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if you had only a solo flute in the upper octave, with oboe and clarinet and flute doubling on the median melody, then it would carry a bit more weight. The upper flute would act as a harmonic reinforcement.
There are a lot of great books out there... I really can't recommend any. Look for something on "musical essentials" maybe? I have one from when my sister was taking piano (hey, my mother figured one musician in the family? why not have two!) called "Elementary Rudiments of Music". I keep it handy for the spellings of some of the more obscure indications, however, it seems to have a lot of information going from harmony to notation.
If we look at your bassoon parts, you use bassoon one for a phrase, then skip to bassoon 2, then back to bassoon 1.
Why?
Ask yourself "why give part of a phrase to one musician, then skip to another musician playing the exact same instrument for the next part of a phrase?"
It has no audible effect.
here's a little example of what I mean. the way this phrase is written will make absolutely no discernable difference.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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