[NES] Famicom Detective Club: The Missing Heir - "Staff Roll" by WandringMinstrel

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Submission Information:
Series: Other
Game: Famicom Detective Club: The Missing Heir
Console: Nintendo Entertainment System
Title: Staff Roll
Instrumentation Solo Piano
Arranger: WandringMinstrel

[attachment deleted by admin]

[WandringMinstrel]

[Bespinben]

Good arrangement! Since the song follows an ABCB form structure, with each section repeating itself twice, we can devise a repeat system that will significantly cut down the page count:

[MID] [MUS] [PDF] [MUSX]

[WandringMinstrel]

Some interesting roadmapping; it does cut down the page count, but there are a few things I'd tweak elsewhere in the arrangement.

Measures 1 and 12, should be D# rather than Eb to show the upward chromatic motion (leading to the E).
Also Measures 1 and 12, I feel like there should be a rest in addition to the cue note, for clarity's sake.
You don't need the Coda symbol next to "Al Coda", nor the word "Coda" next to the symbol.
If we're going to make the last note 8va, make the other instance 8va for consistency and the barred line isn't necessary (since it's just one chord).
Is there a reason the Coda staff is so much smaller than the rest? It doesn't save any space.
Since the common practice is to skip the repeat after a D.S., a note to play it both times through would be helpful.

Here's a PDF of the further changes I made.

Trivia: "Hiromi" is the in-credits nickname of the game's composer. She worked for a company outside of Nintendo, and her true identity is to this day unknown. Kenji Yamamoto was the sound designer for this game and composed the music for the sequel, so he is often credited with the music. Still, I can't help but wonder who this "Hiromi" truly is.

[Bespinben]

Ah, well, you would know more about common practice than me! I'm fine with your changes, all except for:

Measures 1 and 12, should be D# rather than Eb to show the upward chromatic motion (leading to the E).

Priortize vertical analysis over horizontal. The reason I chose Eb was because it formed the root of the EbaugM7 chord. That relationship is obscured when you have both a D natural in the RH, and a D# the LH.

[Tobbeh99]

I wonder what the parenthesis are for. The first one in measure 1, and then the one for the rest? Is that note optional or something? And I really don't get the parenthesis for the rest.

[WandringMinstrel]

Priortize vertical analysis over horizontal.

I always prioritize horizontal over vertical. Always. I'll try to briefly explain why I was taught this; (A.) any group of notes, of any spelling, played together is a chord and can be given a name. (B.) Harmony is a product of counterpoint, so making any melodic movement clear is more important to the performer, to better visualize the movement of the piece over time. And (C.), composers don't write vertically (generally). Music exists over time, after all, so proper musical analysis has to take everything in temporal context. Hope that helps you understand where I'm coming from.

Tobbeh99: The rest in parentheses doesn't exist in the original; the C/A middle voices are held for a half note, but on piano that would conflict with the A in the bass. I was going to ask about that, but I think I'm just going to replace it with the half note.

[Bespinben]

Well, seems you have good reasons. Wouldja update the OP with your final draft? Thank ye

[WandringMinstrel]

*Thumbs up*

[Bespinben]

Dont kill me

http://www.NinSheetMusic.org

[WandringMinstrel]

It took me a while to figure out what that meant.
Fixed.

[Zeta]

This submission has been accepted by Bespinben.

~Zeta, your friendly NSM-Bot