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Thank you so much listening and the feedback, @Grant Weep ! I have been listening to the sections you said attentively and I think I know what you mean. Regarding the Bnat, I personally like it there, and I like that harmonic/melodic movement, but thanks to your comment I realized that I did too much crescendo there. I should be played only a little louder, but I play that crescendo to the Cmajor chord even louder than the Half Cadence. I think that might affect negatively the first section of the piece. I will try practicing that crescendo softer to see if, for the next time, I manage to make that part sound smoother and less out of place. Regarding the power chords, I used those there for inner melodic reasons. You are right that they sound a little hollow, but I think I like the one in m.11, but in m.15 I might add the third to the right hand for next version. Thanks for pointing those out! Yeah, that was an accident, but since it did not sound too bad I let it stay. I also think it sounds kind of nice the more I hear it. I will consider whether leaving it and maybe reusing the same idea somewhere else or getting rid of it! Thanks for the comment!

Hello everyone, Thought I'd share my appreciation for this gorgeous work for double choir by Zelenka, performed by Ensemble Inegal under Adam Viktora's direction (released 2025). Zelenka worked for the court of Augustus the Strong of Dresden and was a contemporary of JS Bach (they allegedly knew of each other and maintained mutual respect but never met). Unlike Bach's sacred works, Zelenka wrote for the Catholic church. This was written specifically to be sung at one of various altars during a Corpus Christi procession at Prague's St. Salvator Church. This movement was written to be sung at the third altar. Until recently all but the first movement was believed to have been lost in the Dresden Bombing of WW2. Thankfully, researchers in 2023 found a complete 19th century copy for our pleasure. Prague's St. Salvator Church. For me, it doesn't get much better than this. Enjoy!

Thanks for listening and commenting, @Seni-G ! I am glad you found that it slowly built up. It was one of the main things I put effort on since it was such a short piece, and the addition of the Coda was mostly for that same reason, as I felt the piece needed a little extra build-up/release with the main quarter note motive. I really liked your idea of the accompaniment, specially I might experiment with it during the coda since that is where the rhythm is freer and most of the notes of all chords are static, so it is a good place for testing it out. Thanks for the idea! Thank you!

@JorgeDavid Well done, that was excellent! The second half is particularly moving. I felt like it really built up the drama and peaked in a very satisfying way. You’ve got a really nice touch, both in the composition and performance. Here’s my only recommendation: break up the accompaniment rhythm here and there. It will give the piece more character if the accompaniment is just a touch more rhythmically interesting. I’m only talking about rhythm, not the notes themselves. Even a small rhythmic change can have a big impact. For example: Instead of boom chuck chuck, boom chuck chuck, boom chuck chuck, boom chuck chuck… You might try boom chuck chuck, chuck boom chuck, chuck chuck chuck, boom chuck boom (rhythm repeats). The boom is the bass note and the chuck is the chord. You could keep all your same luxurious bass notes, but just alternate slightly where those bass notes hit. You may even find a configuration that sounds so delightful, you can use it throughout the piece as a motif. Anyways that’s just a thought. Even if you keep it as is, it’s already lovely! Nice job.

Hello, What a wonderful waltz. I listened it to 4-5 times now, and each time at 0:23, or measure 11....the Bnat in your right hand, really clashes with the Bb in the left hand. In that same measure (11) and in measure 15, you do this thing where you have like a power chord going on....G in LH and G-D in right hand. Sort of feels out of keeping with the lovely sophisticated, I'm in a Cafe in Paris feeling smoking a cigarette reading Camus sort of feeling that you got going on otherwise. In measure 11, I personally "feel" a Gminor9 chord sort of voiced in a way where it's clustered together. But I realize that that may or may not work with what you have right after (going into the Cmaj). Perhaps, just nixing the Bnat and keeping it Bb. Anyways, that's how the piece sounds to me...just this one place that seems out of place. Really digging the chord/atmosphere at measure 37. At measure 40, you play a F# I think that's not in the score? Maybe it was an accident/improvisation, but I like it! Perhaps you could expand on the idea since I believe that this general idea has not come up in the music yet.

mad respect for that

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