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There's a very simple term for what you call wrong-note consonance and such such, not quite atonal, but yet not functional-harmony based. It's pretty much "extended harmony", where you have functional principles, but you add ontop of them dissonances and other things to get different chords-note relationships.
Hindemith was very fond of this. Wrote books on it, too.
I thought the piece moves through a lot of things, never really settling on one or another, and there's a bunch of pendulum moments. It sorta feels like either you weren't very sure of what to do next, or just kept on writing with no concern for the connection between the sections.
I personally liked the contrasts between the sections, like near the end this thing with the brass, and the tight little motives.
It ends pretty much out of nowhere, considering all it went through. Though, if that was the intention, that's fine. It would've been nice to have a more direct relation between the sections in some point or another, like, reusing a little of the music material (not repeating it outright), the ending feels like something that would benefit from this perhaps.
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