. Same note as above with accidentals, hopefully theyre all correct but this do be me with accidentals so we'll see.


If Hail to the Past seems too big to allow a second sheet I can remove Dragon's Den, but the only reason I added it was because I felt like itd be small and (hopefully) easy enough to just throw in as well since it also is a hot theme (you're warned many many times its too hot in that room to stay long and your shield is gonna melt if you dont leave).

[XiaoMigros]

• While I understand your intent behind leaving an empty measure at the start of the sheet, it doesn't convey any useful information to the performer and will probably just end up confusing them. Might I suggest removing it?
• Accidentals: They mostly look good, but there's one concept I wanna point out that applies in several places: When you have a certain interval (such as a minor 3rd, a 5th, an octave, etc) played repeatedly in different pitches, that should usually be reflected in the accidentals:
  That means that the distance between the noteheads on the staff should stay the same, and then accidentals should be chosen to get the right pitch. In my example, the crossed-out chord is incorrect, because the interval is the same as the first chord. So, we have to write the chord as the last one instead.
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  In this sheet, this is relevant for m1 and m6.
• Do you want to move the LH down an octave? Wherever is fine but since the part is already doubled in the RH harmony I think it's okay to have it a little low-sounding.
• Composer/Arranger text could be moved down slightly, and you can widen the distance between systems to take up more page

[Atcero]

Got that updated correctly hopefully :catjam: thank ya!

[XiaoMigros]

Looking better! For m1, since you have A# in the LH, that A# should be present in the RH also (and the Dn should be a Cx). For m6, the notes in the RH triplet now match each other (improvement!), but present a diminished fourth rather than a major third (should be changed). So, using B# and A# in the upper notes here.

• I'm not 100% sure, but I think this sheet could be written in F# major/D# minor. What do you think
• The tempo marking is size 13 instead of size 12 atm, they are usually too large after import
• Just wanted to check you didn't forget my last two points in the previous post..

[Atcero]

Got that stuff changed, sorry got so focused on the accidentals I forgot the other two. Thank ya!

Also I think having it in Aminor staffing helps with reading the accidentals since theres so many of em and the sheet is so short. If it was a much longer piece I'd agree but since this is only 8 measures, I feel just having none works the best for readability I suppose.

[XiaoMigros]

That's understandable, the keysig stays as is then!

One last thing before I approve: The chords in the last measure are only 2 beats long, not 3

[Atcero]

Got that taken care of, thank ya!

[XiaoMigros]

Awesome! Dragon's Den has my approval

[Bloop]

Dragon's Den
Notes are all correct aside from m2, where the F# and G in beat 3-4 should be G and G# (both L.H. and R.H.). However, accidental wise, I actually think this sheet would look a lot more intuitive using flats and naturals instead of sharps and the one double sharp. Harmonically it doesn't really seem to settle on one key, but with flats I can recognize the different intervals and underlying chords a little bit better. For example, the third chord reads a bit easier as a Bb major third/Bb major chord rather than an A# major chord, which is very rare. Same with the new m2, reading this as a G minor and Ab minor reads a little easier than what G minor and G# minor, or Fx minor and G# minor.

This is what it'll look like:

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(i can send you this file too if you want

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[Atcero]

Got that all updated, thank you so much!

[Bloop]

Awesome, I can accept Dragon's Den!
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[XiaoMigros]

• m1-m8: I think you could let the ostinato shine a little more in this section, before the bass comes in. I understand wanting to keep this section consistent with how the ostinato is in the rest of the sheet, but I feel like it takes away from how special this figure is.
• m4/5: I think the grace notes should be placed in front of the barline, that's when I think they start.
  The number of beams should match the number of grace notes: 2 notes here means 2 beams means the notes should be 16ths.
  Lastly, the slur should end on the main note instead of the last grace note
• m5: I don't hear the 8th rest in the RH, sounds like the melody is continuously sustained
• m7: The melody sounds sustained here also, no quarter rest. Annoyingly, I hear the triplets figure as E-F-E-F-D-E-F, which could be written as a septuplet, but since this figure expands into m8 it's probably better to add the last F as a grace note there instead.
• m20: Beat 4 in the RH sounds like D instead of C#
• m25: You could add a low D in the RH here, to finish of the previous phrase that plays in octaves
• m33-39: For the RH, I think you should tie the lower layer notes into the next measure where needed, as you do with the notes in the upper layer
• m34 & m38: The bass note at beat 4.5 sounds like G, not F
• m39: I think beat 3.5 onwards in the RH would be better off in the upper layer, since the D on beat 3 is restruck here
• m44: beat 2.5 in the LH would be better as Bb (for both layers), as is played in the ostinato
  Beat 4 in the RH is actually a 16th run (no triplets): Bb-D-G-A, but you might want to still leave out the Bb for playability reasons
• Similarly in m46, the 3 triplet notes at beat 4.5 should be regular 16ths
• m45-46: These are the only accidentals in the whole sheet in need of correction: The A#s in the LH should be Bbs
• m48: beat 4.5 of the lower RH layer sounds like a G
• m49: I think the upper layer RH note would be better written as a whole note
• m49-50: The upper LH layer plays E and D, not A and G
• m51 & 55: I'd remove the low F in the RH at beat 1, the resulting hand crossing is a little awkward
• m58: The RH note would be better off as a whole note
• m62: If you moved the grace notes in m4/5 in front of the barline, you should add them here again too

Two general questions:
1) What are your thoughts on using mordents instead of small triplets? In my opinion they're easier on the eyes and also help save space[/li][/list]
2) For the LH, did you intentionally change the bass note sometimes to match the ostinato note played at the same time? Because in some places you have, some places you haven't.

[Atcero]

Thank ya! Got that all taken care of I believe other than

m1-m8: I think you could let the ostinato shine a little more in this section, before the bass comes in. I understand wanting to keep this section consistent with how the ostinato is in the rest of the sheet, but I feel like it takes away from how special this figure is.

Im a little confused on what you mean on how to make it kinda special I suppose.

1) What are your thoughts on using mordents instead of small triplets? In my opinion they're easier on the eyes and also help save space

They could be mordents I suppose but I felt since they dont sound as fast as mordents to me I'd prefer to keep em as triplets if someone else agreed. If need be i can switch to mordents but for now id rather keep em as triplets.

2) For the LH, did you intentionally change the bass note sometimes to match the ostinato note played at the same time? Because in some places you have, some places you haven't.

I believe so? Honestly since its been a month I kinda forgot why I chose things but usually if I choose it its for trying to keep it sounding pretty close to the same. I do remember I had to make some sacrifices on the ostinato iirc and kept more with the bass to sound better and not to clash as much.

[XiaoMigros]

Im a little confused on what you mean on how to make it kinda special I suppose.

Oh, I forgot to say what I meant: I meant that you could write it in its original octave, and add the extra harmony notes

They could be mordents I suppose but I felt since they dont sound as fast as mordents to me I'd prefer to keep em as triplets if someone else agreed. If need be i can switch to mordents but for now id rather keep em as triplets.

Okay! I think that the difference when performing would be negligible but I'm happy to wait for someone else's input

I believe so? Honestly since its been a month I kinda forgot why I chose things but usually if I choose it its for trying to keep it sounding pretty close to the same. I do remember I had to make some sacrifices on the ostinato iirc and kept more with the bass to sound better and not to clash as much.

I think you can use the original bass note for m51+ maybe? The rest looks good

[Atcero]

Got that all updated, thank you and sorry for the wait!