PCC

It's a limitation of how I use MS probably. irl I would couple the manuals to the pedalboard so the bass would sound more prominent irl

Here you go. I have some Easter eggs in the arrangement of the piece. See if you guys can find them.

EDIT: SORRY I MADE A TRANSCRIPTION ERROR LET ME FIX IT EDIT2: pdf file is fixed but the audio I need to fix it later as well EDIT3: audio revamped MM2HN soundmix.mp3 The original work by Henry Since Henry insisted I post this as my own work, here it is. Bear in mind I have only played the organ for less than once per week for a few months, please comment any improvements that could be made. I tried to give different stop voices in the system but the sounds don't go very balanced and apparently the vibratos are pre-recorded and can't be removed, but it kind of gives the right impression I suppose. If I ever get competent enough I might try recording it for real

Schubert is the answer! (no, really, literally it is there) I understand bars 35-42 is meant to be a hybrid first theme/bridge, personally I feel like the piece could use more of a cadence in the new key instead of repeating the 4 bar phrase an octave higher. Let me see if I can arrange the piece for pipe organ, at least the choral part.

I'm not used to this style but I stylistically I can't find any glaring flaws here. On a practical level, 1. Are you sure this piece is playable, and at this tempo? I'm not that skilled so you'll have to judge it for yourself, but those semiquavers thirds can easily tense up my finger muscles, and the repeated octaves..., and repeated thumb notes? like bar 178, and Mr. big hands like bar 169 2. voicing issues like bar 13, the crotchets don't mean anything if the next quaver you are just going to bang fortissimo anyway

I meant it involved a lot of string crossing, which you might want to avoid if the melody can be projected all on one string, usually the A string maybe skill issue on my part most probably, and I don't know your context, but the lower notes of the double stops you showed here don't seem to provide melodic substance and I would much rather not double stopping on the cello here

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That passage is possible with thumb position on C (D string) G (A string) But it doesn't sound as connected as if I play the top note melody all on the A string. Does the context really demand double stops?

like I said, huge practice and rehearsal skill issue anyway again like I said, I only listened to the piece very fragmented, so i don't have an overall opinion. however the score looks like it gives great pathos like schubert, and complex perhaps like the peak of late romanticism bar 30. the tremolo quaver. I think it feels weird on the bow. just take out the tremolo on this last note of the bar? bar 170. I hate you. jk. moving on... I love the melodies on the cello, I'm sure if it's played irl it will sound very attractive

Very possible at this tempo, but perhaps not any faster. what is not advisable is the random double stops at places like bar 35. You can't expect an immediate large finger position shift up to double stops and expect the sound to come out good. I would advise you to tone down your excess fondness with double stops on cello especially at the higher registers unless you are featuring a super virtuostic cello solo line. Actually the notes in bar 31-42 are pretty uncomfortably hard on the cello as well though supposedly very doable with advanced bowing and fingering (more advanced than what I can do, I am only at g8).

For me the main issue is time and effort. I also have another, the formatting of the sheets and the playback is often suboptimal, especially those using default sound bank. I tend to gravitate towards those with user-friendly sheets and live performances because those are the most effective ways for me to perceive the music works. edit: btw incorrect enhamonic accidentals are such a turn off

play it live, that would sound much less mechanical by that very nature, lol

idk why, I see the your 2nd episode as just a development of the refrain of part A', I see your movement more in a tenary ABA' form ok sure let me give you some feedback since it seems you gave the impression its all praises for you lol bar 18/34 (either or/and), would you consider changing the low e-sharp to c-sharp so the last quaver of this bar has a complete triad? I guess the second refrain does sound a bit random with all the running notes and stuff, but it could also be a playback and *** ahem I'm not qualified to say this*** skill issue, like I said the 2nd refrain the melody is hidden in between the voices it's hard to bring it out.

idk, bars 76-112 seems intimidating and you have to do it in one continuous motion though bars 69-75 is technically more musically difficult imo your slow movements are miles ahead of mine lol... and to actually play it