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Hi chopin. I have a mere esthetical issue. I don't mind the new additions on the site, I do mind however where they are placed. The two huge new buttons, next to the previously modest RSSfeed place really destroy the ballanced site layout. I feel like all additions are just somewhere placed, without regard for the site layout. I think that is making it too crowded and ugly. :( Because now there are two places with buttons (the help/notification area) and the sitemap/liked/rss. And in Network mode there are two tab bars as well. and maybe even a 3rd on the left side. I think it is just getting too much places where buttons are located. I also would like to say that I do not think it is necessary to offer two location for the same functionality. The chat bar is providing the chat function. Whatever people think of that I can imagine its functionality. But I would not use that place for applications and buttons as well. Especially not when the functionality is already available. The "tips" above the shoutbox is too much text as well, adding to the cramped experience of the layout. I know what effort it took to design this whole place. So no argument from me here. But please keep the layout somewhat intact and do not make it even more crowded.

I'm totally for keeping the money. A job is a job, period.

Tru dat. Screw it, a paying gig is a paying gig. This is the same thing as people condemning the bands that the kids at Columbine listened to (wait, is that still in everyone's collective memory?)... Would we then ask those who profited off his rise to power to give up their money?

LOL. If I could just up and donate a million loving dollars just like that morality would obviously be rather low on my list!

Yes, yes, YES! Somebody else who understands this most important of principles! I can't tell you how often I have to play music from even the great composers that has been written with no thought for or ignorance of the performers. And if you do write good parts people are more likely to like and perform your music. This doesn't mean that rbasilio is wrong though, because I also hold that if something difficult is artistically justified then you can write it, just as long as it is clear to the player why you had to, and as long as the effect created is worth it.

Nice, short piece! I liked the textures you used and the fact that each phrase was structured harmonically to give some foundation. That made it very easy to follow even while the motives were being developed. Watch out in measure 46 in trombone 3. That's really difficult to do... the range switches... just cautioning you. A professional wouldn't have any problem with it. I felt like this piece had just the right amount of stasis vs. motion, so good job on that. Keep writing :)

What an interesting ensemble. I can't think of another piece for five trombones. I hope the bass part is alright to play but if the bass trombone has F and Eb triggers it should not be a problem. This piece would also sound good arranged for tubas and euphoniums. I don't know if it was because of the Soviet connection, or the harmonies and counterpoint you use, but I got a flavour of Shostakovich in this music. It reminded me of the slow movement of his Seventh Symphony or the first movement of the Tenth. There was a lot I really liked, especially how the two first sections were combined at 46-50. Actually both the main ideas in this piece are of good quality; the chorale theme works really well with the third trombone providing rhythmic interest but not spoiling the mood. The more rhythmic idea was also well thought out and you use hocketing very cleverly to get around technical problems. Counterpoint was well used based on both ideas as was the changing bar lengths. The ensemble was also carefully used: although there are few times where less than four players play, you give them all different material so it never feels like a constant wall of sound. Bar 39 is a particularly clever effect with the staggered fps that will work very well. Really the only thing I can say about improving this is the links between sections. I think the introduction of the second section at 19 was too abrupt; the introduction of the rhythmic motif should flow more naturally out of the first section. I might be wrong and this will be an effective contrast in live performance. But I think you should also make the transition back into the first section at 39-40 smoother as it seems to stop and start again with the bar rest. Also I think it would be very helpful to the players to add more barlines - dotted barlines if you still want to show phrases - where there is hocketing and more complex counterpoint, as the lengths of bars changes frequently. (I assume there is no conductor for this piece). So yeah, very good work! PS. you could arrange this for organ too, it would also work well.

Nice work... I especially like the harmonic textures of the intro; also, throughout the piece, your harmonic approach is treated really well. I have a particular affinity for those types of chords - nice church-chords, with a weird note thrown in ;)

Random tone clusters. It's always worked for me.

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