[SNES] Super Mario World 2: Yoshi's Island - "Big Boss BGM" (Replacement) by Olimar12345

[Zeta]

Submission Information:
Series: Super Mario
Game: Super Mario World 2: Yoshi's Island
Console: Super Nintendo Entertainment System
Title: Big Boss BGM
Instrumentation Solo Piano
Arranger: Olimar12345


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

[attachment deleted by admin]

[Olimar12345]

Title should be: "Big Boss BGM"

Lots of things were intentionally simplified.

[LeviR.star]

Title should be: "Big Boss BGM"

I hate to see "BGM" in the title of a sheet, but if it's official, then it's what we gotta use.

[Olimar12345]

I hate to see "BGM" in the title of a sheet, but if it's official, then it's what we gotta use.

https://vgmdb.net/album/281

[LeviR.star]

https://vgmdb.net/album/281

Yikes, these are really something. But it's what they were intended to be called, after all; thanks for the resource.

[Latios212]

Title should be: "Big Boss BGM"

Got the title updated~

[Bloop]

Nice work on this one! Glad to replace the one on site, that one is atrocious :p

-Was there a particular reason you didn't put a key signature in this piece? The piece seems to be very heavily based G minor pentatonic scale, so putting it in Gm should make some sense.
-m6-9: If you leave the key signature as is, the flats of the Bb at the end of these bars are touching the note before.
-Since the bassline starting in m13 has the same articulations for the rest of the piece, maybe you could add a 'simile' marking after a few bars and hide all the tenutos? Saves some ink I guess :p
-m19: Nit-picking about glissandos here, but I don't think it's possible or comfortable to do the glissando up to the G and then immediately play the dyad, but reaching to the D seems to work. Maybe you could point the glissando to the D instead?
-m28: I hear a C#-F# dyad in beat 4.5 (instead of D-G)
-m46: Not necessarily needed, but you could add a courtesy accidental on the Bn on beat 3, as the player could easily mistake this for a Bb because of the trill before.
-m47: The little C in brackets on beat 4 should have a natural (there's a C# before in the bar)

Some text format stuff:
-The page numbers, small titles on pages 2 and 3, and the copyright are outside of the page margins.
-All text sizes are a bit too small, because the page size is changed: it's better to change the staff sizes instead, so the text size stays the same.
You may have to move systems around a bit, because there will be less vertical space, but there should be enough space to keep it to 3 pages.

[Olimar12345]

Thanks, Bloop!

-Was there a particular reason you didn't put a key signature in this piece? The piece seems to be very heavily based G minor pentatonic scale, so putting it in Gm should make some sense.

You know, I kind of just started transcribing and forgot to come back to that. oof, added.

-Since the bassline starting in m13 has the same articulations for the rest of the piece, maybe you could add a 'simile' marking after a few bars and hide all the tenutos? Saves some ink I guess :p

You're right, but I typically avoid doing that and usually opt to show exactly what I would like the performer to do.

-m19: Nit-picking about glissandos here, but I don't think it's possible or comfortable to do the glissando up to the G and then immediately play the dyad, but reaching to the D seems to work. Maybe you could point the glissando to the D instead?

It's definitely not impossible, and I'm pretty sure a pianist would stop the glissando a hair early to grab the chord. The chord is paramount, the gliss is just an effect.
Edit: I think I misinterpreted your post here? A glissando on any instrument would never repeat the final note; you would gliss to the final note (jic that was what you meant).

-m28: I hear a C#-F# dyad in beat 4.5 (instead of D-G)

Oops, yes, you're right. I remember this one. Thanks, I fixed it.

-m46: Not necessarily needed, but you could add a courtesy accidental on the Bn on beat 3, as the player could easily mistake this for a Bb because of the trill before.

Yes, added.

-m47: The little C in brackets on beat 4 should have a natural (there's a C# before in the bar)

Good catch, I've added it in.

-The page numbers, small titles on pages 2 and 3, and the copyright are outside of the page margins.

Yes, they are. I didn't really feel the need to move things like that though... the page margins are relative, and can be whatever I set them to regardless of where the text is etc. Finale places the page 2+ titles and page numbers there by default, and I don't really have an issue with their placement, so I'd like to keep them there. They print out just fine, too.

-All text sizes are a bit too small, because the page size is changed: it's better to change the staff sizes instead, so the text size stays the same.
You may have to move systems around a bit, because there will be less vertical space, but there should be enough space to keep it to 3 pages.

This is my preference, and while I can see why you'd do it that way (that makes sense, after all) I'd like to keep it this way. I prefer everything be the same size relative to one another (text/staff), but I don't shrink things below 85%, which keeps things still very legible.

Files have been update.

[Bloop]

It's definitely not impossible, and I'm pretty sure a pianist would stop the glissando a hair early to grab the chord. The chord is paramount, the gliss is just an effect.

I originally felt the hair needed between the gliss and the chord would be quite big (I think about a quarter note long when I play it), but at this speed that may not be as much of a problem.

As for the margins, it's fine if you prefer them this way ^^ I think most files on NSM go by the suggestions I gave, but it's not a big deal either way. Everything else looks good, so I'll approve!
You cannot view this attachment.

[Static]

Cool sheet, it's good to finally see a replacement for this one...

• m1-2: You're missing a middle chromatic voice that starts on middle C.
• m34-35: These grace notes start on E natural (En-D-C-Bb-A), but I think it's fine to leave the top two out for rhythmic clarity.
• While cut time isn't necessarily wrong, I'm not not really sure you need it. Since this is basically a fast rock tune, I feel it in a fast 4 rather than a slow 2, so you could just keep it in 4/4 all the way through, with the same metric modulation you have.
• If you decide to keep cut time, I'd recommend using quarter=half for the metric modulation, since those correspond to the respective time signatures.
• Your 2nd page number is larger than the 3rd.

[Olimar12345]

Cool sheet, it's good to finally see a replacement for this one...

• m1-2: You're missing a middle chromatic voice that starts on middle C.
• m34-35: These grace notes start on E natural (En-D-C-Bb-A), but I think it's fine to leave the top two out for rhythmic clarity.
• While cut time isn't necessarily wrong, I'm not not really sure you need it. Since this is basically a fast rock tune, I feel it in a fast 4 rather than a slow 2, so you could just keep it in 4/4 all the way through, with the same metric modulation you have.
• If you decide to keep cut time, I'd recommend using quarter=half for the metric modulation, since those correspond to the respective time signatures.
• Your 2nd page number is larger than the 3rd.

-Added.
-That's originally a rip, which I simplified for playability.
-Totally makes sense. I kept the double time, but removed the cut time.
-Fixed.

Files have been updated.

[Static]

All the changes look good, but your metric modulation isn't working in playback anymore.

[Olimar12345]

Fixed.

[Static]

Great, I'll accept now

[Zeta]

This submission has been accepted by Static.

~Zeta, your friendly NSM-Bot