- m47 LH beat 4 seems like it should use G instead of F#; F# isn't part of the chord here.
For m47, I still disagree. I relistened to it and I still cant hear that chord resolving properly.
I would go with MSF's recommendation here. If I understand correctly, the goal of the harmonies in the left hand here is to outline the chord, and that doesn't change mid-measure here; it stays as a G. Having B-F#-B as a power chord leading into the E looks right at a glance but it doesn't represent what is actually happening harmonically - m. 47 is a G chord and m. 48 is an A chord, despite the E octave you've written in on beat 1 that presumably represents another non-bass voice. The F# is out of place, and one other thing to consider is that if you're playing this with pedal the F# will clash with the G played earlier.
While I'm here looking at this section, m. 51 sounds like an A major chord, so I think the left hand should have C# instead of C and A instead of G.
Just skimming the rest, there are a few weird spacing issues here and there. I recall last time you having difficulty getting Finale to apply the default spacing? Some places to point out are:
- Accidentals in b4 of m. 12
- Accidentals in b3 of m. 43
- m. 60
And some more purely visual pointers:
- In m. 4 and 81 you should show the quarter rest in the lower layer. It would also help to flip the group of16th notes on beat 2 upwards because there's nothing directly above it - this would allow you to not have to push the crescendo so close to the bottom staff.
- Is there a reason why the 16th notes in m. 59 aren't flipped downwards?
- You have extra space on the last page and in the last system. By contrast the first system on page 5 has 6 measures in it. I would suggest pushing m. 81 down to make the last three measures more evenly spaced.
Here are some things to think about:
