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I had a similar issue while writing for orchestra, so I get that feeling. You can select the rit. and go to Properties (either go to View -> Properties or press F8) and change the slowing rate of the rit. to what you need. You can start at a slightly slower tempo if that helps the rit. slow just to your preference. If it's not to your liking (or if you knew that already), hiding them works too.

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Hey this is cool, kind of like Brubeck type of stuff. There's a lot of fun rhythmic stuff happening, and I love all the crunchy chords. That's awesome your friend is having you do the music! Will we get to see the final project?? 😄 I think this definitely fits thematically for what you're going for. The static harmonies work well with the intense rhythmic drive. You don't have chord symbols for the music yet, I would definitely do that. You unfortunately have some things that are impossible to play on guitar, and an experienced guitarist might have a work around if you explain the harmonic intent (if you don't know what the chord is called). For instance: Is the guitar standard tuning? There's no way to play that Bb7 shape. You could lose the top voice, but then you would lose the crunch I feel like you're going for. Just be careful with intervals of a second, as sometimes that's hard to achieve. Guitarists can take advantage of open strings, but these shapes don't line up well. The first chord (maybe just write E nat for the top voice?) is comfortable in open position, but awkward up the neck. I dunno, just my take. You seem much more comfortable with piano writing, so just another reason to make sure to add the chords to the score. That way, if the guitarist knows a quick fix and achieves what you're going for, lots of time gets saved 🙂 Great start, keep us updated!

Hi @PeterthePapercomPoser and @Hcab5861! I've modelled the overall texture and soundscape off of the bass aria of BWV 159 (which is imo the most beautiful aria Bach has ever written). The omission of a harpsichord continuo and the strings "harmonic halo" are both completely intentional - I want the mood of the music to be gentle, warm, embracing. In addition, I'm a little bit torn on Da Capo form. I think it works well in duets but by default I tend to avoid it. From a singer point of view I don't get excited about singing the first part of the piece exactly twice, and from a compositional point of view, your ritornello theme better be REALLY good to warrant a minimum of four exact repetitions (but more typically six to eight repetitions including fragments), at least for those themes that are tonally closed. I much prefer the scheme of ABA' in these cases (e.g. see the alto aria in BWV 197), where A ends in the dominant and A' ends in the tonic.

- Symphonies: Beethoven, Bruckner, Haydn, Mozart, Shostakovich (esp. 4th & 8th) - Operas: Mozart, Verdi - Piano pieces (solo): Beethoven, Schubert, Schumann - Piano Concertos: Mozart, Beethoven, Bach - Violin solos: Bach (undisputed master), Paganini - Violin Concertos: Bach (also double concerto), Beethoven, Brahms, Khatchaturian - Cello Solos: Bach (ultimate master) - Cello Concertos: Elgar - String quartets: Beethoven (undisputed master), Cherubini, Haydn, Mozart, Schubert, Brahms, Franck, Mansurian, Shostakovich (4th, 5th, 7th & 8th in particular), Martinu - String Quintets: Mozart (undisputed master, nothing like k. 516), Schubert, Bruckner - Piano chamber music: Brahms, Schumann, Mendelssohn Categories you had failed to mention: Overtures: Beethoven Oratorios: Handel Masses: Bach, Beethoven, Mozart, Haydn Requiems: Mozart, Cherubini, Faure Ballet: Tchaikovsky, Khatchaturian Organ Solo: Bach (undisputed master) Modern Choral Favourite Composer: Pärt Favourite Modern Contemporary (Living) Composers: Pärt, Mansurian, Sharafyan Some favourites I cannot quite place into a category: Rameau, Handel (concerto grossos), Dvorak