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  • Works With Few Reviews

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    • Wow, there are some really colorful moments here! I love 4:00 - 5:00, it's like you treat the orchestra as a percussion instrument 🙂 Very very cool! Love the big unanticipated chord at 8:30 too.  Aw, lame, but I get it. I've been there, we are our own worst critics. I would have submitted anyway, it is quite good to me. Your score looks great too. I think the big changes you would want to do are better left alone, as you've done. Save those ideas for the next one. You can sit there and tinker with orchestra pieces forever, no shame in letting it be as is.  Watch your levels in the mix, you have a few spots where I hear distortion, but that's an easy fix. Around the 9 min mark is an example. I think it's brass? Lovely piece, thanks for sharing! I've heard your music a few times now, I dig your style. 
    • Just a quick update  ... Met with my mentor ... improved counterpoint (one measure had parallel 4ths in the sopranos/altos for example) ... improved voicing/harmony in last 2 measures ... and reworked the piano line ....   One has to be patient! Mark Will post again when the work is finished!  
    • By the way, here is an example of what classical guitar can be, if one wishes to be so complicated!  Villa-lobos was quite the virtuoso on the thing...I have no desire to be so complicated!  
    • Thatguy, some things I won't take your advice on:  of course I will correct impossible chords, but fingerings and hand positions essential?  Not standard in historical classical guitar music.  The dropping of the pedal A because I wanted to; just contrapuntal reasons.  I'll see when I feel like editing, which is not now! 😆  
    • 1. A minor. Again, just like the string quartet one, this one is very Mozart. I find a great use of grace notes (acciaturas) here. In the opening, you have the two hands play parallel, just like in Chopin's Scherzo No.3 . I see that after that, you had an immediate F Major Part. And then my favourite part is the syncopation with grace notes part. I think that this contains a lot of great ideas.   2.   A major. The transition makes a lot of sense. e, f sharp, e part at the start is great, and very Mozart-like. The double-thirds runs seem fun to play! The left hand parts are very good. I think it is wrong at bar 44 to be in minor key, as that you haven't notated a natural sign. Overall, very good use of the second voice.   3.   F major. Really waltzy. Bar 50 has a sharped C, which is a very smart choice. D minor is also a brilliant transition. I like the way it is intense from bar 56, and how it is in A minor, and transitions back to F major at bar 60. It feels magical in a way. Very great.   (Gonna finish this later!)
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