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    • What/who does this intro sound like?  If I can figure out what, I can change it enough to keep the flavor of the original, but still stand alone on its own two musical feet.  Name that tune!  Any guesses? Furtak-Psalm 24.mid
    • It's generally a very good piece. I don't think you use the upper percussion too much. If there's one thing I was to gripe on majorly it would be the overall pitch (as opposed to pitch class) range of the band; it's very constant, even if in different dynamics, and it makes the piece sound a little static. I get that support in the bass or upper voice is pretty standard orchestration practice, but I hate it when it's taught that way. But for a normal band who doesn't care about this stuff, it's a really good work.
    • This kind-of-but-not-really tonal center on Bb in addition to the 9th leaps in the top voice make some of this sound superfluous. I don't really get a clear reason for a lot of choices, and the cascading effect of a lot of minimalism is instead heard as stratified entrances. Reasons for this include crossed voices and not filling in a modal triad whenever one appears. This makes everything sound almost like a MIDI recreation of a piece that went wrong.
      There was a moment where a modulation to Bb minor happened, which was cool, but the effect is lost because the processes you have going around it aren't heard as a constancy undergoing change; it just sounds like a constancy, and it makes a lot of this sound very static; almost unmoving despite the motion. 
    • This whole V/vi -> I thing you do is interesting, but maybe a bit overdone, especially since the voice leading is the same every time. This is especially awkward at 2:04 (m. 32) when the moment is undercut by the familiarity with the material.
      Your counterpoint begins to get a bit rough around the minute mark. Passing tones against a static voice in oblique motion will not be heard as such; it's either a suspension or a retardation and both need to be substantiated.
      Flutes at 24 could occasionally be in octaves to vary it up, give a bit of range. 
      Interesting bit of hemiola at the end there. I'm not sure what the effect of that is.
    • There seems to be a little bit of Klangfarbenmelodie with your timbres, but not all of them blend super well. The passage at around :28 lacks cohesion because of a lack of octave equivalence.
      Mode mixture between major and Mixolydian modes was nice, but underutilized. 
      Cymbals can be quieter.
      The pseudo modulation to the relative minor was cool in the way it was underplayed/unannounced. I don't think it works super well to not announce the return, however.
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