What made the earlier version drag was not note speed — the source is already all sixteenths. It was that the harmony sits on one chord for four to six bars. This version changes chord every bar, runs at ♩=132 instead of 102, and is 32 bars instead of 46. Same material, four times the harmonic pace.
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 left hand plays long, long, short — three sixteenths, three, then two — twice a bar. That uneven spacing is what creates the forward motion. Play it evenly and the whole thing flattens out into a march.
The loop is Dm · B♭ · F · Am, one bar each, round and round. It never sits still. Learn those four bars and you have twenty-eight of the thirty-two.
A four-note arpeggio in sixteenths, four times a bar. The shape is fixed; only the chord under it moves, and only the register changes between sections. Nothing here spans more than a tenth or asks for more than four notes at once.
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 is an original arrangement, not a transcription and not the Hitman theme.
Hitman Legacy/sheets/ reliably recovered from the audio, and they are the one part of it worth building on.The loop is four bars long and repeats seven times with only the register changing. Learn those four bars properly and the piece is essentially done.
| Order | What | Bars | Why |
|---|---|---|---|
| 1 | Left hand alone, the push | 5–8 | Long, long, short. Get this into your body before adding anything on top. |
| 2 | Right hand alone, the cell | 5–8 | Four notes in sixteenths. It is the entire right-hand part of the piece. |
| 3 | Hands together, one loop | 5–8 | The hard bit: even sixteenths above an uneven bass. Slowly. |
| 4 | E · the landing | 29–32 | The only bars that are not the loop. |
| 5 | Everything else | 1–4, 13–28 | The same loop in different registers. Read and play through. |
Full speed is ♩=132, which puts the right hand at about nine notes a second. Start at 96 — the slider default — and only move up when a loop runs four times without a bump. The piece lives or dies on the sixteenths staying mechanical while the bass stays uneven, and that separation only survives if you build it slowly.
Very little, and change it on every bar since the chord does. In the driving sections consider none at all: the push only reads as a push if the notes stay separate. Save the pedal for the final two bars and let those ring.