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You know, with the score being two years old, and my experience also being two years younger at the time, I just assumed the horn staves were already formatted correctly as they are for all my scores/ templates now. That was an oversight by me due to complacency. C-trumpets are the preferred instrument for orchestral settings compared to the Bb-trumpet. Why? I am unsure the specific reason/ evolution to that answer, however, I know it is industry standard now to see C-trumpets in a vast number of orchestral works. Trumpets in D, Eb, and Bb are some of the exceptions with Bb being the other most common. I used for that reason and because I wanted C-trumpet for it's slightly brighter character compared to Bb. To add, the instrumentation lists Four Trumpets split between two parts (2+2 for volume). With the standard of 3 distinct parts over two staves, I kept the parts limited to two for simplicity when it came to orchestrating. That was done two years ago when I created the piece and I just kept it the same now. Lastly, I did not pair the woodwind staves together as they have very distinct parts between all the winds. Trying to condense them onto a single stave felt like a cluster-bomb I was not willing to tackle. Thus, having them explicit and separated establishes a strong clarity for what the part is doing. To add, as I have printed an earlier draft of this score once before, the pdf makes it feel smaller than what you will see physically. I do not think the measure/ part size will be an issue. Thanks for pointing out the horn parts, I will fix that immediately!

Hi @MK_Piano ! What a wonderful steam railway adventure you've created! I think it will fit right in with similar train-themed repertoire in the catalogue such as the Copenhagen Steam Railway Galop and Pacific 231. I love the spirit of the piece! The brass Eb major 6/9 chords do a wonderful job of mimicking the train whistle! I didn't even realize what chord that was until I heard this piece. The melodic variations and modulations keep the piece fresh and the modulation to Db major is a well conceived and welcome one! The descending Eb, D, C, Bb figure is a really great ostinato that puts me in a chugging mood! LoL I know you're a stickler to score engraving so I don't have much critique there except that usually the Horns are paired 1&3 and 2&4 on each staff. Also, I'm surprised that you used C Trumpets - and only two of them? When I played trumpet, Bb trumpet was still the standard and I'd expect 3 in the orchestra to be available. Also, any reason why you didn't group the woodwinds two to a staff? It would save a lot of space on the page. Those are just my minor critiques. Thanks again for your recent help on my Christmas Mash-up!!!

If someone would have written this for my wedding, I would've cried. It's so beautiful. Thanks for sharing. That's all I have to say.

Hello everyone, I am back to feature an overhauled work of mine: The Tuckasegee Flyer. CONTEXT: Originally written in 2024 by commission from my friend, Brody, this work was meant to accompany a YouTube video series he was creating. Two years later, and during this summer, I felt in a trough of composition. I have sketched a lot of ideas for themes or independent phrases, however, I had no passion or inspiration to make them into full pieces. So, after looking through my file system, I looked through this work and immediately, I had ideas. This work is an orchestral depiction of what it feels like to ride behind a steam locomotive as seen or felt by a passenger. If you would like to know more specifics and a longer explanation of the work, go to the 3rd page of the PDF (which is listed as page 1 due to the front and back of the cover page). Thanks for viewing my score and taking a listen! (Comments welcome) This work in its current state would not have been possible without the support of friends and fellow composers. Big thank you to @UncleRed99 for his help with understanding brass ensembles as well as non-YCF composer @Arbolav for his help in the development. You two elevated this piece and I am forever thankful! The Tuckasegee Flyer_AUDIO.mp3 The Tuckasegee Flyer_SCORE.pdf The Tuckasegee Flyer_SCORE.pdf

Hello, I really enjoyed the piece. Lacking perfect pitch, I don't pretend to have any sort of these savant like abilities some may have around preferences for certain keys. I feel like the piece works really well in F minor. I don't know why. It just feels like it should be in F minor. Bravo. In my opinion the main theme is very memorable and stands out. It's always nice to hear you return to it. It's got this sort of devilish, mischievous character to me. I was listening to again for the third time, I noticed something in measure 37 sounded a bit off. When I look at the sheets, I see Enat in the left hand and Eb in the right hand. But then again, you do this at other parts in the piece and it doesn't sound off at all. Maybe it's the Db in the RH? It might not be any significant, but I figured that I would at least post it here.

Hello, The sheet music doesn't seem to correspond to the music? I looked up the BDFI tune on youtube...battle for dream island? the first 3 minutes or so...there were parts that sort of sounded like 8bit video game music. Maybe it was the fast repeated chords. But yeah, made me think of video game music. There are some nice chord progressions up to the 5 mins mark that I liked. It's a bit hard to comment otherwise without sheet music for me personally...since the audio play back is computer based...it's hard to imagine the sound that you are trying to go for without either you actually playing the piece, or having the sheets :) for example at times I thought that there was weird stuff going on harmonically, but that could just be the playback. Can't confirm without seeing the sheets, or a better recording. Hard to be sure due to above mentioned factors, but you seem to have this 0% to 100% approach. Where it's either like wall of sound, or softer sections. I mean, maybe it's your style or what you are going for. I personally think music can be a bit more interesting with a bit more held back sometimes if that makes sense. In other words, it sounds objectively nice, but I also found myself getting perhaps a bit fatigued at times listening to it all! Once again, this might just be due to the recording. Around 10:30 or so there were some nice harmonies as you ascended. The Coda and the diminished runs was pretty unexpected and fun. Overall, the piece sounds bombastic, grandiose. It's so cheerful. Brings a smile to my face :) Love the never-ending...ending. Those are always fun. I'm a bit older...when I reflect on the type of stuff that I was writing at age 15...I would say that you have something really nice here :)

Ollo! I will be looking at this score soon and giving some feedback. To preface some the explicit comments I will make, there are still a lot of engraving errors within the score. 1. Page Margins. I tried printing the score from my Google Browser and it increased the page margins of your document/ made the score smaller to fit the page. I would increase the margins by default. 2. Having multiple colors within the engraving. I can understand doing this for pedagogy or analysis, however, for publishing and performance, do not add multiple colors UNLESS it is for specific reason (i.e. Contemporary/ experimental music). 3. Clefs. Glockenspiel does not read a 15ma Treble Clef. Tuba does not read in 8vb Bass Clef. Piccolo does not read 8va Treble Clef. They all read the normal versions of the clefs, however, the concert/ sounding pitch may be in those ranges. 4. Rests. Even in 6/4, 3/2, or 5/4, an empty measure is represented by a singular whole rest, not the dotted whole rest. To add, in the current version of the score, they are all offset. An empty measure needs to have its rest centered on the bar. 5. Rests again. I will make specific annotations of this comment. 6. THE HARP. The harp is not a piano, and comparing to your Piano score, it feels like you dragged piano elements to the harp. To emphasize some of their differences, harpists DO NOT use their pinkies when playing. So, some intervals or passages/ groupings of notes, can become impractical if you just copied it from a piano part. 7. Harp Pedals. They do not need a pedal diagram for every change. A simple, and clearly placed letter will be enough to show which pedal to change. To add, most harpists will just write one in if you only pedal charts. It's visually redundant for performance (in my experience) 8. The Key. Your Title says B-minor, then you open the piece in Eb-minor and end it on a C# half-diminished chord. So... which is it? Are we really in B-minor? I didn't see the key signature for this mode at all. (I have not done any harmonic analysis at the time of this comment) I will highlight some of these comments over the next day or two, however, let these serve as some food for thought. Good work!