cacabish's "Too Hot To Handle" Project Sheet(s)

[cacabish]

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]

[Kricketune54]

Inferno!

non extended

[close]

• m7 LH Ab instead of G#?
• 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

[cacabish]

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.

[Kricketune54]

I'm thinking good to keep G# on retrospect. Approving Inferno!

[Kricketune54]

Spiny Desert

I'm not familiar with this one but my brain has rotted so much that the percussion made me think of the skibidi bop bop bop bop yes yes yes yes meme (Mario Party predict Attack of the Skibidi Toilets???)

Also for those who like, here's non-extended rip

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

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

[cacabish]

• 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! (●'◡'●)

[Kricketune54]

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)

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

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

I think given the RH is not quite staccato/playing completely different rhythms, having a more transcribed pattern here helps add some flavor. I think you did forget beat 3.5 for m6 though as far as removing the staccato

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

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Think that's all I've got

[cacabish]

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!

[Kricketune54]

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.

I'm not quite sure how to explain musically in terms of what I'm hearing - I would just suggest isolating from the melody and bassline when listening to identify the chord notes in m33-34. The Fn is a little hard to make out in m33, but it does seem to be the note as opposed to F#.

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)

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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.

I should clarify again, these notes would be placed below the melody (like you have for the Eb restrike) an octave or two lower than their original octave. I'm hearing an F5 or F6 on beat 1-2 as a half note, but it would work as a F4. Hope that helps

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!

Yep definitely a product of this musical style lol

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!

You're welcome! And not auditory shortcomings... we just think of it as giving an extra boost  . No other feedback to add, but give me a heads up on if you hear anything I've tried clarifying above.

[cacabish]

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!

[Kricketune54]

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!

Sorry, I made an assumption with the initial feedback that you would pick up that I was talking about the upper voice - there was already some rearranging of upper voices to under the meloldy in m32 so assumed you'd pick up on that. Thanks for checking again! Spiny Desert is now approved

[Bloop]

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

[cacabish]

-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!

[Bloop]

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.

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! Everything else looks good!

[cacabish]

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!