Salutations!
Okay I've read through your first post (sorry, I didn't have time to read the whole thing, I can totally come back and give more feedback later when I have more time! )and I've some suggestions for you as per your request!
To start: The beginning is the place you hook your reader. It's your introduction to your audience and you want to make a good impression. Now, you're good at using language with a flow and building a scene. However, there becomes a point where building a scene is too much. In the first paragraph you start us off with the main character sitting alone recalling old memories and comparing the bustle of their old life with their new one. This is a pretty scene, however, this is where we start running into some of our first troubles. To start, you use the word "Stagnant" to describe a lakes surface. This might be a nitpick but, stagnant usually describes still water, a lack of movement. Lakes have waves and ebbs to them that don't really carry the feeling of stagnant. Now, if this particular lake has something that makes it that way, you'd best describe that bit first, before calling it stagnant so that the audience understands the scene. (Also, were it stagnant, nobody would want to dip their feet in the water, lol).
We also end up on a rambling path here. You have lots of details, but they're sort of just thrown out there in random order, I don't feel there's a logic to them. He's traveling memory lane but, when we have a more interesting scene to lead with, it makes little sense to start with a sweeping description of a lake, versus the inciting incident. Since these two things are so close, I'd say switch them around or combine them. Example:
Spyro sits at the lake water's edge thinking of the last night he saw his father. He can't take comfort in the country because the memory is too painful and the scent of tractor fumes takes him back to that city where his father was murdered. This way, you can throw your audience immediately into the action and have them start forming a bond with your protagonist. Otherwise we get long swaths of description before there's a solid point for us as readers to grab hold of. Starting with scenery isn't terrible, but in this case, you'll want to start with a punch and with the falling out between him and his father. You've got all the details, but some rearranging would really help your narrative pack a punch.
Speaking of re-arranging and punchy narrative, one of the problems I'm having here in the beginning is the level of detail the son recalls to himself about the case. He talks about it as if he were a witness and not as if he'd heard the story second-hand. The level of detail he has for his father (Such as the loud music, the exact threat between the woman and her beau, or the fact that the father's/or the friend's courting was under expectation, gets really muddy and I've had to read it a couple of time to determine who did what and where.)
Another trouble we have is, before all these details of the events of the crime, you claim that the protagonist lost all sense of what transpired. This doesn't make sense, as he then goes on to tell us what transpired even though the previous section told us he'd lost sense of it. This was a very confusing passage and on first read couldn't make out if the victim and the assailant were the same person or not. I'd originally thought that the father was killed by a woman HE was talking to, and the friend happened to be there. I'd also been unable to tell if it was the father's date or not, it's really confusing in that part due to the prose. We also move from the cops giving information to a friend of the father's telling the story to the kid who is relaying it to us, and this becomes a convoluted game of telephone.
I think I know where some of the trouble in the narrative is coming from in this regard. Since you're speaking in Passive Voice relaying a past event, it's easy to 'tell' rather than 'show' what happened. In First Person POV this can work, however, in this case the details are drawn out to length and not punchy. I'll give you an example to show what I mean:
Original: They told me that there was three gunshot wounds-a result from him trying to save the victim. The said victim had, according to the cops, rushed to my father's side to try and save him. Whatever else had transpired was lost on me as I fought back the urge to scream bloody murder and let my sobs take control of my body. The "victim" was apparently an old friend of my father's and decided to bring me the news. From his perspective he told me that my father was indeed his hero. What transpired according to him was that he had been on a date with a lady he'd met and they were having a normal evening...that is until his lady friend decided to point a gun at him when he refused to take her to bed.
Edited: Three gunshot wounds-that's what the cops said. It wasn't even my father's battle; he died for an old friend I'd never met and all over some rebuked mystery girl who couldn't take 'no' for an answer. The solicitous witch.
The same thing was said in the edited paragraph, but it was condensed to cover all points. This is something important to do in editing (and you'll totally get there when you get there, editing is a process and it will never be perfect the first time through, so don't you worry!) because it strengthens your narrative. Proper word use will help with this. You notice that I noted a bunch of words in bold in the original paragraph? These were words that were frequently repeated within the same paragraph that gums up your narrative. It's very noticeable once you know it's there and it's very distracting and breaks a reader's immersion. Now, this is something that almost ALWAYS happens in first drafts. It's just the way of it and that's totally okay! Now that you know it's there, when you get to your editing phase you can find ways to sure up the work.
Additionally, you'll notice that some of these lines are italicized and in bold. These are words or phrases that can be cut entirely because they do nothing for the narrative. If we were to work on that paragraph alone removing all of those words/sentences in italics it'd look like this:
Edited: They told me there were three gunshot wounds-a result from him trying to save the victim. The victim, according to the cops, rushed to my father's side to try and save him. Whatever else transpired was lost on me as I fought back the urge to scream bloody murder and let my sobs take control of my body. The "victim", apparently an old friend of my father's, decided to bring me the news. He had been on a date with a lady and they were having a normal evening... until his lady friend pointed a gun at him when he refused to take her to bed.
Also, though you are in First Person you still need to watch your adverbs (-ly words). This, because often there's no need for them. For example: "Apparently he was upset." Well, he either is or he's not, so the sentence would be better suited as "He was upset". So in an instance where deleting the -ly word doesn't change the sentence, delete it, as it gums up the narrative and slows down your pace. Don't worry! I have editing tools to hand out! Editminion is the thing I give to everyone. It helps show you where you've got weak words, adverbs that may not be helpful to your story, homonyms the works! Differences between Active and Passive Voice. And lastly some info about Purple Prose. These oughta help make editing go smoother!
All in all, despite all these things, you've got a lot of strengths here, you've got good descriptive cops, you can build an atmosphere that feels solid (like the smell and tang of a city near in memory but far away, it's a really good piece of writing the way you contrast the two). You've also got a great piece of material to start with: guilt over last words said, words never spoken and an upended life. Honestly I think you'll take your story far. You just need the average tweaks here and there and that's all stuff that was going to happen anyway once you started editing. I wish you the best of luck and when I have more time, I'll drop you some more feedback.
Cheers!