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Originally Posted by Majesty
I enjoyed your use of the low woodwinds very much.
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Thank you! One thing that truly bothers me about most bass instrument writing is the lack of thought given to it by many composers. In the band world, one of most egregious sins against creativity (in my eyes, of course) are composers who don't create separate parts. I've seen too many works where there is a "Tenor Saxophone/Baritone T.C." part - two instruments that could not be more different than each other. Or the combination "Alto Saxophone/Alto Clarinet" part. Or a Bassoon part that is identical to the Baritone Saxophone part that is identical to the Bass Clarinet part. Or the Euphonium part that's identical to the Tuba part, but an octave higher.
In my opinion, all poor examples of writing. One I try not to emulate. 
Quote:
Originally Posted by Majesty
I thought the Tuba writing was wonderful as well. I have not come across much good or exciting Tuba writing in a long time.
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The tuba is a much more interesting instrument than most composers have ever bothered to learn about. Tubists love interesting parts and will rise to the challenge!
Quote:
Originally Posted by Majesty
I very much enjoyed everything about your work. You mentioned that an obstacle for you was keeping up the energy and drive to keep it moving forward. I think you did a good job in conquering that issue because you really can't tell that there was an issue with drive and energy.
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Thanks for the kind words!
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Woodwind specialist: Piccolo • Flute • Alto Flute • Bass Flute • Oboe • English Horn • Eb, Bb, A, Alto, Bass, Contra-alto, and Contrabass Clarinet • Basset Horn • Soprano, Alto, Tenor, and Baritone Saxophone • Bassoon • Recorder • Voice: Bass-Baritone/Counter-tenor
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