Read the notes section before you start. This is not the Hitman theme, and it is not built from a human arrangement. It is a playable piano reduction of the harmony and accompaniment figure that an automatic transcription pulled out of the audio — which is real musical material, but it is the backing, not the tune.
Read the counts down the column: 1 is the downbeat of a bar, 2 3 4 are the other beats, and e & a are the sixteenths in between. Any two cells sharing a column are struck at the same instant.
The right hand plays a four-note arpeggio cell, twice a bar, and it barely changes. What moves is the harmony underneath it. Learn the shape once and the rest of the piece is a matter of where you put it.
Twenty-one of the forty-six bars are new; the rest repeat exactly. The source sits on one chord for four to six bars at a stretch, so most of what looks like new material is the same bar again.
Two bare octaves a bar, and they carry every harmonic change. Because the right hand stays put, the left hand is the only thing telling the listener where the music has moved to. Place it cleanly and quietly.
Hear the whole thing before you learn any of it. The drills further down teach the sections in printed order; what you play is a separate decision. Move the blocks below and the whole piece plays back in that sequence — every bar kept, nothing dropped, just resequenced. Sections A–D are the Journey to the West theme; E and F are where the arrangement leaves it.
Playback follows the tempo at the top of the page. Switch between as printed and with rolls to hear the difference the spread chords make: bar 8 becomes a single roll instead of seven hits, the four held bass chords in bars 17–20 spread bottom to top, and the last chord of the piece opens out slowly. Everything else is identical, so the comparison is clean. Both settings play the voices no pair of hands can reach in bars 5–7 and 39–40 — a synthesiser has no hands.
This page is different from the others in the library and you should know exactly how before you spend time on it.
This is the easiest page in the library and it will not take long. The right-hand shape is fixed, so nearly all the work is in the left hand knowing where to go.
| Order | What | Bars | Why |
|---|---|---|---|
| 1 | The cell alone | 3–6 | Four bars, one shape, one chord. Get it even and you have the whole right-hand part. |
| 2 | Left hand alone, start to finish | 1–46 | Two octaves a bar. Playing only this, all the way through, teaches you the harmony in about ten minutes. |
| 3 | C · Turning | 15–22 | The only stretch with real harmonic movement. Everything else sits still. |
| 4 | F · The close | 40–46 | The written ending. New material, so it needs its own attention. |
| 5 | Everything else | 7–14, 23–39 | Long stretches on one chord. Read them, then play through. |
Treat this as an accompaniment study rather than a performance piece. It is a good left-hand exercise, a good evenness exercise for the right, and it will teach you a harmonic pattern that turns up constantly in film writing. What it will not do is sound like the track you took it from, because the melody is not in it.
Find a human-made piano arrangement and the page can be rebuilt properly, with the tune. The tell is in the preview image before you download: real piano writing shows varied note lengths, dynamics and phrase marks. A wall of identical sixteenths with no dynamics anywhere is machine output, whatever the file extension says.