QuoteRH - m7 b1 - I hear an Eb here instead of the rest.Really? Not me, sorry
Quoteb3 - I hear an Ab harmony below the C here.Ah, y'are right, thanks.
QuoteThere's no reason why b4 of m19/27 has to be in the LH. It's perfectly playable in the RH and I would argue it's also much easier to play because you don't need to jump back down with the LH afterwardsMh, I agree. Originally I constructed this like right now because then interrupts the 4-2-4 game in the left hand.
Quotem20 RH b1 looks like this: (also in m28corrected
Quotem24 RH b1 - there's an En below that chord. Perfectly playable.what? I've taked a closer look and I noticed this passage was incorrect: Instead of the previous I've added an arpeggio between d' and b♭'. click to look But I didn't know what you meant, sorry.
QuoteUp to you, but I'd give the Bb in m24 b3 to the LH instead.Makes sense, I've constructed it so now that the pianist can choose the hand there.
Quotem32 RH b1 - there's a F below the chord. It also sounds rolled.alright, corrected
QuotePut the simile below the barline? It would be cleaner that way and that's where the accidentals are anyway.Well, is not a must for me but okay
QuoteI'm unsure what purpose the ties to nothing serve. I'm not sure how you would let those ring without ped, which would be a simpler marking by far...alright, added pedal markings
Quotem9, 25, 29, and 33 - make those pairs of quarter rests a half rest.Yep. I think you include m1 and m21 too.
Quotem12 - align the pp and mf to be in the same line. It looks weird the way it is.Done.
QuoteSpeaking of looking weird, all the a tempos seem to be aligned funky.yep
QuoteMove the rolled chord marking away from the barline in the final measure. If you need to, move the whole notes further inward.Fixed. Fortunately it wasn't required to move the notes further inward.
Quoteno forte and/or cresc in m21? It is certainly louder and sounds like it gets louder after that point.I've added a forte in m25
Thank you for the detailed feedback