It helps balancing lines and avoiding mistakes, such as parallel and direct fifths and octaves. Look for contrary motion, specially between the expreme parts as much as possible. Leaps are good to create variety and explore new registers, but all voices moving by leap at the same time is not the best option. I think and alto tromobone would be definitely a better choice. Also by the end you play a Bb on the upper part. You could also transpose the whole piece to a higher key, though I think the character and instrumentation fits well the the key (I personally like trombones playing choral style in its middle-low register). Since the register is pretty low, I recommend to replace the lower part for a Bass trombone trying to keep some space between voices to make the lines clear. It must be space between the parts to let the voices breath and make the harmony clear (on bar 12, second beat the parts play F-E-D, so three consecutive notes of the scale) I don't feel the harmony to be clear there.

In 3 parts paralel octaves and fifths are better to be avoided (in bar 3 the 2 lower parts have a parallel fifth. Second inversion is most commonly used as a passing chord with the base moving by step or as a cadential chord on the tonic preparing the dominant chord.

As a main rule in classical style a composition should start with a chord in its fundamental position, or eventually in a first inversion. The third chord is also in second inversion.

which resolves to a tonic chord in its second inversion, all voices moving by fourth step upwards in the same direction. It starts with a dominant chord in its second inversion. Open the feature page to see how to use it.Hi, Thanks for posting! By looking at the first bars the harmony and the voice leading looks quite odd: On this page, discover the music notations available on our music notation software, Flat, organized by group of features and toolbars.

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