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This is bright and fresh throughout, and plenty imaginative. If you ask me, this feels like a Sonatina. In the first movement, you give the oom-pa-pa a break just in time before it get gets monotonous - even Viennese waltzes break this rhythmic figure occasionally. I'm guessing that staying close to the tonic key is part of your style, but I think both movements could use more modulation to other keys in the course of the piece to freshen to tonal palate. Also, the first chord in the left hand of the very last measure is strange to me...consider making it an octave D instead of A. It will solidify the finality of the ending. Good job!

Until I switched to Dorico from Finale over a year ago, I had never heard of Elaine Gould or her book. I do have a PDF of it and it’s certainly interesting, but as with any manual that purports to provide rules, I’m not going to agree with all of it or even most of it. Notation is a very personal thing, and when you consider the scores notated by folks like Feldman or Shapey and many others, there are many “rules” that get broken all the time, yet the music does manage to get performed, and generally performed very well.

The video is not out yet as the short-film is still in production. It is the first installment of the soundtrack I am making. I was planning ahead in the about section for the day I post the entire Soundtrack and publish the scores. However, you can hear it partially in this 60-second teaser I made on YT last year. It was an earlier draft and is not what I published here:

Hi again @MK_Piano! A passionate and emotional piece fitting for the theme of betrayal. I tried to find the YT video on your channel that goes with this music but couldn't find it. Perhaps I would understand the music better if I could watch that? Thanks for sharing, great job, and by all means, post the video link in this thread!

Dear J. Lee Graham, I'm hoping to use this in a teen chamber music program I teach. If it gets performed, I'll let you know here.