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Andrew, that actually makes a lot of sense to me now... when I look at the solo part, it uses a lot of clarinet clichιs.
When the piece moves into the key of G (ironically, at letter G), the solo part hangs incessantly around concert B4, which is not a good note for the soprano saxophone (it's the open C# on the saxophone) and it won't sound good because the soloist keeps changing timbre.
In the last movement, why 6/16 and 7/16 - when 2/4 and 5/8 work just as well and are far easier to read? You don't get extra points for making your pieces difficult to read. *chuckle*
At letter CC, you need to mark all the tremolos from 424 to 431, then mark a single sul ponticello in measure 424. At 432, I'd use ord. instead of nat. to cancel the pont.
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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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