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Hi Mark, I'm sorry for the delay in responding. (I hurt my back and have been on pain medication... not the best time to be examining orchestration exercises).
OK, first off, the range of your horns is perfectly fine.
On the other hand, if you're following common practice rules, there are a
few issues:
beat 2, there's parallel 5ths between horn 1 and 4.
beat 3, horn 1, the G is the 7th of the chord... it remains unresolved?
still beat 3, horn 1, the F and D... what are those notes? non-chord tones that are neither prepared nor resolved? the problem with them is they are 2nds on either side of the E in horn 2. So, in common practice harmony, they are unprepared, and unresolved dissonances. Not good, generally. They also make a nice little cluster: C-D-E-F#-G.
If beat 3 were rather a V7 chord in 3rd inversion (horn 2 would play a D, horn 4 plays the 7th, which would have no resolution on the next beat.. the 7th would become the root of IV) then we could analyse that horn 1 part as being a passing note on the first 8th, then two chord tones (the F# and the D).
Your analysis of the 2nd measure doesn't quite add up either..
Horn 3, second beat... that B? That whole second beat wants to be a I7 chord. Not a great choice, mind you, since the 7th would not resolve.
Be careful not to confuse counterpoint figurations (like measure 1, beat 3) with legitimate 4-part harmony passing note figures.
OK, that was all about the harmony. Just looking at the horn parts while ignoring the harmony, the part layout is good, though I might have avoided putting horn 3 above horn 1 for so long.
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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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