[GCN] Mario Party 5 - "Bustling Noisily" by ThatHiddenCharacter

[Zeta]

Submission Information:
Series: Mario Party
Game: Mario Party 5
Console: Nintendo GameCube
Title: Bustling Noisily
Instrumentation Solo Piano
Arranger: ThatHiddenCharacter

[ThatHiddenCharacter]

Just a quick note that I'm aware there are no offbeats in m13-16 in the original. It felt very empty with just the bassline, and I asked in the Discord server about adding the offbeats, and the general consensus was yes.

[Kricketune54]

• m1-2 I've typically seen trill symbols a little higher, not touching the top barline but centered above the note head and above the barline. lmk if an example is needed
• Some of the measure systems could be reworked a bit - for page 1, try 4-4-3-3; page 2 3-3-2-2; page 3 3-3-4.
OR
Alternatively page 1 4-4-3-3-3; and page 2 3-3-4-3-4. I think I prefer this latter option but I'll leave it up to your choice! Note will need to change some system widths and dynamic/cres. placements here and there regardless


• m2 RH - grace notes usually have slurs connecting them to the whole note just as a reminder - I'm hearing C# and D# as the graced notes
• m2 LH 4.25 hearing as F#
• m3-4 I don't hear the E's in the RH as is - I think I can hear them an octave up and somewhat interpolated throughout these two measures.
• m6 LH I think this chord is Dm6 so bottom to top A-B-D might be the notes of choice here
• m10 LH the 16th run starts on beat 3.25 and 4.75 sounds like a Bn (above the En on 4.5 in octave)
• m11 LH 2.5 is F# - basically all the pitches from current 2.5 to the end of the measure are one 16th beat ahead of where they should be. the new 4.75 is an En.
• m33 I think you could expand this measure's system a bit so it's not so cramped

[The Deku Trombonist]

In bar 2, I'd write the Fx as Gnat seeing as it's in A minor.

[ThatHiddenCharacter]

• m3-4 I don't hear the E's in the RH as is - I think I can hear them an octave up and somewhat interpolated throughout these two measures.

I did try it interpolated, but it sounded very bad, so I decided to keep them, but an octave higher like you said. I also noticed that the piano doesn't actually play on beat 1.5 of m4, the reverb of the last piano strike just makes it sound like it's there when played at normal speed.

• m6 LH I think this chord is Dm6 so bottom to top A-B-D might be the notes of choice here

I will agree that what I had written was wrong, but upon relistening, I can distinctly hear A-B-E from bottom to top.

and 4.75 sounds like a Bn (above the En on 4.5 in octave)

It sounds pretty distinctly like a D# to me. The bassoon hits veeeeery briefly, though, so it could be another instrument hitting a B there.

In bar 2, I'd write the Fx as Gnat seeing as it's in A minor.

Since there is a G# both before and after that note in the measure, I feel inclined to disagree. Using a Gnat would just add too many accidentals in a small space and make it harder to read. With the F# there now, it would make three accidentals in a row on the last three notes as F#-Gnat(with the symbol)-G#.

The files have been updated!

[Kricketune54]

I did try it interpolated, but it sounded very bad, so I decided to keep them, but an octave higher like you said. I also noticed that the piano doesn't actually play on beat 1.5 of m4, the reverb of the last piano strike just makes it sound like it's there when played at normal speed.

That is tough to pick out but I think I'm hearing it as you have it.

I will agree that what I had written was wrong, but upon relistening, I can distinctly hear A-B-E from bottom to top.

I still hear A on the top and D and E but we can have someone else chime in on this.

It sounds pretty distinctly like a D# to me. The bassoon hits veeeeery briefly, though, so it could be another instrument hitting a B there.

Relistened, I don't actually hear the base but the piano playing the D# there.

Since there is a G# both before and after that note in the measure, I feel inclined to disagree. Using a Gnat would just add too many accidentals in a small space and make it harder to read. With the F# there now, it would make three accidentals in a row on the last three notes as F#-Gnat(with the symbol)-G#.

My personal opinion in agreeance with Deku - I think having this as a Gn shows slightly note planing, and F double sharp is a somewhat remote accidental pick for A minor.


More stuff
• m18 4.5 RH hearing D# underneath
• RH top layer m19 raise this quarter rest up so it isn't in the notehead. Usually you'd want to put first half of 1st layer in same layer as layer 2's notes, but it will show up that way to the person looking at the sheet anyway.
• m23 RH 1.0, 2.5, and 4.0 would be much easier if you removed the D# on the bottom of these beats. I don't actually hear the D# for this measure
    • would say same for m24 same beats.
• m31 LH this sounds like A and C instead of G# and B for the middle pitches
• m32 RH 4.0 I don't think this is physically possible - don't hear the pitches between the A's to begin with though so you could remove those.

[ThatHiddenCharacter]

I still hear A on the top and D and E but we can have someone else chime in on this.

I think that's a good idea because I still hear it as A, B, and E.

Relistened, I don't actually hear the base but the piano playing the D# there.

Upon relistening, it sounds to me like the piano is playing a B and the bassoon is playing a D#. I am very confident on this.

My personal opinion in agreeance with Deku - I think having this as a Gn shows slightly note planing, and F double sharp is a somewhat remote accidental pick for A minor.

I still disagree, but as two updaters have agreed on it, I have made the change.

More stuff • m18 4.5 RH hearing D# underneath • RH top layer m19 raise this quarter rest up so it isn't in the notehead. Usually you'd want to put first half of 1st layer in same layer as layer 2's notes, but it will show up that way to the person looking at the sheet anyway. • m23 RH 1.0, 2.5, and 4.0 would be much easier if you removed the D# on the bottom of these beats. I don't actually hear the D# for this measure     • would say same for m24 same beats. • m31 LH this sounds like A and C instead of G# and B for the middle pitches • m32 RH 4.0 I don't think this is physically possible - don't hear the pitches between the A's to begin with though so you could remove those.

All of this should be updated in the files. I particularly agree with point three, not sure why I had it the way I did.

[Kricketune54]

I think that's a good idea because I still hear it as A, B, and E.

So relistening, I can hear that B as well. Thinking there's still a D as well, but let's have the next updater give their opinion too.
 

Upon relistening, it sounds to me like the piano is playing a B and the bassoon is playing a D#. I am very confident on this.

This seems correct to me now. I guess earlier I was just saying I didn't hear anything other than the D# but couldn't tell which instrument.

Only other thing wanted to mention, for staccatos on the stem side like m19 3.0-40 (2nd layer), we do recommend centering the staccato over the notehead as opposed to the stem itself. https://www.ninsheetmusic.org/forum/index.php?topic=11591.0. Sorry if this has been mentioned before, I will make sure not to ask again if this is your preference

[ThatHiddenCharacter]

So relistening, I can hear that B as well. Thinking there's still a D as well, but let's have the next updater give their opinion too.

I tried it out with both, and it actually sounds a lot better that way. Unless another updater disagrees with both being in there, I think it's good that way.

Sorry if this has been mentioned before, I will make sure not to ask again if this is your preference

Yes and no. It definitely has been mentioned to me before, but it's not my preference. It's a side effect of exporting from Musescore, and I completely forgot about that until you just mentioned it again. I have fixed it.

Files are updated!

[Kricketune54]

Okay, looks good and I will approve now - one thing you might want to change though is the hidden dynamic after the sforzando. If I remember correctly typically sforzando is followed by a lower dynamic, so it might be better for the player to see the mp so they know where to build from for the cresc. at 9.

[Bloop]

-m2: Usually with grace notes, you use 8th notes for single grace notes, and 16th notes for 2 or more grace notes: in this case, the grace notes should be 16th notes (since there's two of them)
Also, at the end of m2, the melody quickly arpeggiates up to an E: maybe you could do something like this?
You cannot view this attachment.
-m4 and 34: While the piano chord on beat 1.5 is very soft, I can hear something being restruck in that beat in the original. Since the original piano part is (intendedly) sloppily played, some notes tend to be a bit softer, and I think in beat 1.5 it's all of them
-m10: Though the B isn't there in the bassoon part on the start of beat 3, it is there in the piano, maybe you could add it in so there's something on beat 3 to play?
-m12: The jump up to this Am chord in the L.H. is quite hard after the fast chromatic run in m10-11, I think it's only feasible to play the A there. If you want some more attack on that first beat, you could add C and E below the R.H. maybe?
-m19: The staccatos in the R.H. on beats 1 and 2 should all be above the R.H. (since the upper layer isn't yet there)
-m21-22: For a bit easier playability, you could remove the lower octave of the R.H. octaves whenever they are on a .25 or .75 beat (so the A in beat 1.75 in m21, the D#'s on beat 1.25 and 1.75 and the G# on beat 2.75 in m22)
-If you want, you could write m25 up to and including m30 beat 3 without 8va in its original octave: the only real outliers are the high A in m27 and the high C octave in m30, but I think those are still doable within this context.
-m29: For playability, you could leave out the bottom D# and E on beat 1.5-1.75 in the R.H.

[ThatHiddenCharacter]

-m10: Though the B isn't there in the bassoon part on the start of beat 3, it is there in the piano, maybe you could add it in so there's something on beat 3 to play?

Yeah, I had it that way originally, but was told to change it. I honestly prefer it starting on beat 3, as well, so I've changed it back.

-m4 and 34: While the piano chord on beat 1.5 is very soft, I can hear something being restruck in that beat in the original. Since the original piano part is (intendedly) sloppily played, some notes tend to be a bit softer, and I think in beat 1.5 it's all of them

I had listened to that part very intently with AudioStretch for at least five to ten minutes, so while I disagree that there is something being restruck there, I think it sounds enough like there is to just have it written that way. Sounds better with something there, either way, so I've changed it back to how I originally had it with a chord there.

Files have been updated.

[ThatHiddenCharacter]

If I remember correctly typically sforzando is followed by a lower dynamic, so it might be better for the player to see the mp so they know where to build from for the cresc. at 9.

Also, I've never seen this before, but I changed it for now. I still want another updater to confirm it, though.

[Bloop]

Also, I've never seen this before, but I changed it for now. I still want another updater to confirm it, though.

As a quick response to this (I'll check the files later today), a sfz is usually used as a louder accent mark (see here), so that would suggest you'd continue in forte instead of mezzo piano. Maybe the term you're thinking of is fortepiano (fp), which does mean "go to piano right after playing forte"?

[ThatHiddenCharacter]

As a quick response to this (I'll check the files later today), a sfz is usually used as a louder accent mark (see here), so that would suggest you'd continue in forte instead of mezzo piano. Maybe the term you're thinking of is fortepiano (fp), which does mean "go to piano right after playing forte"?

I've only ever seen it used the same way as fortepiano.