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[NinSheetMusic Museum]

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"Eeek! A bug...! Ah, I beg your pardon! I just don't like handling these things much!"

- Double barline at the segno?

Yeah, I didn't think of that, but it looks nice!

- The systems could be moved up a bit on page 1 and down a bit on page 2 to leave a bit more space around the footer/header respectively.

Good call. I've moved 'em a bit, let me know if you think I should do more/less.

- When cross-staving in m. 23, it's generally best to have the angle of the beam follow the contour of the notes. You can use the Beam Angle tool to make it point up.

Yeah, I did think it looked odd, but it's what Finale did by default so I was just like "alright then, Finale" ¯\_(ツ)_/¯
I shouldn't have trusted Finale... -_-
Fixed that now (definitely didn't take me 7 tries to figure it out)

- In m. 24, it'd be best to have a small bracket hook along with the 8vb to more conspicuously tie it to just that one octave.

Fair call there. I've seen bracket-less 8vb's before in music, so I figured this applies, but I think yours communicates better.

- It sounds like m. 25 should have a Bb on top of the right hand chord.

Hmmm... I can't confidently say I hear this, but the opposite is true too. The overtones are tricking me and so I can't say for certain it's not there, but it really feels like it's an F on top for the chord. For me, this is just repeating the melody motif from the previous 2 systems, so I feel like it makes sense to really frame that well instead of throwing a Bb on top, which will muddy the melody. Also, if it's there, it's really faint, so notating it might give rise to people playing it forcefully, which is definitely not what the piece does. Anyways, you check again and let me know. If you're pretty sure it's there, I'm cool adding it since I'm on the fence.

- I think a dynamic change (to f) in m. 25 would be good to accompany the espressivo.

Sounds good to me! Had to make a bit of space here or there, but nothing bad.

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Alrighty, files are updated! Sorry about the late response, but thanks for all the feedback, Latios!

-m17: The courtesy accidental in the L.H. isn't really needed here, the Bb's have been Bb's for this whole sheet already, and since there's a modulation there's not really a need to further indicate accidentals.

Ah, oops. I meant to flag the Db as the courtesy (since you're going from Bb Major to Bb Minor), but in this case, I now realize I'd also have to do the Gb by that logic, so I'll just scrap it.

-m40: Instead of just "al niente", it's best to use "dim. al niente" instead

Sounds good to me! Out of curiosity, is there is a specific reason to spell it all out (other than just being less terse and more explicit)? I've seen a couple pieces of music where it's just "al niente" as the conclusion.

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More speedy work from Bloop! Mario would definitely have trouble dodging you. Files updated.

[crank]

Just popping in to mention that this game was actually originally released only for PSP in 2010, so it should be under the [PSP] tag instead of [MUL]. With few exceptions, we go by the original platform release.

Ahhh. Thanks for the catch! I just got mired in the details of all the console releases, thought too hard about it, and just went with [MUL] as the fallback. I'll remember to simplify my thinking next time.

-m17: I don't think I hear the F in the L.H.

Yeah, I was debating that one. It always felt too strong to me, but I swore I could hear it too. Probably overtone shenanigans. I agree with you here, so I've removed it.

-m24: I hear a (very) low Bb an octave below the L.H. here too

Yep, I agree

-m29: I don't think I hear the Db in the R.H. and the top Gb in the L.H. on beat 1, and the Db on beat 3. Some of these might be overtone shenanigans

I swear I can hear a Db in beat 1, but not confidently. However, after removing the other ones (which I agree are probably overtone shenanigans), it's clear what the pattern should be; just parallel RH octaves, so I think it's probably more overtone shenanigans. I've removed all these.

-m40: There are some (very) soft chords in the R.H. in beat 1 and 2 here too: did you intentionally exclude them?

(I'm presuming you mean measure 41 here) Nope! I completely missed them!
I can hear beat 1 (strange how I missed that), but had to crank my volume to hear beat 2. Now that they're there, I think an al niente is super appropriate here, so I've added that. Great catch!

-m42: The grace notes should chromatically descend from the Bb in m8, i.e. the grace notes should be Bbb, Ab, Abb and Gb. Also, it sounds like the full chord is rolled: maybe you could put the R.H. Db in the L.H. instead and add an arpeggio wavy line to that chord?

Yeah, I thought of the arpeggio but I was afraid with how messy it is with grace notes, accidentals, jazz...iness, that it would just introduce more clutter. But the Db in the LH is a really good idea and helps to keep things grouped nicely!

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Alrighty, that should be everything addressed! Files are updated. Thanks for the lightning fast feedback, Bloop! I was not expecting feedback that quickly!

I personally like the two layers because m.2 is two layers, so it really flows into that nicely and is, technically, representative of what the instruments are playing. That said, I'm 100% in agreement of it being unnecessary as both layers are playing on the same beats and for the same durations, but I think I prefer the current version of the two separate layers, so let's roll with that!

Personally I feel like having more notes helps get that sweeping feeling across quite well, but I'm okay with leaving things as is too, since thats the educated conclusion you came to

Then let's just leave it at that

sorry, I meant the low RH layer, not RH. I'm still hearing it there FWIW

Ahhh, gotcha. And yeah, it's this slide into the D that I didn't notice. Good catch! I've added it as a grace note.

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Thanks Xiao! You're awesome!
I also redid the first measure to use two layers as an experiment and I think it looks nicer, but if you disagree, let me know and I'll change it back.

• I think in this sheet, when you have 8th+8th rest it would be better off as staccato quarter notes? I'm getting 'short, but not too short vibes rather than 'hold exactly an eighth then release exactly an eighth'. Up to you though, that's just my 2 cents

Yeah, I can see that and I think it's a decent enough idea, however, I do like the consistency across the eighth notes. Besides, then I'm kinda using staccatos just for length instead of length+articulation. So, I think I prefer the eighths.

• m3 and similar: I don't hear beat 2.5 as staccato
• m4 and similar: beat 1 doesnt sound staccato either

Yep, simple enough fixes!

• maybe it's better to use legato 8ths and staccato quarters for the bass? though it does lose some snappiness...

Same as above and I kinda like the snappy bass, especially in this arabeseque-style music.

• The 16th triplets would look neater as mordents IMO, what do you think?

At this speed, mordents and 16th triplets are basically equivalent, but I (personally) like the look of a slick triplet thrown in amongst eighth notes. It really grabs your attention and makes you appreciate the rhythm over a mordent. It definitely gives a piece more character. That's just my personal preference.

• m25-33: Since the tonal center kinda shifts to F here for a few measures, it makes more sense to use Gb and Db in this section than F# and C#. You'll notice the melody follows more logical steps as a result, too

Oooh, yeah, that's a great idea! That definitely cleans up a lot! The reason I didn't go for it is because F# is the 3rd of D, which is the V here, and is commonly used throughout, so I was mostly focusing on that.

• m33 and m36 sound a bit bare in parts, compared to what's going on in the original. For m33, you could add a low Db at beat 1 and a low Bb at beat 3, maybe? and for m36 a low Bb at beat 3.

Ehhh, perhaps so. Personally, I'm not the biggest fan of trying to cram every last note into every beat. And given that this section is like the sweeping sands with the rise and falls and more legato compared to the bouncy A section, I think leaving off layers allows for that to shine. However, if you think there would be great benefit from adding on extra bits there, I can pursue that.

• m39: I hear an Eb at beat 2.75 in the low LH layer

Hmmm, I'm not hearing that. And I'm going to plead that makes it inconsistent as m43 mirrors m39 and it doesn't have it either (as far as I can tell).

• System spacing: 4-4-4 systems per page, instead of 5-5-2?

Yeah, that's a good idea. If I'm going to use 3 pages, I might as well own the 3 pages. Thanks for the tip!

• For the time signature, I'm hearing 2/2 rather than 4/4, how about you?

I still have no idea what's the significant difference between 2/2 and 4/4 other than speed and marching... kinda? And this meets the speed requirement. I do also admit it'd be easier to conduct this in 2 instead of 4, particularly at this tempo, so I think that's probably enough justification to make it 2/2. Thanks! I've also updated the tempo marking to a half note (I often forget to make that change)

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Alright, I think that's everything! Thanks for all the feedback, Xiao! And sorry it took me so long to respond; I was occupied prepping for a guest math lecture at my local college and I decided to program my PowerPoint (looked amazing, but took like 20-30 hours of work). File is updated!

It's the trumpet parts that play on beat 2 and 2.5, and on beat 4. The exact height seems to be G4 and Db5 on beats 2 and 2.5, and G4 and D5 on beat 4. Moving these exact pitches a few octaves down does sound a bit weird though, so that's why I wasn't as sure about actually implementing them :p I'll leave it up to you!

Okay, yeah, I can hear them now. They're definitely faint and those specific octaves are not good with overlapping the melody line. However, I decided to go with a C#3-G3 that then resolves to a D3-G3. I tried the G3-C#4 inversion, but it feels too high when you'd want something bass-y, so I think this is a good compromise. The dissonance meter did just pump up an extra layer or two (since we've now got a tritone), but I think it add some personality and this whole piece is a Bowser Mario Party board affair of circus-y, chaotic, and crazy, so I think it fits. Plus I plonked it out on a keyboard and it sounds fine and easy enough to play, definitely not overbearing.

Let me know what you think! Thanks again, Bloop!

-m6: Maybe you could write beat 3 as F# major (so F# in the L.H., F#-A# in the R.H.)? It might mirror the movement of m1 a bit, but in major instead of minor. I'll put that in.

Yeah, that's a fair point. I guess another advantage is it keeps the Gs always Gn throughout, so that'll save a bit on courtesy accidentals.

-m7: Maybe you could write beat 3 L.H. as an Ab: there's not really a clear chord here, but Ab-Eb-Bb is a nice pile of perfect 5ths. Also, you could add a slur on beat 4 to beat 1 of m8 in the L.H.

That's also a decent enough idea. It's hard with all this dissonance and "non-chord"-iness for me to decide on accidentals, but I suppose this also works and, unlike my choice, which was primarily chosen for parallel's sake, I think this one's got a bit more going for it. The slur is good too. Done!

-m8: Maybe you could move the quintuplet in beat 4 an octave down, so it ends cleanly on the G instead of suddenly jumping down a 7th.

I was actually debating that originally, but I wasn't sure. Anyway, since you brought it up, I'll happily adjust it!

-m9-11: The L.H. seems to be staying on Eb on beat 3-4, instead of the C#-D movement.

Not sure how I missed that, but you're right! Fixed that.

Also, I think I'm hearing C#'s instead of D's on beat 2 and 2.5, which resolve to D's on beat 4, but I'm not sure how well that translates to piano lol.

Mmmmm, I'm not hearing that. They seem pretty clearly Ds on my end (when I plonk Ds on my keyboard, they blend in, whereas C#'s don't) and I'm not exactly sure the rest of what you're talking about. I could be mistaken, but I'll just leave it as-is for now.

Thanks Bloop for the feedback! As always, it's greatly appreciated. Let me know of other changes you have in mind!

fwiw this is a transcribed version of what I'm hearing at m34 (I think just having the Eb down an octave on beat 1 would work fine)

Ohhhhhhhhhh, this is an upper voice. I though it was a voice between the melody and bass and couldn't find anything. And, with that bit of revelation, a bit of transformation and I can hear m34 as you wrote it. That said, I still couldn't hear m33 very well. Eventually, I transcribed it to a completely different key in Audacity and that, I guess, allowed my brain to pick up on it as the tonal quality of the original key isn't very good (on my recording, at least). So, yeah! You were right! I can now add them more confidently, and so I have. Thanks for your patience, Kricketune!

Oh I forgot/didn't realize that! I think of you and MuseScore from the guide haha

Just trying to appeal to the greatest common denominator by going to the lowest possible
also pain and suffering build character but I think I've built enough character

I think you did forget beat 3.5 for m6 though as far as removing the staccato

Herp derp. Missed that one. Good catch!

• Listening again to m33 the RH F# is actually an Fn. It also doesn't sound tied to me in m34, but rather the lower layer RH note is an Eb

Okay, I've listened to that section so many times now and with so many modifications and I just cannot hear it. :/ It also doesn't make much sense to me, as an Fn would create a Major 7th sound when they're trying to frame jumping around major chords. The Eb makes even less sense as it's incredibly out of place for F# major and it produces an Ebm sound, which is not exactly what it sounds like to me. I may just be up in the night, but I can't confidently add it when I can't hear even the slightest hint of it.

• m38 RH you could alternatively remove the tie and current lower layer, have an Fn half note on beat 1-2, and have a restrike of the Eb on beat 3 (under the G). I guess you could just remove second layer and add mentioned notes below the melody line instead

Again, not hearing the Fn, but I get the motion idea -- I'm just not sure it's there. However, the Eb restrike makes a lot of sense as it's basically there when I listen to it again, so I'll at least put that in for now.

• m42 RH lower layer actually plays a slightly different rhythm:

Yep, I think you've got that one. It's hard because there's a lot of easing in on a lot of these rhythms. Not enough to be worth notating, but enough to be painful to find the beats and which one they align to. Thanks!

Alright, I've made my changes and updated the file. Thanks Kricketune! If you have more insights on my auditory shortcomings, do let me know!

• m2 the trill is a little low and collides with the notes, not sure if you can see this in notepad?

Oops. I just forgot to format it. Derp. (And I don't use Finale Notepad for arranging much these days, so I see it there in full Finale)

• Also m2 RH I am hearing an F# below the D as opposed to an A. Obviously can't trill F# and G, but it technically would be more accurate to also have the F# or F# instead of A

Yeah, accuracy is better here, so I agree with this. I think I went with the A because it's held whereas, as you said, the F# and G are impossible to trill, but I can't remember.

• m6 LH this recurring rhythm, for beats 2.5-3.5, these sound like they are full lenght and not staccattoed
• m14 LH beat 3 is F, 4 is F#, and I don't think they're staccato length. Similiarly, m46 LH 3-4 are also full length notes (same notes)

Yeah, I think I went with the staccatos just for uniformity, but I agree with these changes!

• m22 RH lower layer 2.0 is an F not G
• m31 RH sounds like you could have a lower RH layer - on beat 3 I hear a C of half note length come in

Yep! Both of those are good

• m41 RH lower layer first three notes sound like D-Eb-D to me as opposed to Eb-F-Eb

I struggled with this for a looooong time, but I think you're correct here. Fixed!

Alright, that should be everything! Files are updated! Thanks for the feedback, Kricketune! (●'◡'●)

[Inferno!]

Inferno!

• m7 LH Ab instead of G#?

Hmmm, maybe... I chose it for a nice parallel structure with the previous measure. So you get a Gn => Gb and then the next measure goes Gn => G#, which I think looks nice. That said, I'm not sure if there's a tonal reason to choose Ab that supersedes my judgement, that's just my reasoning, so I'll leave it for now.

• Slur between m7 and m8 would look a little better flipped upwards.
• m8 RH 4.0 I hear a F# and Cn here that you could add
• m10 grace notes that are 2 or more notes long should usually be written as 16ths instead of 8ths

Yup! All great suggestions and all have been implemented.

Thanks for the feedback, Kricketune! The Inferno! file has been updated.

["Spiny Desert"]

Cutting it super close, but I made it!
Gotta roll with my cliché Mario Party for this project. I've been working on "Spiny Desert" for a couple years, so I'm happy to finally finish it and send it through!

"Spiny Desert"
[N64] Mario Party 3
[MUSX]

Now, as a possible second sheet, here's one from Mario Party 7! If Spiny Desert is too much, I'll retract this submission and just send it through normally.

"Inferno!"
[GCN] Mario Party 7
[MUSX]