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    Please consider reviewing as well as posting. Not only does it help balance the number of works on the site, but it helps you get involved! You may think you have nothing to add, but something as simple as "this was cool because of this part" or "something about 0:35 threw me off a bit" does help. Thanks!
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    • Absolutely no idea.  Part of a choral work would make sense, since I spend so much time in choir land, but I can't place it.  It just feels familiar.  
    • Couple general notes: Use metric modulation notation between 4/4 and 12/8 (i.e. triplet = eighth in 12). Easier to read than doing math mid-sight-read.
      Good use of horn pedal in the beginning. Consider a stagger between parts or an offbeat rearticulation to sustain the tone.
      Going from 60 to 100 was a bit awkward. Maybe an accel?
      The first trip to 12/8 was way more awkward than the other ones, because you have the snare switching times in the middle of a roll. It takes away from the seamlessness of such a transition. On that note, you cannot use half notes in 12/8. Use ties to sustain the beat.
      My next personal step would be to elaborate on this one idea a bit more by transferring melodies and registers to feel like a cohesive section. Don't feel limited by the eighth notes as part of a melody; using the same thing in augmentation with suspensions in the normal figure against it can sound really cool especially with harmony changes happening under. You can use prime form (013) to create inversions on the theme you have. Use a refrain from the beginning for another slow section (ABAB kind of) then finish with a more driving similar idea to the first B section. 
       
    • Needs to be reworked. Chord voicing and voice leading don't follow the rules. Examples:
      m. 1 - suspension on the tonic chord with a 3-2 voicing. 
      m. 2 - beat 3/4 omits the third of the V/vi and returns to the V7.
      m. 6 - beat 3, 
      m. 7 - must use E# to signal augmented sixth chord. Missing the other half (G). Resolves to 1 without the proper voice leading in the alto voice.
      m. 16 - retardation incorrectly resolved from the bass
      m. 24 - parallel dissonances in the soprano/bass then soprano/alto
      m. 32 - register transfer in the soprano/alto unsubstantiated in bass.
      m. 45 - Resolution to a dissonance.
      Counterpoint (which is used too much when truncated) comes second to harmony. Those rules come first.
    • Someone on Discord suggested that I compose a piece about space and stars. Coincidentally, I decided I wanted to try composing something for Concert Band instead of just a hodgepodge of random instruments. I didn't yet feel ready for full orchestra; I wanted to experiment with a larger amount of instruments than I was before, but I needed to figure out how the Concert Band instruments would sound playing the melodies that I had in mind. So I went into Musescore, and it had a Small Concert Band template. I took away the Euphonium because I figured the Tuba was enough. I added in marimba, glockenspiel, etc, because I wanted them to compliment the other instruments and also to add twinkle like the stars. I have about two minutes of the piece so far, and I'm currently trying to figure out where to go with it next. I know that I want the beginning eight notes to reappear later on. I tried a few soundfonts, and decided that the GeneralUser soundfont sounded the best to me.
    • Hi all 🙂 Here's my last work :   Hope some of you will like it 🙂 Have a nice day
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