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What an enjoyable set of contrasting movements that are artfully unified, Mitchell!
I really enjoyed finding your creative use of the three-note theme throughout, which you worked into such different moods.
Here's some things I particularly liked and some suggestions:
Mvt. 1:
-the syncopation at 1:15 created a great climactic point
-I enjoyed the quintal harmony near the end; you know brass style!
-from what I could tell, :54 was an effort to accomplish the transition by repeating the same phrase at a faster tempo before introducing the new material. To my ear, this technique sounded a little disjointed, like simply "fast forwarding" or something; if you altered the melody/harmony on the faster second phrase, that my improve things.
-After the sudden drop in dynamic at 1:22, the resolution at 1:38 sounds preety satisfying, even without the 3rd. However, since you follow that resolution by yet another progression ending with a piccardy, I might maintain some of the tension the first time around. Perhpas you can still resolve both times, but a few strident notes in the chords after 1:22 may make the second cadence sound more settling and final in comparison, as opposed to a phrase that one could go without.
Mvt. 2:
-a wonderful use of the 3-note theme with tertian (3rd) chord relationships
-I like the celeste solo; don't know if it's doable, but I hope so!
-I love the use of multiple meter feels by the overlapping rhythms (3/4 at beginning, then 4/4 on top with brass entry, then celeste 6/8 triplets). One suggestion would be to somehow smooth out the change from solo to all brass. I know a strong, settled entry makes sense, and it would probably sound weird to have the solo continue without a breath into the change. I guess all I'm saying is that the meter change is so sudden my ear wants some kind of continuity. On the other hand, the meter change might itself be the reason to keep the sections distinct. Up to you.
-at 1:10, you keep the motion going well with the underlying perc. rhythm. I would also have enjoyed a little more harmonic or melodic variety for shape, but perhaps you were creating a build by the repetition. Having the same progression certainly isn't bad; keeping it simple and coherent in a miniature is a good idea, as you know. The rhythm change at 1:36 did provide a needed peak.
-the whole movement has a playful, slightly whimsical (celeste, harmony) sound. I'd experiment with accenting that by some kind of surprise at the end (celeste strike? syncopation/ending on "and" of 1?).
Mvt. 3:
-Good use of M/m 3rd in harmony/phrase structure.
-5/8 (5/4?) was nice
-the unique harmonic twists were really engaging--bravo! such as:
* 55--the way the perc.'s harmony fit with the melody on top (perhaps it was just the midi, I don't know; it sounded like a sharp harmony, though)
* 1:05--brass chords = ferocious!
* 51--what an original and unexpected chromatic change!
-just one little suggestion for the end: exaggerate it/jack up the energy! You had such a "grab-me-by-the-throat" drive going before 1:10, at which point you provided a nice momentary relapse, where you reintroduced the mvt. 2 sound. Then, however, I would jump back to those raspy ff chords in the brass and a few creative, unexpected harmonic changes before landing forcefully on tonic. I've heard some really wonderful brass pieces that end similar to yours but take your ear in a final, powerful tangent before a crashing finish (I'm talking about just a couple extra seconds/chord changes); you could do the same by adding a few more chords than just VI-VII-I at the end.
Again, such fine work. You have an excellent piece here.
Brooks
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