Hahaha yeah my endings are something I still need to work on.
For the sound effects I really didn't know what to do there so I just ler it be.
Man I feel like I'm so close but still need a lot of work.
The ending?? What's that... it just cuts off. From a reasonably high point too. It feels like you didn't know how to end the piece.
Whenever E-flat∆7 comes in with that inversion it still sounds out of place, most noticeably in the beginning. There's never a V in here which if you introduced it after an establishment of E-flat∆7 could be cool, but it becomes awkward and flat.
You didn't take my advice about the whooshing sound effect at the beginning. It has pitch and collides awkwardly with the chord underneath it, since it's built not to resolve.
The buildup is good and its continuousness is pretty welcome but other orchestration changes in mood but not atmosphere could really accentuate that better.
Hi, I've been listening to your stuff on here and I think you have some of the most unique melodies; your music are always a joy to listen to.
This one is beautiful as well and overall it lives up to its title well.
Sorry I never acknowledged the great feedback. You really have a great ear. I'll post the scores soon, I forgot that I didn't upload them earlier.
The Lacrimosa was the very first movement completed and Mozart's Lacrimosa is my favorite part of his Requiem so probably not surprising that it has the most obvious connection to it. The Kyrie was written soon after and I agree it's on the short side. It initially was a direct connection to a previous version of the Requiem part of the Introitus that I discarded but kept the Kyrie with only slight modification is as a standalone movement. Maybe I should reconsider that.