leightwing

First off, I'd like to compliment you, Mr. Graham on your expert analysis and fabulous suggestions. I think you should seriously consider becoming a teacher. As far as I can tell, you’ve got what it takes. In my biased opinion, it’s the most noble and important profession on the planet - underpaid of course, but so rewarding as to easily make up for such a deficiency. I didn’t start doing it until I was older than you are now. It’s never too late to start teaching.

Now, on to the matter at hand. I had previously taken a look at this piece and was debating whether or not to tackle it - there were other choices and I think I had just recently done one of Piano Guy’s pieces. I think I had pretty much decided to pass because I found it a tad pedestrian and plodding. Those parallel fifths right off the bat made it plod all the more and they didn’t fit the text; I think that put my ear in a bad place. But in coming across Lee’s very perceptive observation that it reminded him of Berger, I gave it another listen with that in mind and it all fell together. Although personally, I still think quarter = 60 is a bit slow - that certainly didn’t help it to plod any less.

PG, Measure 29 - your Bb solution - I love it - The reason it works is that it subtly lets the chord hang through the rest as the part continues down to the Ab on the following measure. Good voice-leading through a rest creates continuity, seemingly implied, but very real (remember, you’re in the middle of a sentence) and an added bonus is that it becomes an easier read.

Last two measures - I wouldn’t bother to put a low Bb in the bass part. It comes across as being presumptuous. I’ve never met a bass that could consistently even reach it, much less hold it as long as you have specified, and I’ve worked with some real good ones.

Other than that, Lee has masterfully covered all the bases and I feel as if I’m no longer alone with my preferred style of critique/analysis on these forums.