[NDS] Pokémon Mystery Dungeon: Explorers of Time & Pokémon Mystery Dungeon: Explorers of Darkness -

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Submission Information:
Series: Pokémon
Game: Pokémon Mystery Dungeon: Explorers of Time & Pokémon Mystery Dungeon: Explorers of Darkness
Console: Nintendo DS
Title: A Grand Tale
Instrumentation Solo Piano
Arranger: Bespinben

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[Bespinben]

Note:
This track does not exist on the "official" Sky Jukebox in-game sound test, because it is the ORIGINAL Time/Darkness title theme, not the Explorers of Sky title theme. As such, I am using the earliest known fan-given title for this track.

https://www.youtube.com/watch?v=mDR4GqKWLJU

[The Deku Trombonist]

I was just wondering about the usage of small notes? Eg in bar 2. I've always been curious

[Bespinben]

Cue Note

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While technically I have notated the trill like figures as cue notes, the motivation to do so was primarily the product of needing just the right amount of space in measures 1-7 to re-align the hypermeter upon m. 8. This is also why I included a graphic, to justify pushing the first system further in.

[Olimar12345]

The graphic is highly unnecessary, though (in regards to the purpose of the document). Also, I find that using "cues" in an unaccompanied solo work is rather redundant; that's something you see composers do if they think there might be an issue getting a player, such as putting the bassoon cues in the trombone part (very common).

[Bespinben]

The closest analogue pertaining to my intentions regarding my choice of notation is this:



I am implicitly attempting to communicate that the figure is a flourish, and should be played with less volume, hence, smaller noteheads.

[Olimar12345]

But smaller notes =/= less volume. Dynamic markings indicate volume.

 

[Bespinben]

For me, engraving is much graphic design as much as it is musical communication. I am making a deliberate choice that has some historical precedent (see above) to prevent having more p's than space for crescendo hairpins:

[Latios212]

From my experience playing Ben's sheets, I think small notes get the point across very well.

[Olimar12345]

I'm not saying that you need to put specific dynamics here and there, I'm just stating the obvious in that smaller notes do not directly translate to a softer dynamic (ex. what about grace notes?). The pictured example seems to have more to do with the figuration, anyway. Cues again don't make much sense either, unless this were some sort of condensed conductor's score. The point here is that the reduced size doesn't really mean anything difinitive in this instance, and leaves the reader asking "well, why didn't he just leave them the normal size?"

 

[Bespinben]

The way I engraved m. 1-6 follows the way I arranged it. Each voice is distinct and detached from the others, and the notation reflects that. Instead of writing "pizzicato strings" above the LH upper layer, I assigned it its own identity with articulation. (Same goes for the brass in m. 5). Likewise, instead of writing "woodwinds" above the 32nd note trills, I gave it a distinct identity by reducing the size of the noteheads. In contrast, come m. 7 and beyond, it's a mammoth wall of bombastic chords and arpeggios. Instead of writing "tutti", I adjust my notational style to suit the music. Will whoever reads the sheet on its own know that I meant exactly this? Maybe, maybe not. It's art; the beauty is in the interpretation.

[Olimar12345]

Interesting, although it's starting to sound more like a condensed score than an arrangement for the piano, lol. I think this point still remains though:

The point here is that the reduced size doesn't really mean anything difinitive in this instance, and leaves the reader asking "well, why didn't he just leave them the normal size?"

in that to the sight-reader, this is not made apparent, since you're using this technique in a more unique and less orthodox manner (well, at least in a context less-familiar to the average pianist, I would assume).


Sorry, I know this is rather minuscule, but I like taking about common notation practices!

[Bespinben]

Well, you're right on the money actually. I arranged (and notated) m. 1-6 as if it were a condensed orchestral score/transcription. Everything beyond though is treated (and notated) in a very pianistic fashion; m 16-19 are hardly like the source material in terms of exact instrumentation. It's exactly this contrast between these two forms of scoring (orchestral reduction vs piano transcription) that I am striving to achieve.

I will concede your point in that, yes, the average pianist likely will not account for these nuances in a sight-read (and if they don't, they aren't missing much), but this is hardly a piece meant to be sight-read.

Sorry, I know this is rather minuscule, but I like taking about common notation practices!

Oh, well, that actually makes me feel a lot better about this exchange I too often assume it's a matter of interrogation rather than curious inquiry.

[Olimar12345]

...the average pianist likely will not account for these nuances in a sight-read (and if they don't, they aren't missing much), but this is hardly a piece meant to be sight-read.

I was actually using "the sight-reader" as an example, but my point was more along the lines of someone being able to look at a selection of size-reduced notes and make the connection that it means these notes derive from woodwind instruments. I've been taught that it's often much more beneficial to the performer to write in text the message you want to get across. Iirc, I did an arrangement from skullgirls of a jazz-esque piece with a similar situation. It had a muted trumpet solo followed by a piano solo, and I think I wrote "like a muted trumpet" over that section so that the performer would know the sound that I wanted there, aiding them to interpret it on be piano however they choose. That way it is distinct from the piano solo part (in which I did notate the switch to) in more ways than just the notes and rhythms.

[The Deku Trombonist]

I think in solo music I'm usually accustomed to seeing small notes being used for cadenzas or for values that exceed what would normally be used for that space, without using a tuplet to enforce strict rhythms (eg 6 the semiquavers to a beat in the example you posted above, or countless other runs in Chopin's music). So I think when I first saw your sheet my very-very first instinct was to look for more beats in the bar than there should be. Although obviously a quick second glance takes care of that lol

I am implicitly attempting to communicate that the figure is a flourish, and should be played with less volume, hence, smaller noteheads.

Perhaps a better way of explaining would be that the smaller notes are de-emphasized? I think perhaps more than just 'less volume' is involved in bringing it to life. But yeah, I know, I'm playing with semantics