QcCowboy

Chris, with so short a phrase, I would avoid having so characteristic an element in the first few measures, which does not return later on (the flute triplet).

OK, I understand where you were going with it, however, know that while you may have though of the middle part as the "main melody", because you have more than one instrument on the upper part, and you have two instruments in very strong registers up there (flute and clarinet) THEY are what will come across as the "main melody".

If you want to use the mid-range as your principle focus, then you have to give the mid-range as much of your attention as possible, and REALLY give the upper range as little.

Right now, it's a very nice, solid octave doubling. It works quite well, but I think you will be disappointed that it won't exactly give the effect you're looking for.

Also, don't forget to include dynamics! right now, I have no idea whether this phrase is soft or loud.

for the bassoon staccati, instead of skipping from one instrument to the other, why not give them BOTH something to play? either have one playing in the upper range, or octave/double the staccato notes to give them more weight.




Actually, this is something I'd like to comment on.

I notice a lot of orchestrations (I'm not singling out anyone here, it just appears to be a common problem) where the orchestral parts jump from one player to another and then back.

From the point of view of orchestration, unless an instrumental part is very long and exhausting, there is no audible reason to switch from player 1 to player 2 and back again.

Thechnically, player 1 should sound identical to player 2!