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Ok. I'll do this section by section first: 5 - parallel triads - be back with this later. Theme A - Polyrythms are nice, but they obscure the rythmic feel and drive present in the first section here. The constant 3-against-2 sounds loaded and gets a bit annoying. The theme also jumps all over the place. For an exposed theme, it should have a kind of phrasé. The fist melodic segment, with its constant large leaps and absence of resting points, leaves me out of breath (figuratively speaking). Some rests and more conjunct movement would be better in my opinion. The Fermata in the transition could have been replaced by a large decrescendo, and would have been less brutal. Waltz/B section - The harmony here is much too static. Most of it is comprised of tonic-dominant-tonic patterns. Harmoniv variety and modulation would be very useful and welcome here, especially since this is the longest part of the piece. More parallel fifths/triads at 58-60. Pedal markings could be useful throughout this section. C - Vivace - Not much to say about the transition. D (recap) - I have the same thing to say here as I did with A. Why not replace the Adagio marking with an "alla cadenza", or write it out using the current tempo and a few measures? Coda - Brutal ending. All in all, there are many strong points. Nothing is too crowded, or too exposed. Some memorable moments are present, and nothing strays out of what is accepable for a classical-romantic piano idiom. The main problems with the piece are static harmony, a jittery A section, and a too brutal ending. Also, if you're trying to reproduce what would have been called a Gavotte "back in the day", you need to cut down on the polyrythms and parallels. However, it doesn't detract everything from the experience, and the piece is far from unpleasant. I'm in the region of 5-6 / 10 for this one. Cheers! :phones: (Apparently the public opinion is against me on this one :santa: )

I really like the melody and your instrument samples are really nice also. I can imagine a whorish soprano stumbling around the stage in a dress that is falling off as she reaches for another drink. One thing that scares me, is the usage of the E vowel.....(i)...(ee) vowel. Please, tease, etc, lol. You have the singer popping up to Ab's and C's on what is the most difficult vowel to place in that tesitura. That could be dangerous for performance, simply because that vowel is so unreliable in what is a very fragile place of the voice, above the the staff. Even for a very high Coloratura soprano, it would sound very nasally, and extremely piercing. Perhaps that is exactly what you want, but if not, it will be a tough animal to keep under control. Otherwise, I like everything a lot. It sounds very mozart esque as far as the melody's playfullness. It's like the Queen of the Night had a few drinks and a lot of fun. Keep it up.

On July 4, 2009, Jesse Parker was killed in a tragic car accident. His death struck our town very hard because he was always such a nice, caring person; never had anything bad to say. I created this composition in memory of him, because even a year prior to his departure, he still lives on in our hearts, and he is "in the stars" now.The first two measures represent his fatal car accident, and then the main theme starts at measure 3.*Piece has been edited* In the Stars