Hi Steve -- I am listening to your harmonically sophisticated music from MySpace and enjoying it. I just didn't fine Howorwitzian's comment about "harmonically static" to be terribly specific -- and calling someone a music critic is not exactly biting off their head. His remark about "hoping to be transported to Middle Earth, but alas I didn't really go anywhere" struck me as uncalled for and pointlessly hurtful. Writing descriptions of one's music is difficult, and it's easy to poke fun. And in this format, unless one responds, other readers are left with whatever comments are made as the last word.
I am new here, and frankly was hoping for a warmer welcome -- and for the criticism to be more constructive and less personal. Yikes -- and now someone else has stated that my work is "anything but quality piece of music" -- wonderful.
Nice save. I think it's fair to call for a reboot with regard to your presence here. I can't speak for anyone else, but I'm willing to cut the newbie some slack and I'll try to be gentle with my criticisms. Please be open minded in receiving them.
I never refer to my own efforts as "quality music" because that's just inviting others to disagree. We've all seen enough hyperbole on the web to know that when we see it it's seldom in indication of reality, in fact usually it indicates the opposite. This forum's members cover a broad spectrum from complete neophytes to fairly experienced composers. We tend to be gentle with the neophytes since they usually announce themselves as such.
Now let me offer some observations about your piece. The beginning basically says this is a grand piece. The thematic, harmonic and textural language doesn't change until about 1:45. That's forever in compositional terms. Your second section is a bit more hyper and if anything even louder. You don't hit anything as soft as mezzopiano until about 2:30. In order to have a piece that comes off as grand it must also include parts that are not grand to serve as contrast. That's why the Eroica Symphony starts off with two quick chords and then the cellos playing the theme in a very basic form. Another thing better composers do is to disguise their intentions early in pieces and save their grandest statement of their themes for toward the end. This is getting your music the old fashioned way, you earn it.
So what can you do with your piece? If it was me I'd simplify the beginning and take it unexpected places. I wouldn't state your grand theme in full at the beginning (or maybe a full statement of a simplified version then start a grander one, but then switch in mid theme to something else). Anyway the idea is to end it in a way that let's us know you're really going someplace different (like modulating to the medient). Most importantly if you're going to start grand, bring it down to piano or even pianissimo soon. State your grand theme then make it go away long enough that we miss it. Then when you bring it back you can use some of the interim elements as accompaniment or transitioning themes.
One really good exercise is to listen to music you really enjoy and try to analyze its dramatic structure. Then use that as a template for a piece of your own. Good luck.