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Thanks for listening and commenting @UncleRed99! Yes, since the piece happened to stay exclusively in the tonic key at least I tried to add some varied voicings to add some spice 😆 After all of you commented about the piece I listened to it carefully and that last section really made the piece drag a lot and made it feel even longer than it was. So I deleted that last section, made a new coda, and modified a few things here and there to try to make the piece a little bit less "bass heavy". It still drags.... but less haha. I still would like to add the initial section at the end but, for now, I deleted it and added a coda (I still do not like the last cadence of section B so I might have to modify that too to make the ending before the coda more conclusive). I might still consider adding a bridge in the future if I find some solution! I listened to the piece and it was really god! You are so good with the orchestral instruments too! It would still be quite hard for me to compose something like that but I guess everything times makes perfect! Thanks for sharing! Thank you!

Thanks for commenting @PeterthePapercomPoser! I did not know the prelude by Chopin. I think it is famous as somehow I think I heard it before, but I was not aware of its existence (really nice prelude, though!). The model was a really really simple Czerny beginner piano piece, a waltz, really simple. I used it as a model for the harmony and chords inversions of the first section, and that is the end of the commonalities. I guess my mistake was using as model for a slow piece a fast piece, since slow pieces need to be treated much different to a fast one. After composing it a similar piece came to my mind: Bach Adagio for Piano BW974. It is actually a Alessandro Marcello that Bach transcribed for the piano. Incredibly beautiful. The whole piece, with the exception of the coda and a single bar, has a constant accompaniment. However, there the accompaniment is less heavy since most chords are quite high (on the contrary to my piece or Chopin's prelude). For now, I deleted the repetition of the A section after B section since I felt that was the weakest part of the piece and also created a new Coda for relaxing the ear after such a constant stream of chordal accompaniment. I also tried to fix volume issues (with this accompaniment, making the volume correct between melody and accompaniment is so important) and modified the B part so it gets less "bass heavy" at times. No substantial change but I am happy it improved a little bit at least. Thank you so much for listening and commenting!!

Hello Peter. Thanks a lot for your reply. I was not sure about the upper range of the trumpet,( I know very little of this instrument) and I am glad to learn that the high C is not a problem. I am sorry for not mentioning my software notation program (it is Sibelius). But finally I managed to convert to quadruplets. It escaped my attention that there is a special plug-in file, which allowed me to make the changes. Thanks anyway for your help! (I have now uploaded the revised version of the score). My way of writing changes periodically. The last two pieces were in the way you described, but I have some other things which are quite different in form. And again, thanks a lot for your feedback and your help.

Man, this has some very flavorful chord voicings. The Major 7ths, Augments, Minor 7ths, and Dominant 7th chords really make this a Lamenting piece. I agree with how others have already explained that this piece would be so much more engaging and powerful if there were a sort of "bridge" section that built up to the outro or the last verse/chorus then to outro with contrasting statements such as maybe arpeggiating the chords for the Left hand (bass clef) rather than the monotonous quarter note chord rhythms used throughout the progression, and worked up to a Forte or Fortissimo dynamic level at the peak of it to really drive the lament home. I've got a Lamentoso piece named "Lamentation" floating around on this forum that you might be interested in viewing as an example of what I mean. You can check it out right here to see what I'm talkin' about :)

Thank you Jorge! I think I'm still trying to find my compositional style (which is a lifelong pursuit), but I think I've settled on what I'd consider a palatable mixture of Late Romantic/neoclassical/jazz (?) influences. The piano soundfont is the free Spitfire Labs Autograph Grand. I occasionally find that the Autograph Grand is a bit too bass-heavy and rather quiet in the upper registers, but it does an okay job; one that performs better higher up is the Labs Soft Piano, which I also sometimes use.

Hey @JorgeDavid! I like the mood of the piece but I agree with Luis that a contrasting section with a different accompaniment or a modulation to another key would be very welcome. It seems like you are kinda using Chopin's famous Prelude in E minor as the model for this piece, no? I think the reason why the same accompaniment pattern works in that case for such a long time is the liberal use of chromaticism and a slow constant modulation. Thanks for sharing!

It is a very nice and well done work. I have one comment or suggestion: I think, given, the length of the piece, it seems to me that it would benefit from a contrasting part in terms of left hand rhythm or pattern. The same for the harmony. At some point it's nice to have a less expected chord, a broken cadence, or whatever.

Revisited this piece, after a few weeks off of messing with it. That always seems to give me a fresh perspective on things I've written, and helps me to identify areas where improvement could be made. I feel confident in saying that if I were to forget this piece, and return to it again, that I'd be happy with how it is in it's current state. As always, if there are any areas where someone with more expertise than I have is able to identify an issue or mistake, I'm all ears for the feedback! 🙂 Thanks, and I hope you all enjoy my little heartfelt piece of music Lamentation_-_Kyle_Hilton_UPDATED_with_Spitfire_Labs_VST3_Audio (4).pdf Lamentation_-_Kyle_Hilton_UPDATED_with_Spitfire_Labs_VST3_Audio.custom_score (1).mp3