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Quite an ambient track, although it seems like these sounds would be more useful in the context of a less homogeneous instrumentation. For example, with other pitched or un-pitched percussion instruments or as part of an orchestra. I can see it being really useful in background music for a factory in some video game or maybe as like a Terminator-like film music cue. Boy this gets really crazy toward the end! The pure sonic saturation of how many bunker doors would have to be slammed in real life to achieve this effect is only possible in the world of sampled instruments though. Thanks for sharing!
What?! A brass quartet without a French Horn?! Blasphemy!
I do wonder if your seeming detachment from having carefully and deliberately chosen harmonic content is something that you feel is a Shostakovich influence? To me your melodic and harmonic choices seem somewhat arbitrary and detached, almost like the specific notes could easily have been different (if say, the melodic contour was retained) and it wouldn't have made much difference to my impression of the piece. Not necessarily a good thing or a bad thing - just a different approach I guess. Thanks for sharing!
If you're going for a happy-go-lucky flute and harp sound then I think you've succeeded! I think this piece is actually in 3/4 though, rather than 6/8 (at least that's what it sounds like to me). Also, you have both the harp and the flute at the same dynamic throughout the piece. It would bring much definition to the music if you brought out the melody and softened the accompaniment to better balance those elements and have a hierarchy of importance to the sounds. Speaking of melody though, I personally write the melody first (or write the melody and harmony simultaneously but still while letting the melody guide the process rather than the other way around). I never start with harmony because I find that pieces written that way tend to sound like harmony exercises or chorales to me. Those are my thoughts. Thanks for sharing!