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Wayne, on exercise 1 I think you mistake the effect of the oboe... you have the upper register labeled as "strong", with teh lower range labeled as "weak". The oboe in its lowest 5th will sound considerably more pungent than any other instrument in the orchestra except possibly a muted trumpet.
Be careful about how you notate your trills. For example, the very first one, for flute, has a D#, but with a trill with a flat sign. It doesn't make sense harmonically, nor melodically. A trill on a D# would be half-tone to E natural, or whole-tone to E#.
Actually, I notice that you erred in your transpositions. You have four sharps as the key signature, but from what I am now interpreting of yor page of exercies, you mean to have mostly naturals there.
With exercise 2, the second example, while you ahve the clarinet in a solid register, the flute is ALSO in a very solid register as your phrase advances. The flute tone will dominate the sound.
Exercise 3 is fine, but, I would prefer if you orchestrated a simpler chord, and attempted to create a "mood" through the orchestration rather than through any inherent effect of the harmony.
In other words, is the predominance of any particular timbre in a mass of sound creating a wanted effect?
Rather than relying upon a chord which will create that effect regardless of the orchestration chosen.
Very good exercises, none the less. I am looking forward to the next set.
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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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