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Hello @Fruit hunter ! I wish, I could press both buttons, „Thank you“ and „Ha, ha“, but since that is not possible, I did a simple „Like“. And even though the “fruit hunter award of excellence” will not really appear in my collection of badges, I’ll collect it in my mind! Thank you, very much. It’s nice to hear, that you don’t find the use of the muted trumpet as „too annoying“. And yes, this time, I tried to blend the instruments together (as it is done in a full orchestra) as far as possible and not only to simple distribute the four-part voice leading of the original piano work to the instruments. Unfortunately, I have no practical experience how fast a cellist can change from bowing to pizzicato. I hope that it is possible in the relatively slow tempo. I remember discussions on that topic on even faster tempo, where finally came around that nowadays string players would be able to do so, even in relative fast tempo. And, by the way – ha, ha – I remember that you’ve earned similar concerns with your mallet changes in your „On Pastel Skies“ submission ... Yes, always after finishing one of my piano pieces, I try out the fingering (and test the playability). Perhaps my fingering instructions are somewhat exaggerated, but it is not as easy even in passages one might find simple at the first glance, so that I often struggle which fingering marks are redundant and obvious. Another fun was for me to learn about the notation for the Accordion, applying registration hints and the notation for the bass.