Olimar12345's "Too Hot To Handle" Project Sheet

[Olimar12345]

I made it just in time to be later than Jake:

[NDS] Super Princess Peach - "Fury Volcano 2"
[MUS] [MUSX] [MIDI] [PDF]

[Kricketune54]

Could you please upload a copy of this sheet's .musx file to the project folder? Is helpful for our own project tracking

My biggest question I have is the second page key signature choice - it seems like after m18 the song should switch to F sharp minor; it would be much easier to read compared to staying in C minor.

• m6 Correct me if I'm wrong, but single grace notes are usually 8th notes as opposed to 16ths
• m13 RH 2.0 could add C#/Db grace note to this Dn
• Whare are the hidden coda symbols at m14?
• m15 for your endings couldn't you make m15 be outside the first ending, and then delete current m17? It looks a little weird currently the way the tie is split off from m14 (note all measure numbers in this post are for the current numbers)
• m16 and 18 maybe you could move the middle tie a little; very small detail

Spoiler

[close]

• m22 RH first triplet hearing G#/Ab not a rest
• m26 LH 3.5 this sounds like Fn/E#

[Olimar12345]

Could you please upload a copy of this sheet's .musx file to the project folder? Is helpful for our own project tracking

I don't have perms

My biggest question I have is the second page key signature choice - it seems like after m18 the song should switch to F sharp minor; it would be much easier to read compared to staying in C minor.

The second half of the piece doesn't function tonally for the most part. Unlike the first half, it mostly planes chromatically until setting up the turn around. It'd have lots of accidentals no matter where you put the key signature, and I'd rather keep it the same so the performer doesn't have to worry about that as well as all of the written accidentals.

• m6 Correct me if I'm wrong, but single grace notes are usually 8th notes as opposed to 16ths

I'm not understanding the issue here. Could you elaborate what your concern is?

• m13 RH 2.0 could add C#/Db grace note to this Dn

Thank you, I've added a C# there.

• Whare are the hidden coda symbols at m14?

They're used to facilitate the first and second endings' playback. This is an older arrangement and I used to do that before realizing I could create an empty symbol to use, which is what I do now. It's not visually present when printing so it shouldn't be an issue.

• m15 for your endings couldn't you make m15 be outside the first ending, and then delete current m17? It looks a little weird currently the way the tie is split off from m14 (note all measure numbers in this post are for the current numbers)

I had excess space to work with, and this made the page change cleaner and more visually appealing.

• m16 and 18 maybe you could move the middle tie a little; very small detail

Spoiler

[close]

Moved, thanks.

• m22 RH first triplet hearing G#/Ab not a rest

That's carried over from the idea in the previous measure which I did not include (the flute was playing the accents). Sounds like the horn chords play on beat one also, which might add to what you're hearing. Since it isn't what the flute is actually playing, I'd prefer it as I've written it.

• m26 LH 3.5 this sounds like Fn/E#

You might have gotten the wrong measure numbers? That's what I have written in 26...

The files have been updated.

[Kricketune54]

PM Latios212 with your email address so that you can access the Dropbox folder where we will be hosting all of the sheets (if you already have access from a previous project, this step is unnecessary).  You should upload submitted sheets (just the .mus or .musx is fine) to this folder yourself, and keep them up to date when changes are made.

[Kricketune54]

The second half of the piece doesn't function tonally for the most part. Unlike the first half, it mostly planes chromatically until setting up the turn around. It'd have lots of accidentals no matter where you put the key signature, and I'd rather keep it the same so the performer doesn't have to worry about that as well as all of the written accidentals.

Then alternatively I'd suggest going keyless starting at m19. That way you can write out the Gbm as an F#m chord: since it's planing chords, it'll likely be easier to read the chords as F#m with sharps and naturals rather than Gbm with flats and double flats. You could also similarly show the chord planing with Em and Ebm in m23 and m25. m32 in F#m is also a bit easier visually as well, and looks much nicer ascending to m33 beat 1.

I'm not understanding the issue here. Could you elaborate what your concern is?

It's not a concern more a standardization thing. Gould's Behind Bars (pg.125) for example says that the traditional practice for two or more consecutive grace notes is to use two beams (sometimes three), thus writing them as 16ths. So I would just say that it's more typical that a single grace note is written as an eighth note. Are they written in this arrangement as 16ths because of the tempo to indicate they must be faster? I don't think there is any standard on that but I just know in past I've been told to write two or more graces as 16th's. I did just check and saw no one ever said anything about it on your Anville Town sheet though, so I could be totally off base here.

They're used to facilitate the first and second endings' playback. This is an older arrangement and I used to do that before realizing I could create an empty symbol to use, which is what I do now. It's not visually present when printing so it shouldn't be an issue.
I had excess space to work with, and this made the page turn cleaner and more visually appealing.

Oh gotcha makes sense for both of these

That's carried over from the idea in the previous measure which I did not include (the flute was playing the accents). Sounds like the horn chords play on beat one also, which might add to what you're hearing. Since it isn't what the flute is actually playing, I'd prefer it as I've written it.

Okay sounds good. I agree that as written the LH part flows quite nicely while representing multiple instruments, even if it sometimes doesn't fully follow every chord on every beat. I'm not going to nitpick on that further then.

You might have gotten the wrong measure numbers? That's what I have written in 26...

I'm actually not sure what I meant here, my apologies

[Olimar12345]

Then alternatively I'd suggest going keyless starting at m19. That way you can write out the Gbm as an F#m chord: since it's planing chords, it'll likely be easier to read the chords as F#m with sharps and naturals rather than Gbm with flats and double flats. You could also similarly show the chord planing with Em and Ebm in m23 and m25. m32 in F#m is also a bit easier visually as well, and looks much nicer ascending to m33 beat 1.

Changing the key signature to remove all accidentals is still a change in key signature, which is what my original point was intentionally avoiding...

[Kricketune54]

Okay, I will approve

[Bloop]

Sorry for the wait on this one!
-The R.H. in the first page feels a little bit over-saturated with articulations here: is there a specific reason you're using both tenuto and legato markings, instead of just legato slurs? I also don't hear that much difference between most accented and un-accented notes in the original.
-m7: I do hear a C in the flutes and trumpets on beat 2, but the organ melody voice plays the C on beat 2.5, which seems to fit a bit more rhythmically with the rest of the melody.
-m12: The G on beat 4.5 isn't part of the organ melody, but the ending note of the flute countermelody. Do you still wanna keep it in? You did leave it out at m4
-m19-20 and 31-32: Maybe you could write these Gbm chords as F#m instead? It might read a little bit easier than Gbm, especially for the melody in m32, and it'd mirror the movement Em to Ebm too. It may look a bit nicer leading up to the dominant in m33 as well.

[Olimar12345]

No worries, igi. Thanks for looking over it too, btw! ^^

-The R.H. in the first page feels a little bit over-saturated with articulations here: is there a specific reason you're using both tenuto and legato markings, instead of just legato slurs? I also don't hear that much difference between most accented and un-accented notes in the original.

It's how I would most likely see it written for the flute, or any instrument in a jazz setting like this. The tenutos are also showing where to rearticulate after the string of slurred notes.

-m7: I do hear a C in the flutes and trumpets on beat 2, but the organ melody voice plays the C on beat 2.5, which seems to fit a bit more rhythmically with the rest of the melody.

Ooooo yes good catch, I hear what you mean. I will switch this over to that.

-m12: The G on beat 4.5 isn't part of the organ melody, but the ending note of the flute countermelody. Do you still wanna keep it in? You did leave it out at m4

I see what you mean. I'd actually like to incorporate it in measure 4 as well, tbh. It's nice, I like it.

-m19-20 and 31-32: Maybe you could write these Gbm chords as F#m instead? It might read a little bit easier than Gbm, especially for the melody in m32, and it'd mirror the movement Em to Ebm too. It may look a bit nicer leading up to the dominant in m33 as well.

Yeah, ok, this makes sense. Changd'.

I've uploaded the new version to the DB folder. Thanks again to both of you, I like how this turned out!

[Bloop]

It's how I would most likely see it written for the flute, or any instrument in a jazz setting like this. The tenutos are also showing where to rearticulate after the string of slurred notes.

Ahh alright, I haven't seen it much in piano sheets, but then again I'm not as well-versed in jazz sheets compared to classical ones.

I see what you mean. I'd actually like to incorporate it in measure 4 as well, tbh. It's nice, I like it.

That works too!

I'll accept!
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