Thanks to all of you for listening and reviewing this.
Just a few specific remarks to Justin's lengthy review.
Firstly, thanks!
OK - the clashes are *all* intentional. That's the first thing to get out. There is no dissonance in here which is an error (as far as I can possibly know).
I will consider upping the tempo a little.
Btw, I chose C major because it is fairly bright, and quite rich. Also, it's really rather rare in brass band music, so it will be good as a bit of a change. Transposing at this stage is impossible, as parts have been carefully calculated to fit the instruments' ranges.
I'm not quite sure what your comment about voice-leading meant, but the clashes in the piece generally resolve with good voice-leading. That clash on the third beat of bar 12 actually isn't that harsh a dissonance. The G# resolves upwards to A, the dominant, and the A# (which is really a Bb - I re-spelt it for ease of playing) resolves downwards to an A. A simple augmented sixth. Sure, other stuff is going on, but the clash is not that bad.
The timp. I will consider changing to an octave lower. That's been a question in my mind.
The senza vibrato is definitely necessary. *I* know who plays with vibrato, and when, in my brass band!
(Btw, I did add a bit more percussion....the ending now has tam-tam. Still, I follow the axiom: less is more; or, the more sparing the use of percussion, the more effective.)
b.13 ff. What do you mean my cornet chords don't agree?
I don't think you understand my harmony. It's not traditional march harmony.
I see what you're saying about the accompaniment to the solo, however, the range, and indication 'Solo' will prevent that from happening.
The mark tree *will* be heard at a general mf/mp dynamic.
I don't know if you've ever heard a brass band... they do not get drowned out by the timpani. You realise when it says "Solo cornet" my band will have 6, on the night. And 3 seconds, and 3 thirds, etc., etc.
Your percussion tips are helpful - I'm going to check through the score looking at all the points you mentioned.
M.59-60. I wasn't actually trying to get to E major...
I don't get your objection to my dissonances....there were far more dissonances in your piece I just reviewed.
"f < fff in low brass? No! They will cover everything up."
That's *exactly* what I want. Notice I use 'fff' very sparingly. Even 'ff' I hardly use.
I don't know what you mean by extension. Suspension? Anyway, they're not triads, so they can hardly be 'extended'. They're just.......harmony.
Again, extensions? I take it you mean the 7ths. I happen to think that particular tonic chord with the major 7th *is* one of the most glorious tonic chords! It's barely dissonant.
Uhh.......I know what accents I wanted to use! I don't know why you keep assuming I wanted to do something other than....what I wanted to do! This isn't your piece, you know.
I don't want a fermata on the penultimate chord, but I do on the last one. The last one will happen anyway. I've spoken to the conductor about it.
Anyway, thanks for the long review. I will check over a few places where you mentioned.
You mostly seemed to be trying to change what I wanted, with your suggestions, and you've made a few silly comments about the brass band, as if assuming I know nothing about it! But you've still made some useful comments, so thanks!
Thanks all for listening! I appreciate all listens and comments.
Mitch, yes you should try it!
Composerorganist - I have considered expanding the ending, but I think I'm at just about my time quota already! I will contiue to think about it.
Again, thanks guys.