Analyzing "PartiesOver" by BaronVonBadGuy (Geometry Dash) | Basterd's LFA (Layman-Friendly Analysis)

Added: 2026-05-06

[00:00:00]Next up, we have partyover/ pizza piec jerk by Baron von bad guy featured in Geometry Dash is my understanding. Once again everybody, this is a bastard defe lay unfriendly analysis. I'm a professionally trained musician composer and my objective here is to explain things in a way so that you don't have to be one to understand what is happening here musically. So, if you like this a lot, make sure you're following the channel, subscribe to the channel, whatever you use, like the video, share, comment, turn on notifications, become a member. Once again, everybody, don't forget to join the Discord server. Join the Discord, subscribe to the gaming channel, how to request songs if you're not on the live stream, members getting early access to the content. I have a spiel for this and a bunch of other things later than this video, so stick around for that.

[00:00:45]Disclaimers showing on your screen right now, so go ahead and pause the video to read them in full. Otherwise, please be patient with me. I am acoustic and guitared. So, please keep that in mind.

[00:00:53]Also, uh please keep in mind that uh we're celebrating today uh this week as we're recording that we reached uh one year of LFAS as well as we surpassed 1,000 LFAS. So, thank you again everybody for being here. I do not take this for granted. I am grateful every single day that I get to do this at all and that any of you like this to begin with. With that, let's do this. And thank you so appreciate it. Let's do this. Party's over. Let's go.

[00:01:27]Okay. So yes, I can see now what is happening over here. So we have a very loud clipped bass and we also have a piano behind it. The piano giving us a very aonal um piece over here which contains our initial motif. Motif being the smallest version of your musical idea. the CDS is which everything else comes from. Now the bass itself is doing what is called clipping. Clipping is when you have more um more audio going into the processing that is capable of processing it.

[00:02:04]Basically we are overloading the speaker or the microphone to the point that it distorts the sound kind of thing. Let's see where this goes.

[00:02:21]Okay. Yeah, this is a um this is definitely a tonal music ve very much something that you would see in the conservatories. Uh very much um something that you would see in conservatory music. This is music that has been intellectualized so much that it has stopped being it. So what are we doing? We are moving the same motif that we had at the start, but we are now starting to move it between the piano and this other synth in between. We're having this melodic shape that has no coherent uh landing point. It has no coherent key signature. It has no um no comprehensible thing. And this is on purpose. This is music legally speaking.

[00:03:06]Yes.

[00:03:07]Legally speaking, this is still considered music. Uh, ever since John Cage ruined what music means, this is what we get. So, um, we are basically having a bit of a not really common response. We're doing a little bit of instrumentation or orchestration. We are splitting the melody that we have over here throughout multiple uh, instruments. In this case, we're going back and forth between the piano and the synth. Uh, the synth doing the upwards, the the ones going upwards, the piano doing the ones going downwards, all of them going back and forth. Let's see where this goes.

[00:03:49]Okay, we switch things around. We bring in some percussion and we are continuing bringing these.

[00:03:56]It is a motif welcome. It is a motif. I think this probably a joke track. No, this has way too much of a pattern to be a joke track. Like this is the kind of thing that you make in what is called post tonal music. This is what conservative this is a lighter version of what conservative conservatories make nowadays.

[00:04:24]Like this is the idealized modernized version of what conservatories do. It is um not supposed to sound good. It's supposed to make you sound smart like you put a lot of thought into the music.

[00:04:40]Yeah. Not conservator conservatory.

[00:04:41]Sorry. Um let's see where it goes.

[00:04:49]On top of that, we are bringing a lot of what sounds to be random rhythm, but these are very much just done for an intellectual purpose. These are supposed to be difficult to keep up with. Now we are going for what sounds to be a prepared piano. You hear a bit more.

[00:05:11]Yeah, we have a we just play the lowest note of the piano. Basically, it barely registers as a note, right? Like we have this piano over here and we just we're just bringing the uh the lowest that we can. We pitch shift it to make it sound even lower and we're bringing this forward. Let's see where this goes.

[00:05:32]Bass.

[00:05:36]We bring back the clipped bass and with that it's drowning the sound but behind it we are continuing that same motif.

[00:05:48]um is uh music but frustration because the same [ __ ] [ __ ] I mean this is part this is featured here. So yeah, we are having um we're having this very very painful to listen like it is this is the point of a tonal music that most people wouldn't be educated enough to understand how the uh the intellectuality necessary for this kind of thing to compose this like this is just every other um aonal piece ever made like it just sounds it's not supposed to sound good. It's supposed to explore the instruments. So, I can tell you for a fact that chances are the composer had a lot of fun writing this cuz writing these are a lot of fun.

[00:06:34]Just don't expect anyone to show up. The only people that show up to these um to these kinds of concerts are the other players and the other composers, all of which have to pretend like they like each other's musics and hope that they are the ones who get the next um fellowship money. That is the conservat uh the conservatory um process that we have now. Uh rage bait composer may rage baiting track rage bait request today. I wouldn't even call this rage baiting.

[00:07:01]Like I wouldn't be surprised if the composer was 100% serious about this cuz I tell you I went to college for this. I studied this kind of music. I know how to make this kind of stuff.

[00:07:14]And it's the modern art of music. Yeah.

[00:07:17]It's the modern art of music. So, who the [ __ ] listens to music to understand it? If it doesn't move you, it's [ __ ] You would be surprised at the amount of people that will write a seven paragraph essay to explain why their music is good and they will believe it and they will believe they will believe it. That is one of the downsides that we get from this kind of thing. And usually it's, you know, the Reddit types. So, yeah, let's see. Let's just see where this goes.

[00:07:49]moving the base around.

[00:07:52]>> Silence.

[00:07:58]>> So, we now bring it back. We get the jump scare of the lyrics. Lyrics and we just play an audio um audio sample on top of it with a stinger. Um this is the first that chord that is being played is the first time we've heard anything coherent in this track. Let's see where this goes.

[00:08:23]>> The sounds of um disc scratching going back like rewinding and playing it again.

[00:08:33]>> Okay. Again.

[00:08:36]Further than that. Silence.

[00:08:40]This is okay. These types of sounds are for those of us who are ancient enough back in the day of VHS players when you would rewind or even cassette tape you would rewind or you would fast forward and this is the kind of sound you would get. What the hell is this? Um, this is um this is the reason why I'm still doing this one is because I want people to understand that this is what academia considers music.

[00:09:14]This is the kind of stuff that academics unironically want to make.

[00:09:22]And then you wonder why I have so much contempt for them. That is the entire reason why I'm pushing through this because you are getting a glimpse at the kind of garbage that I wrote. I've written this kind of garbage. I've made this kind of garbage before. It is garbage and you have to pretend it's not. So yeah, let's see. Yeah, this is this is a tonal. This is a tonal music.

[00:09:49]Atonal music. It is designed to sound like it has no tonal center. So, in many ways, it is designed to not sound stable for that kind of thing and incomprehensible in many ways. So, yes, Sunshine is the best disinfectant. So, let's see. Let's see where this goes.

[00:10:09]I'm hitting it a second. Let's go back to this.

[00:10:16]The worst thing is that the thing that has been fast forwarded actually has a melody. Like, there is a melody there.

[00:10:23]What is being fast forwarded is the um the audio uh track the the vocal sample that we've had.

[00:10:34]Dark music is definitely one of the tracks. Atonal music can be really good for dark ambiance. Like dark ambiance, dark uh atmospheric music. That is where atonal music can really shine. Another place where atonal music can really shine is horror. horror films, horror video games, horror uh TV, that kind of stuff. That is where a tonal can really have a purpose because when you're doing scoring, the idea of the music is to elevate something else. In this case, we are just seeing what happens when something just happens and it's just done. So, yeah, let's see where this goes.

[00:11:16]Sounds like a old school So yeah, we're just getting back and forth. The rewinding fast forward sounds rocket engine fast forwarded revving of the engine distorted sound of a siren. Actually so ass. Yes.

[00:11:46]And you know what the worst thing is?

[00:11:47]This is actually so uh this goes hard on mute and you know what the worst thing is? You present this as a project for like your graduate studies like post-graduate studies in like and like Yale or or Giuliard or one of these like high ivory tower places and you get graduating with honors with this kind of garbage. That's why I'm pushing through.

[00:12:10]Let's see.

[00:12:14]Little bit of delay over there. Nice.

[00:12:17]Some percussion there.

[00:12:23]And for the first time, 2 minutes in, we finally get what starts a drum beat and a chord. Is this just noise? Yes.

[00:12:36]But it's planned. It's planned. Like if you ever want to see one of the uh origins for this thing, listen to your own uh at your own peril. Water walk by John Cage. There's also string quartet number four by uh Shinburgg um Shunberg and the Thinity for the Victims of Hiroshima by Pendereki. Uh these are the three I would say three of the of the pieces three of the types of atonal music that exist that are probably three of the biggest culprits of ruining music like this. Again this is perfect for film.

[00:13:22]For example, Thrren for the Victims of Hiroshima is used in the film Children of Man for one of the most intense scenes of the film. If you listen to it by itself, I warn you, you will not enjoy any of these. These are music.

[00:13:35]This is music that has been intellectualized so much that it has stopped being. So, yeah, push through.

[00:13:42]Let's see where this goes.

[00:13:45]Mhm.

[00:13:48]All right, we glitched this out again.

[00:13:54]The worst thing is that there is a beat to this. The beat is maintained and consistent. Right now we are glitching the sound to make the beat. Like we're repeating the sound, glitching it as bad as we can and we are seeing the same chords being done. The struggle that you see on my face is because as much as I would like to dismiss this as pure nonsense randomness, it's not. This is composed intentionally.

[00:14:23]And um Yeah. Yeah. And you know what else is done intentionally? the Patreon.

[00:14:30]This is something right now.

[00:14:31]patreon.com/jamesrbastard.

[00:14:33]If you want to support this channel more than you already are, go ahead and join the Patreon today. At least follow the free uh tier because we do have the non-gaming LFAS showing that will be on the Patreon. What are those? Anime, film, TV, label, music, that kind of stuff. Um why what we do on YouTube is inherently fair use, but that does not stop bad actors from um engaging and abusing the system. So, in order to avoid that, we're just going to put them over here. um and just put it free for everyone. There will be payw wall content such as the music lessons and uh behind the scenes, that kind of stuff, but the LFAS will be free for every everyone. So, if you want to support this channel more than you already are, consider uh joining the Discord today linked in the description. Thank you so much for all of those who have already become members, particularly especially French guy and real nemesis. Thank you for your support. It means the world to me. And yes, join the Patreon today.

[00:15:23]patreon.com/jamesrarbastard linked in the description.

[00:15:28]Let's continue. Planned nonsense. Let's go.

[00:15:35]Have a try on there.

[00:15:38]Continuing descending since first time is terrible cuz this is not the first time we do a tonal music. This is not the first time we do a tonal music. We have done um Fear and Hunger before and that was a tonal music as well, but it was done for the purpose of a horror game. This is done for Yeah. Yeah. I know what everybody agrees. Somebody I I guarantee you somebody will be out there uh mad. Some academic is going to be mad that Yeah.

[00:16:15]We're just not intellectual enough to understand the brilliance of this, you know. So yes, uh, is the Patreon a tonal? No. Thank god. All right. So yeah, we're now having a descending line. The one thing I will give credit is that it seems that the level that this is based. I don't play I don't play GD, but the level seems to very much reflect very accurately what the music is doing, which kudos to the level creator for being able to put up with something like that. Let's go.

[00:16:44]Oh, we are giving Gish a a naughty voucher for this. All right, we have the drum again. Same drum as before, but now it's more coherent.

[00:16:55]And now we get a alarm. We get a We get an alarm. Wake up. Wake up.

[00:17:03]Only a voucher. Probably more. We'll discuss this afterwards.

[00:17:12]Same melody we just heard, but now doubled in a bass. Doubling is when you have more than one instrument doing the same thing at the same time. Let's see where this goes. So, you have to do this. I'm not I'm not. It's giving me an opportunity to [ __ ] on conservatories. So, I am more than happy to do this. So, yeah, we are now doing a little bit of doublings as I said where you have more than one instrument, more than one layer doing the same thing at the same time. First, we did the bass. Now, we're adding another layer above. So, and you sequenced it.

[00:17:54]So we end up actually using some sequencing. Sequencing another way that you can develop your material in which you repeat a musical idea from a new starting point. In this case, we actually ended up doing something like this.

[00:18:08]We are repeating the same overall idea from a new starting point. Now we bring in a new audio sample. What is >> me? That's a spicy meat board.

[00:18:19]>> And we bring back and the worst thing is that the the track that was playing be behind this contained a little bit of that melody. That's a spicy meatball.

[00:18:28]All right, we bring back the motif. is sequenced down.

[00:18:39]All right.

[00:18:44]Variation of that melody.

[00:18:48]Back to this sequenced.

[00:18:53]Sequenced with a different instrument.

[00:18:56]Call and response. Sequencing back and forth.

[00:19:05]That's a spicy.

[00:19:08]>> Well, I don't think I have to explain what happened there. We just pitch shifted. We sped up um for this. The visualizer pulse is kind of funny. I mean, it is like kudos to the people behind the level and the visualizer and the lyrics that put up with this cuz that right now we're just listening to it, right? And I'm trying to explain musically what is happening.

[00:19:33]But more my god, this person sat with this frame by frame and made visualizer. And the person in the level spent all the time synchronizing.

[00:19:47]So this part, okay, this part is leagues and bounds better than the beginning because this time we're actually getting some coherent material. It is still the same motif that we had at the start, but now it is played in its entirety because the first time around it was played very far low versus very far high. So the distance between the two plus the a tonality of it was very difficult to hear. But now we are um here's you should sympathize with the verifier of the level instead. Yes, that too. Let's see how this goes.

[00:20:23]It's sequencing and we're just going loud and quiet, loud and quiet, loud and quiet.

[00:20:31]Like there's actually a pattern to this now. There is actually a pattern to this. We're going from very quiet to very loud to very quiet to very loud.

[00:20:40]But and we're also sequencing it back and forth.

[00:20:48]the same thing $50 the Uber also gave uh for this continuing the same and each time I just realized each time that the loud version is back it gets louder like we keep adding one more layer of the same bass clipping it even more and more and more and more and more so let's see it's the same thing Oh, variation there. There was a variation there. Had a little bit of extra triangle.

[00:21:29]All right, I'm turning the volume down for this.

[00:21:33]So, now we take it all the way. At least it's not regaton. At least it's not regaton. At least this is not regaton.

[00:21:40]So yeah, we bring this and we are now um you don't wish to be responsible for this. You're the one who bribed this all the way to the top.

[00:21:51]You are partially responsible for this.

[00:21:53]Anyway, so we now bring we now take the principle, but instead of making the bass louder, we make the high uh the higher um sing the higher part louder. I did turn down the volume because Yeah.

[00:22:06]All right. 20 seconds left. 30 seconds left. How's this going to end?

[00:22:13]fully. No, Gersian is the one who first um donated for this. And there is another audio sample in between.

[00:22:20]Probably one of the audio samples we've had before uh being played sped up and looping.

[00:22:28]Spicy meatball. The spicy meatball. Um sample. End this, please. All right. It collapses into one last base. The piano hits one last note and there you have it.

[00:22:45]Party's Over by Baron von Bad Guy featured in Geometry Dash. The briless naughty list voucher. I am considering that. This is what a tonal postmodern postonal music sounds like. You know how I've gone on rants many times about this kind of stuff. This is why now you understand. I had to put up with this so much in college and I was all in on this in college. So yeah, there you have it.

[00:23:23]We made it. It's seriously incoherent.

[00:23:26]And the worst part is that it is planned to be as such. This like every single beat over here. Some of it might have been chance, but a good chunk of it was very intentional cuz it was still, "Will you do an LFA on 40 33?" H no. Anyway, there you have it. Once again everybody, this has been a bastard's LFA, a lame unfriendly analysis. I'm a professionally trained musician, a composer, and my objective here has been to explain things in a way so that you don't have to be one to understand what's happened here musically to the best of my ability. So, if you're watching this on the YouTube video archive thing, thank you for watching.

[00:23:58]Make sure you're following the channel, subscribe to the channel, whatever you use, like the video, share the video, comment, turn on notifications, become a member. Once again, everybody, don't forget to join the Discord server.

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[00:24:19]Vintage story community server. It used to be a Minecraft mod. Now, it's own standalone game. focuses more on the nitty-gritty of survival, mechanical engineering, that kind of stuff. I love it. I prefer it. I'm not sponsored by them or anything. It's cheaper than Minecraft. I'm not sponsored by them or anything. I just really love the game to the point that I built a PC just to host the server for this game, which is available to join via our Discord community server. So, join the Discord today linked in the description and become a member of our community today.

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[00:26:32]slash pizza pie circle jerk by Baron von bad guy geometry dash. That was terrible.

[00:26:41]Terrible stuff, man. That's probably This has to be the worst one we've done so far. There you go. But uh yeah, let's move on. That's for one.