NinSheetMusic Forums

Please login or register.

Login with username, password and session length
Advanced search  

News:

Subscribe to our Twitch Channel!

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - Bloop

Pages: [1] 2 3 ... 151
1
Submissions / Re: [GG] Tails Adventure - "Tails' House" by Phlimbob84
« on: October 15, 2021, 02:50:02 PM »
Hi Phlimbob, welcome to NinSheetMusic! When submitting a sheet, it'd be nice if you place a post with a youtube link of the song, just to save us updaters a little time :p This should be the right song:


The way we updaters work around here is looking at your sheet and look for little errors or formatting stuff that needs to be fixed. After two updaters have looked at it thoroughly, the sheet will be accepted and submitted to the site in the soonest update!

Anyway, up to my comments:
-You could move the tempo mark up a bit, so it's not as close to the notes.
-m1, L.H.: I hear the bottom note on beat 4 as an E instead of a G#.
-m3: It's a bit hard to hear which notes are the melody and which are just the accompaniment, but it may be a bit easier to have the L.H. play the lower notes of the R.H. and keep the R.H. to a one note melody. I also hear an additional B on beat 3:

-m5: I think you can leave the bracketed note out (same in m.7), as it doesn't add much to the performance. Also, same as in m1, I hear the bottom note of beat 4 as an E. Maybe you could do some stuff with different layers here too, regarding the held notes.
-m7: I think I hear this bar like this:

-m9-16: It looks like switched the octaves of the arpeggio and the second voice, which is a nice touch! You could add even more of the notes of the second voice, to create a cool countermelody:

I think you can figure that out for m13-16 too! Also, it may look nice to add slurs to the L.H. in each bar, these wavy arpeggio figures look great slurred:

For the last measure, you can just slur the first note in the L.H. to the last note in the R.H. Make sure to edit the slur a bit so it doesn't touch the half rest in the L.H., though.
-m12: I fixed this in my example pic above too, but the tied A's and G# in the R.H. would work better as a second layer.
-m13: Is there a specific reason you didn't make the E on beat 3 in the R.H. a half note too? If you do so, you could also slur these two bars like you did with m9-10.
-m16: You should change the two quarter rests to a half rest
-Lastly, it looks like you decreased the page size to 83%. This has made the text smaller too, though. If you want smaller systems, it's better to use "Resize Staff Systems (System Reduction)" in the Page Layout tool. It works the same as the Resize Pages dialog box, except it only affects the music staves and not the whole page.

2
I'm not the best at this stuff, I know haha
Don't worry, we all keep learning! This looks pretty good already, as you have most important notes down and all rhythms correctly written out (with one exception - I'll get to that). There are quite a lot of second voices you've left out though, which could be included fairly easily. I've noted most of these down in my comments below, though it's good to go through the song so you can really hear them too.

Anyway, here are my comments
-m1-2: I can hear a voice going G-Ab-G, An-Bb-An, and Bb-Cb-Bb along with the accents. You can add these in between the voices of the R.H.
-m3: I hear the last two quarters in the R.H. as G and En respectively (instead of En and F). Also, you could add a pedal marking at beat 4 of m2 extending until the end of m3, so the notes of the last accent are being held until the end.
-Also, I think you can remove the accents in these intro 3 bars, as you have it in fortissimo already. If every note has an accent, they don't differ from eachother.
-m4: Weirdly, I hear the rhythm guitar riff as an Ab instead of a G? It doesn't make sense in a metal riff like this though, and the bass does play G. Weird. Anyway, about the riff itself: I think it would be better if you switch the octaves around, so low octave 8ths and high octave 16ths. I think the low octaves have a bit more punch the accentuate the beats, and alternating between the first and second finger of the L.H. is a bit easier than the 4th and 5th. You can keep the notes with the accents in the low octave too.
-m8: I hear the second voice in the R.H. go to an Ab on beat 1.75. Same in m12
-m9: You can add the second voice to the R.H. part here too from beat 3 on: it goes Ab-G-D-D-D until beat 1.5 of m10. Also, I think you can just have the slur go from the Bb in beat 2.5 to the last note of this measure, or even the first note of the next measure. The same applies to m13, as well as m17 and m21.
-m14: Shouldn't there be two eighth note accents here too like in m10?
-m16: I hear an F and an En above the D and Db in beats 1.75 and 2.5. Also, the D on beat 3.75 is played shortly, so you can remove the tie and change the 8th note on beat 4 to an eighth rest (and ofcourse leave the Db)
Also also, there are some options you can do with multiple layers: you could, for example, have the trumpet hits on beats 3 and 4 played an octave higher, so you can hold the Db and En until the next bar, or just make one layer hold the En while the second layer plays the trumpet hits in the octave you have currently.
Same thing applies to m20 and m28 btw.
-m23: I'd change the Fb in beat 4 of the L.H. to an En, as this is the fifth of an A major chord.
-m24-27: Same thing about the shortened notes in the trumpets. Also, I hear a second voice in the trumpets which you could easily add in to the right hand. It could be a good practice to train your ear a bit with transcribing these notes, but if you're really stuck or wanna check what you have is correct, this is what I hear:
Spoiler
F-Bb-Bb, Ab-Db-Db, Bb-F-En
[close]
-m32-39: I'd remove the accents here and just put it in fortissimo, so this is visually the same vibe as the intro. Also, you could listen a bit more closely to which trumpet notes are played staccato, so you could add staccato markings to them (like the two 8ths on beat 3 of m33)
-m35: I'd lengthen the first slur to the Db on beat 3, and the second slur to the C on beat 4.5. I'd also add this second slur to the L.H.
-m40-47: There's a second voice playing along with the guitar here too, which I don't really feel like spelling out for you completely too:
-m42: Again, change the Fb to En in the L.H. You should change the Db in the R.H. to a C#, as this is an A major chord. Same things in m46.
-m43: I hear an F on beat 2.5 in the R.H. (instead of a G). Also, this is the only time you actually have a grace note written for a guitar bend, but there are a lot more of this in the track. I'd suggest adding some of those in as well, or just removing this one, to be consistent throughout the sheet.
-m50: The trumpet hits in the second layer are all a major second up (So A-En and G#-D#). Also, the rhythm of these hits is incorrectly beamed: the first note should be an eighth note with a staccato (as it's shorter as well), then a 16th rest, then the second (16th) note, and then continue like you have. You should change this Db in the first layer to a C# too, like in m42.
-m51: I'd write the dotted quarter rests as a quarter rest and an 8th rest: you usually don't put dots on quarter rests, unless you're in 6/8 or something like that. The first layer note on beat 2.5 should be an F too, like in m43. Also, the trumpets do something different in this bar, though it doesn't fit as well with the guitar part. You could do something like this:

-Changing around the stuff in m50 and m51 makes that the accidentals will get very close together. I suggest moving the some measures down a system, so the measure distribution on this page will be 3-2-3-3-4 bars.
-m54: Again, the Db in the R.H. should be C#.
-m55: The trumpets in this part go quarter notes Ab-C-Eb-Ab, but this interferes a bit with the first layer. I'd suggest writing it as Eb-Ab-C-Eb. It's definitely not G and Bb like you have now though.
-m56-59: Same comments as the intro, with regards to the second voice and the last two quarter notes. The second voice in the 3/4 bar just goes Bb-Bb-Bb, though you may wanna leave out the first Bb so all three note figures start on G.
-m60: This is a selfmade ending, right? It might be nice to add text box saying "Optional Ending", just so the player knows it's not technically part of the song. Also, you may wanna add accents to the two 8th notes in the L.H., as they are usually accented everywhere else in the song.

3
Projects / Re: Static's Halloween Sheet
« on: October 13, 2021, 06:29:19 PM »
It's pretty strange that they left it in, but then again you'd expect them to have left it out if they wanted to.
Anyway, I'll abloopve of this one then!

4
Projects / Re: Libera's Halloween Sheet
« on: October 13, 2021, 04:27:38 PM »
It's a kind of weird orchestration to get across on piano and forte gives off completely the wrong vibe from my point of view.  I thickened up the chord a bit but I don't want to up the dynamics and definitely no showy crosshands.
That sounds alright! Crossing hands isn't just for 'showy' purposes though, as there are advantages to having the left hand take over some notes if the right hand isn't able to. I won't go to hard on it though, what you have is fine! It's just that you mentioned something like it on my Twilight sheet too, so I was wondering if you were just anti-crossing hands for some reason.

Yes that's why the chords in 11-12 are like that.  I don't want to make the chords in 10/13 thicker, the E plays on beat 1.5 of bar 13 anyway and the Bb is in beat 1 of bar 10.  All the harmony is there.
I agree with the harmony you have, that's not what I was referring too. It's more that different voicings and voice leading can evoke different feelings. Personally, I feel like chords in their root position sound a bit more bland compared to inverted positions. If you really wanna keep it, that's fine though!

I don't know how I feel about the little grace notes.  I've added them for now but I may excise them later since they kind of get in the way more on piano.
I can see that, I didn't notice them at first listen either. Just wanted to mention it!

Probably because it didn't sound that way to me.  The 3/4 pulse that I wrote into the left hand really suggests a tempo change to me whenever I hear it.  Static suggested it would be better in 6/8 than 3/4 because of the 'hemiola' pattern which I agreed with and changed it.  I can hear what you're suggesting now that I think about it and the percussion staying fixed going into 46 is certainly an argument in your favour.  I'm not changing anything at the moment but I'll think about it some more.
I guess it's possible that your ears focused on something else than mine did, I shouldn't have just assumed what I hear is what everyone else hears. I personally don't hear that 3/4 figure as much in the foreground, and the combination of the percussion and harp felt more triplet-y to me, so it seemed very strange for me to go with the 3/4 figure.

I hear both the C and Db, but I added Fs into both of the chords.  And I fixed the F -> Eb in the 'hemiola'.
That's alright too! I'm sometimes a bit dubious about whether the fifth of a chord is really there or it's just an overtone of the bass note(s): I personally couldn't hear it as clearly as the other notes, anyway.

I hear a high F.  I also hear all of the other notes (G Bb C) and I wanted this chord to come down from the previous ones, so that is the reasoning for this voicing.  It is also a very easy to play chord.
Oh yeah, the high F is definitely there too (though it has been there from m34). I'll agree that it's an easier chord to play in isolation, but it's actually harder to get to from the repeating figure in m42, than it is to go to my suggestion.
I guess this is also another example where, in my opinion, the voice leading would take a bit more priority over just conveying the harmony notes.

Metric modulations are quite complicated and it is very easy to get confused and make mistakes.  This is why I highly recommend not being patronising or dismissive when you think you've found someone has made a mistake with them because a) it is very easy to do and not something to be made fun of, and b) there's a pretty high chance that you have made a mistake yourself, in which case you will look like a complete fool.
I'll admit I've been careless with my calculations, you're right on the maths here. I think the proximity of my answer to the actual eighth note tempo made me assume I was in the right spot. I apologize for sounding patronising because of it!
Aside from the calculations though, I do stand by my other points: there isn't a direct continuation from the previous section, so it feels weird to try and figure out the relation between the two tempi. I'll concede with leaving it in though, if you really want it in.

I'm also fine with the other changes (or not-changes)! They're mostly just things we can have our own opinion on.
There's just two small things I noticed from the changes you made:
-The note in beat 5.5 of m43 should be an F too, I supposed that was just a little accident.
-The mf in m40 disappeared, probably when you copied this over from m34.

5
Projects / Re: Libera's Halloween Sheet
« on: October 12, 2021, 07:46:42 PM »
Ohh, this is pretty cool! I love the harmonies on this, nice work on your sheet!

Here are my comments:
-m1: I can see how you voiced this chord, but I feel like it is a bit too soft or empty compared to the original. I would've taken it on like this:

Most of the energy comes from the percussion instead of the harp and strings, but that kinda gets lost with when transcribing it as an mezzo piano accent, so that's why I changed it to forte for this chord. Using some audiostretch magic, I can also hear a Gmmaj7 chord in the harp under the Gdim you have currently, which adds some more spice to the chord. Also, as this makes for a longer rolled chord, I made the L.H. jump over to play the high minor second in the strings in its original octave instead of an octave lower. This makes the distinction between the two voices clearer too. Anyway, take from this what you want! If you implement the higher octave minor second, you may want to think about if you want it restriked in m5 or not, though I think it's alright.
-m3: We should slur our grace notes right? :p
-m10-13: I hear the chords in m11-12 an inversion lower (so top notes A and Bb), but I think you may have put the C and D on top because of the higher string line, but an octave down, right? I'd maybe just choose for leaving that voice out, but if you really wanna keep it, I'd either add the Bb and E in m10 and m13 too, or write it in its original octave (though this will cause for some chord rolling you may not want to have)
-m15: You may want to add the E from the synth(? spooky clarinet? idk the voice that plays in the L.H. of m14) in the L.H. Also, the G in the L.H. in beat 3.5 should be an A.
-m16: I'd add brackets to either the L.H. or R.H. G in beat 2.5, as that note is being played by both hands. You could also switch the hands of the notes in beat 3.5, though keeping it as is is fine too to seperate the voices more clearly.
-m18-m25: It's pretty subtle, but in the L.H., I can hear a quick (low) F before the first beat of bar m19 and 23 and a quick (low) Gb before the first note of m21 and 25, which you could add in as grace notes. Also, you could add a courtesy accidental at the first Bb in the L.H. of m20 and 24
-m29: I'm not sure if I hear the harp going to a low Bb on the first beat hear, but I do hear two voices in the strings go A and back to Bb on beat 4. Maybe you could change this first Bb to an A, which will resolve itself to a Bb on beat 4 with the L.H. note. Talking about beat 4, you could add the top C from the harp run in between the chord in the right hand. I can see why you left it out in m27 as it would go above the melody, but that doesn't apply here. Lastly about this bar, you could let the L.H. take over the last two notes from the harp run if you want them back in their original octave, but it does make the jump to the low Db a bit sudden.
-m32-33: I'd put a pedal marking per measure here too instead of going over two measures, as the F from m32 will most likely clash with the En in m33 (especially on acoustic/grand pianos). The only thing that benefits from the pedal is the top note in the R.H., but restriking it or leaving it out doesn't sound that weird.
-m34-45: Why didn't you just write this part in triplet sixteenths instead of putting in a metric modulation? This part doesn't make sense to me at all in this kind of 6/8.

The figure that plays in m35 is a kind of hemiola figure, which is the only thing that could fit your 6/8 if you feel the Bb's and Ab accentuated. I don't hear it that way though, I really hear the jumpy, triplet feel. There are two percussion ostinatos that are both 3 eighth notes long in the original tempo, but in your new tempo they're 4.5 eighth notes long. If you really don't like how the triplets look, you might wanna put it in 9/16 or even 18/16, but that causes the long notes to look pretty ugly (dotted quarter note tied to dotted eighth, or even triple dotted half note tied to dotted eighth if you're feeling funky in 18/16). I'd personally prefer the triplets like I have in my image. Btw, another small thing in this section is that the pedal markings don't really line up vertically.
Anyway, aside from that (I'll keep the measure numbers like you have them now):
-m34 and 40: I don't hear the C in this chord, though I do hear an additional F in the strings (though that may make for a lot of F's together with the L.H.)
-m35-36 and likewise: The last note of this 5 note figure is an Eb instead of an F.
-m37 and 43: I hear this chord as Eb-F-Bb (so no Db, but a very clear F)
-m46: The way you voiced this chord doesn't really make sense to me: the harp plays F-Bb-C (with the Bb sticking out more), while the strings play that top C as well as G and C above. Currently, both top notes (or melody notes) are voiced in the middle, while the filler notes are voiced an octave away from where they should be. I think it's better to just leave out the bottom F, as the bass can take care of that harmonic function, and write the chord like this:

You could add an F underneath the G if you want a bit more major second dissonance. The top C from the harp isn't really playable in this chord, unfortunately, but I don't hear that note as prominently as these 3.

EDIT: Also, why do you have a metric modulation at m18 actually? There isn't really a reason why you need to relate the new tempo to the old tempo, especially after a molto rit and a fermate. The rit and fermate also make the player lose the sense of tempo they already had. Mainly though.. If the metric modulation was correct, the new tempo should be eighth = 112, not eighth = 126, so it's not even correct lol.
Rechecking the tempos now, I get quarter = 85 for m10 and eighth = 126 for m18 actually.

6
Site News / Re: Update, Monday 11th of October 2021
« on: October 11, 2021, 03:28:35 PM »
oh yes, shoutouts to static and whoppybones for the (probably) longest submission to date.

7
Replacing an Olimar sheet? I didn't even know it was possible.
Anyway, my replacement has the full boss intro, as well as a lot of changes to the main boss battle theme. I'd also like to change the title to "Blizzeta Battle (First Half)", so that people looking for the sheet can look at the B for Blizzeta and not the T for Twilit somethingsomething. If I were to go with the Twilit titles, nearly all boss battles I'll be going to submit would be sorted together. The official soundtrack has "Boss Battle #[number]" as titles, so I guess I can take the liberty to change it to the official GilvaSunner name :p


8
Projects / Re: Cashwarrior1's Halloween Sheet
« on: October 11, 2021, 02:26:50 PM »
Awesome! I'll of this one!

9
Site News / Update, Monday 11th of October 2021
« on: October 11, 2021, 09:55:53 AM »
Bloop awkwardly stumbles to the microphone while the audience member mumble to each other.

Uh, h-hello everyone! So, uh, this is my first update since becoming an updater a month ago, and I'm very grateful to be part of the team, and-
"Get to the point!"
Oh, yes, sorry! Well, today it's finale-y time to show you some m(n)ew scores, which, if I say so myself, are note pad at all!

Chaos ensues while the attendants, booing and hissing at the horrible puns, leave the room, drowning out the listing of new sheets.
After the door shuts forcefully, the sound of one person applauding fills the room.


Well, that's all for today. And thank you for staying until the end, mom. Come, let's get out of here.

Bloop and their mother leave the building. After the door closes and silence is all that's left, a note containing the following words falls on the ground:


[MUL] Celeste
"Quiet and Falling" by PlayfulPiano

[MOB] Dandy Dungeon
"Tower Song" by Nine Lives

[PC] Deltarune
"Lost Girl" by mastersuperfan
"My Castle Town" by Th3Gavst3r
"Queen" by mastersuperfan

[MUL] Doki Doki Literature Club Plus!
"Piece by Piece" by Latios212

[SNES] Final Fantasy VI
"Balance Is Restored" by Static & Whoppybones

[PS1] Final Fantasy VII
"Birth of a God" (Replacement) by Latios212

[MUL] Final Fantasy XV
"End of the Road" by Renaud Bergeron

[SNES] Fire Emblem: Genealogy of the Holy War
"Chapter 3 (Eldigan the Lionheart)" by Libera

[MUL] Hades
"Death and I" by Fantastic Ike

[SW] Hyrule Warriors: Age of Calamity
"Overlooking Hyrule - After the Calamity (Title Screen)" by Postoli

[PSP] Innocent Life: A Futuristic Harvest Moon
"Easter Ruins" by Code_Name_Geek

[NES] Journey to Silius
"Stage 1 & 5" by Atcero

[N64] Kirby 64: The Crystal Shards
"Neo Star" (Replacement) by Kricketune54

[NES] Mega Man
"All Stages Clear" by LeviR.star
"Ice Man Stage" by LeviR.star

[GBA] Mega Man Zero 4
"Power Field" by Jake_Luigi

[MUL] NieR
"Halua" by Libera

[NES] Niji no Silkroad
"Persia" by Jacopo Tore & Andrea Licheri

[PC] Plants vs. Zombies
"Choose Your Seeds" by Nine Lives

[NDS] Pokémon Black Version & Pokémon White Version
"Skyarrow Bridge" (Replacement) by Onionleaf

[3DS] Pokémon Super Mystery Dungeon
"Drilbur Coal Mine" by Cashwarrior1

[GCN] Pokémon XD: Gale of Darkness
"S.S. Libra" by Kricketune54

[MUL] The Legend of Zelda: Breath of the Wild
"Sheikah Tower Activated" by gu

[MUL] The Legend of Zelda: Twilight Princess
"Twilight" by Bloop

10
Projects / Re: Cashwarrior1's Halloween Sheet
« on: October 10, 2021, 07:30:17 PM »
Nice work! Just a few more things that I noticed:

-m48-50: Some tremolo beams here are really short, you can extend them with the Beam Extension Tool (under Special Tools)
Spoiler
[close]
-m59-62: You kinda took the easy way out putting an 8va here lol, but I think it's fine to just move the notes up an octave and delete the 8va. There are some high ledger lines stuff but it's just managable (it's not like you don't have more than 3 ledger lines somewhere else)
Speaking of ledger lines though,
-m62: You could add an 8vb to the low Eb in the L.H. (and move the note up an octave of course), as this one is pretty low to read out of nowhere.

11
Projects / Re: Cashwarrior1's Halloween Sheet
« on: October 10, 2021, 02:43:32 PM »
What a weird song lol, nice work though!

Before I get to the details, I wanna say some stuff about the harmony of the piece. The Abm chord starting at m47 is the first time there's a clear tonic: everything before that is preparation for this Abm tonic. I personally think you can put a key signature at the start of the Laid Back part (m23) already though, as everything between that and m45 makes sense in Abm too.
But, here's the dilemma: Abm/G#m is a bit of an annoying key to work with. Abm has 7 flats at the key signature, which is quite a lot of flats to keep track off. You can change it to G#m too, but that has some double sharps that aren't as pleasing either (most notably in the V chord, D# major (D# Fx A#). I personally don't mind the double sharps as much, so my preference would be G#m, but I'll let it up to you if you wanna go Abm or G#m.
In this case, everything from m23 should work itself out fine enharmonically: you currently have both E major (from the key G#m) and Eb minor (from the key Abm), but changing the key signature and checking "Hold notes to original pitches [enharmonically]" should fix that. In m47-50, you might want to look at what you prefer with the minor seconds though.
Depending on what key you choose, you will have to think about m9-22 though (except for m11-12). These chords are all preparations for the Abm/G#m too, but they feel a bit weirder as you're coming from an Em chord. You could maybe put the key signature at m13 (instead of m23), but that creates a visual division between m1-12 and m13-22 that shouldn't really be there. If you put the key signature at m23, the chords in m13-22 have to be enharmonically equivalent to that key signature too: so either change the chord progression to D#m - Em - D#m - C#m - D# - C#m - D# if you go with a G#m key, or Ebm - Em - Ebm - Dbm - Eb - Dbm - Eb if you go with a Abm key.

Anyways, details (notes after the key change will be written as "[in G#m] (or [in Abm])"):
-m1-6: I hear the tremolo strings here a semitone lower than you have written, though I hear the L.H. as you have it. Also, I hear a high D# in m6 instead of the F (which would be E). Also also, I'd write Eb in the L.H. in m4 as D#. There are also some enharmonic spelling stuff I'd change in the first few measures of the R.H. (before you change them to something different).
tl;dr: i hear this and would write it like this:
Spoiler
bask in the glory of an amazing cutout screencapture
[close]
-m12: I'd write the Bb's in the L.H. as A#'s.
-m27: Add a slur from the grace note to the A# (or Bb)
-m34: The run starting at beat 3 is actually a chromatic run at twice the speed, starting a semitone higher than the note before. Writing this exactly would probably be either impossible or very hard to play, but you can change the run to a chromatic run from B (or Cb) up to the B (or Cb) an octave higher in the next bar.
-m35: I think I hear an A# (or Bb) a semitone below the top note too. I'd remove the E (or Fb), as this note is in the bass too, and add the A# (or Bb). You could also add a tie from the last note of the chromatic run to the first chord of this bar.
-m37: I hear the F# (or Gb) as the highest note in this chord, so I'd remove the top note and add another F# (or Gb) on the bottom.
-m59-62: I think you can write this whole part up an octave too, like you did with the melody before and after this bar. It'll make the octave jumps before m59 and after m62 a bit less jarring.
-m60: The G in beat 3.75 should be F# (or Gb).
-m61: The C in beat 1.5 should be B (or Cb), the Bb on beat 2 should be A (or Bbb) and the G in beat 3 should be F# (or Gb)
-m71 and on: I think you can add an accent to beats 3 too, as well as a diminuendo marking for the delay effect (like you did in m23). You could also even add a pedal marking, as I think this delay-ish effect works better with pedal, but that's up to you!

12
Projects / Re: BloOoOoOoOp's Halloween Sheet
« on: October 10, 2021, 01:14:13 PM »
Thanks for spotting that! (i should've known better lol)
Fixed!

13
Edited the last 8va marking to end a bit earlier, and I also noticed that the playback was on bpm=40 instead of 70, so fixed that too!
And with that, I'll give this an acceptance!

14
Ahh I see, I can go with that ^^ As long as you did it consciously, it's fine! You've taken some more liberties on your arrangement than I maybe would've done, but that's completely fine! It made your arrangement way more pianistic.
Anywho, I'll accept this! Glad to see you're enthusiastic about the site, and I'm eager to see more stuff :)

15
Projects / Re: Latios212's Halloween Sheet[s]
« on: October 08, 2021, 12:33:56 PM »
Great! I'll move those two right along the the folder then!

Pages: [1] 2 3 ... 151

Page created in 0.255 seconds with 22 queries.