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Hello! This is a suite of seven miniatures for string quartet inspired by the illustrations of the Major Arcana of the Rider-Waite tarot card deck, first published in 1910. I don't personally believe in fortune-telling (though there's no judgment from me if you do), but the illustrations in this deck of cards are simply gorgeous. There are 22 Major Arcana in all, from Number 0 (The Fool) to Number 21 (The World), so I decided to split up the work into three volumes. The Fool (No. 0) will make an appearance as the introduction for each volume, since this card typically is used to represent the person receiving a tarot card reading. This first volume is roughly 10 minutes long, in 7 movements of various lengths. Form and harmony are in a looser style than I'm normally accustomed to writing in. I tried to write in a style that could be considered 'timeless', if that makes sense. This is a first draft; there may be errors in the score. Any and all feedback is welcome. The MP3 and score were produced with MuseScore 3. Thanks for listening!

You jest. That's a gamechanger. Oh, I see. Will address that.

Please do 🙂 See how I label staves here: https://www.dropbox.com/s/lvhwqm86v79s1b7/OTL - CONCERT SCORE.pdf?dl=0

Notationwise first page: - group piccolos and flutes with sub-brackets (the same goes for cor anglais and oboes and so on). You need to label which of the three flutes belong to which of the two staves – again, goes for all winds. Label each entrance whether it's all three 'a3', just 1&2 or only 2 for example. Use those designations and write more single stemmed to avoid clutter. Piccolos bar 4 and clarinets bar 5 could both clearly be written in a single stem. Bottom line is: be clear on your distribution. - horns first entrance just write 'a2' for example and don't write those notes in bass clef. Which leads me to: is this concert or transposed? If you don't use key signatures, it should be clearly stated. - remember to put a dynamic at the beginning or end of a hairpin. You don't need one in the end if the hairpin has a modifier like 'molto' or 'poco' for example. - You have a lot of white space in the margins. Decrease that and increase staff size. Make room between the staves so no text or notes get squashed. - fewer bars per page! - place a bar number on every system. with fewer bars per page and rehearsal mark, that is enough and clear. Also loose the circle enclosure. - Timpanis bracket together (in this rare instance where they actually bracket). And don't write their pitches. Don't tie tremolo notes. - bracket ALL other percussion and remember that barlines run through every bracket. - don't use symbols for mallets and don't write 'wood'. Write soft, medium or hard mallets or sticks. (soft wood made me giggle! - on zooming in I realized it said soft wool and only THEN noticed that you had piattis as well - label them! don't use symbols.). Same goes for the cymbal symbol. Write 'Susp. Cym.' - place the ff's in percussion carefully. - break those string slurs up. - what does spp mean in strings? If you mean subito then write 'pp sub.' And don't write the sub. in cello/bass since they didn't play anything before. Also don't tie tremolos there. - Strings go p<sp? Doesn't make sense. Also they crescendo over an eight note rest? Careful here..... - don't use 'sim.' for anything. Copy it out. That was only valid for handwritten scores. So that was only the first page and glancing through the next couple of pages I can see these points are valid throughout. Remember also to number players on staves on subsequent pages and remember to use octave lines for harp when necessary.

The actual title of his work is "Grande valse de printemps." Rendered in English, this means "Great (or big) spring waltz." The French word "grand" usually means "big or large," not grand like English-speakers mean it. So, the title of his waltz is not partly in English and French. It's all in French. One of the words just happens to be an English cognate.