[SNES] Super Mario RPG: Legend of the Seven Stars - "Fight Against Smithy, Who Likes Transforming" (

[Zeta]

Submission Information:
Series: Super Mario
Game: Super Mario RPG: Legend of the Seven Stars
Console: Super Nintendo Entertainment System
Title: Fight Against Smithy, Who Likes Transforming
Instrumentation Solo Piano
Arranger: Static


Replacement Information:
Links to Existing Sheet: MUS | MIDI | PDF
Replacement Type: Challenge (new arranger)

[attachment deleted by admin]

[Static]

The title should be changed to "Fight Against Smith, Why Likes Transforming".

[Latios212]

The title should be changed to "Fight Against Smith, Why Likes Transforming".

Your sheet says otherwise lol

[mastersuperfan]

hi mr. smith why do you like transforming

• m9 RH beat 1 has four sixteenth notes like m7 does
• m15 LH beat 1 has both a slur and a staccato on the same note
• m21-22 feels slow/empty all of a sudden - since the percussive rhythm still plays in the original, I would repeat the bass ostinato from m1-2 in the RH while the LH holds chords to spice it up
• some grace notes to emulate the slide in the melody from m22-23, maybe?
• m26 LH: staccato'd notes should be Ds, not Ebs
• m23-26 doesn't have the same momentum as the sheet did before, and there just aren't enough voices—is there some way to make it more moving/dynamic?
• those chords in m31-32 don't sound right to me (m33-34 sound fine though)
• you['re missing a LH two-note pickup at the end of m40
• tie whole notes in m47 to next measure

[WaluigiTime64]

Sounds nice, though MSF has feedback on note stuff up there.

My feedback is to re-space the sheet. The staves are incredibly small, which would be fine if there wasn't so much white space on Page 3. The distance between the staves are also disproportionately larger than the staves, notes and text, particularly the tiny dynamic markings. Just have a fiddle with it.

I'm also rather curious about that key signature in the first section, though I guess the "Db major augmented" sound probably is the reason. I'm interested in how others would have put it.

Besides that, yeah, MSF has more feedback and I'm just chipping in because this is a nice piece and a nice sheet.

[Static]

Your sheet says otherwise lol

hi mr. smith why do you like transforming

rip I can't type

• m15 LH beat 1 has both a slur and a staccato on the same note
• m26 LH: staccato'd notes should be Ds, not Ebs
• you['re missing a LH two-note pickup at the end of m40
• tie whole notes in m47 to next measure

Fixed. (changed m30 to match m26 as well)

• m9 RH beat 1 has four sixteenth notes like m7 does

I isolated the channels in an emulator and I can confirm my rhythm there is correct. The massive amounts of percussion make it sound like 4 notes though.

• m21-22 feels slow/empty all of a sudden - since the percussive rhythm still plays in the original, I would repeat the bass ostinato from m1-2 in the RH while the LH holds chords to spice it up
• m23-26 doesn't have the same momentum as the sheet did before, and there just aren't enough voices—is there some way to make it more moving/dynamic?

I made this middle section intentionally less chaotic to contrast with the previous and next sections. I could add some percussion effects but I'd rather leave it as just the bass, chords, and melody.

• some grace notes to emulate the slide in the melody from m22-23, maybe?

I tried doing this when I first arranged the piece and I didn't like how it sounded, compared to the original, so I just left it as one note.

• those chords in m31-32 don't sound right to me (m33-34 sound fine though)

I'm not sure what you're hearing, I double-checked and the chords and bass in m31-32 and m33-34 are exactly the same but displaced by a major 2nd, which is what I have.

Also, I changed the accidentals in m31-42 to match what I had in m11-18 (different inversions of the same augmented chords rather than using different augmented chords altogether). I think it makes the sheet easier to read since there's only one set of accidentals used.
EDIT:
Forgot to reply to Wah's post:

Sounds nice, though MSF has feedback on note stuff up there.

My feedback is to re-space the sheet. The staves are incredibly small, which would be fine if there wasn't so much white space on Page 3. The distance between the staves are also disproportionately larger than the staves, notes and text, particularly the tiny dynamic markings. Just have a fiddle with it.

I'm also rather curious about that key signature in the first section, though I guess the "Db major augmented" sound probably is the reason. I'm interested in how others would have put it.

Besides that, yeah, MSF has more feedback and I'm just chipping in because this is a nice piece and a nice sheet.

Thanks! I respaced the sheet and some of the measure distributions to reduce white space. Also, yeah I was thinking of some kind of Db lydian dominant scale but with augmented stuff everywhere. It's really weird, but I definitely don't think it's Db/C# minor.

[Latios212]

Haha this is quite an interesting song

I'm also rather curious about that key signature in the first section, though I guess the "Db major augmented" sound probably is the reason. I'm interested in how others would have put it.

Also, yeah I was thinking of some kind of Db lydian dominant scale but with augmented stuff everywhere. It's really weird, but I definitely don't think it's Db/C# minor.

The first section up to m. 18 just uses the Db whole tone scale. From a reading standpoint I think it'd be much easier if you left it keyless and wrote in all of the Dbs/Ebs (or alternatively C#/D#) instead of having a keysig of 5 flats and writing in all Gn/An/Bb. You'd also avoid excessive flats in the chromatic descent at m. 19-20.

Similar thoughts for m. 31-42 (though this is the other whole tone scale) and 47-end.

(Also, the rhythm is wrong in m. 20 beat 3.)

[Static]

Haha this is quite an interesting song
The first section up to m. 18 just uses the Db whole tone scale. From a reading standpoint I think it'd be much easier if you left it keyless and wrote in all of the Dbs/Ebs (or alternatively C#/D#) instead of having a keysig of 5 flats and writing in all Gn/An/Bb. You'd also avoid excessive flats in the chromatic descent at m. 19-20.

Similar thoughts for m. 31-42 (though this is the other whole tone scale) and 47-end.

(Also, the rhythm is wrong in m. 20 beat 3.)

Fixed all the things. I decided to keep everything in flats like I had before because I personally think it's easier to read (every accidental is a flat).

I also adjusted the 2nd layer in m15-18 (LH) to make it a bit easier without really affecting the overall sound of the section.

[Latios212]

Awesome, looks great!

(Fixed the sheet title on site too)

[Libera]

Looks good here, not much for me to say.

-In bars 21-22, I'm not sure where this rhythm is coming from?  Maybe it's quiet and I'm just not hearing it, or it's somewhat composed to fill out those bars a little more.
-In bars 23-30, at the end of each bar there's a double semiquaver pick up into the next bar.  I don't think it's the same part, but it's in the same register and it's not like the bass is doing anything at those points.
-Bars 44 and 46, once again I'm not really hearing this double staccato quaver rhythm at the end of the bar.  Similar comment to my first point.

[Static]

-In bars 21-22, I'm not sure where this rhythm is coming from?  Maybe it's quiet and I'm just not hearing it, or it's somewhat composed to fill out those bars a little more.

The rhythm comes from the bass drum. I only used this rhythm in m22 to kinda lead into m23 and onward.

-In bars 23-30, at the end of each bar there's a double semiquaver pick up into the next bar.  I don't think it's the same part, but it's in the same register and it's not like the bass is doing anything at those points.

This is in some background instrument, and though I could include it, I'd rather leave just the normal bassline. I want to keep m23-30 more simple instead of adding in other percussion and background stuff.

-Bars 44 and 46, once again I'm not really hearing this double staccato quaver rhythm at the end of the bar.  Similar comment to my first point.

The rhythm is there, but it's buried under percussion stuff. I didn't know it was there myself until I separated the channels in an emulator.

[Libera]

Fair enough, I'm happy with that.

Wooooo.

[Zeta]

This submission has been accepted by Libera.

~Zeta, your friendly NSM-Bot