July 14, 20178 yr Pleasant; the main thing I see is some odd use of chords within progressions, like the lydian cadence in m. 7 is slightly odd, but does its job. Using tritones to substitute for dominant chords can feel little strange, especially with this somewhat and relatively sparse orchestration. The last chord too; a bit weird in the first inversion. As an aside to that, maybe having this in 2/2 might be easier to read, so you don't have to resort to 32nd notes to get the effects you want. Also, did you know that the piece carries on an octave higher after you put the sign in for it? I'm not sure how intentional it was; if so, it would be better marked a bit more clearly on the score. Nicely done.
July 16, 20178 yr Author Thank you both for the feedback. Yes Monarcheon, the piece is an octave high and 2/2 may be a better idea. I'll have to ponder your other advice when I revisit this piece. I know that there were a few chords which would otherwise be normally discordant, save the progression.
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