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Hello @Luis Hernández! Having just listened to your orchestration in comparison to the original piano work, I must say that the brass orchestration perfectly matches the character of the “Hunting Song.” The piano version is also beautiful, but it doesn't convey the image of a forest where hunters play before or after the hunt as strongly—perhaps this was also because the recording I heard was at a much faster tempo, which would have been uncomfortable for horns, trumpets, and trombones. In the semiquaver runs, the french horns sound somewhat to „soft“ what might not be the case in a live recording (while the trumpets retain their typical brass timbre), but despite such nitpicks concerning the realism of the software reproduction, the entire piece sounds well balanced and there is nothing „rattling“ (that’s what I call it whenever there is something that had to be improved according to the listening impression). A beautiful, authentic orchestration of a classical piece that captivates with its very own character!

Hello @PeterthePapercomPoser! This piece is cool and absolutely weird! I’m totally confused when I try to listen where the lydian fourth is! It clearly appears in each bar on the first beat (to be read as F#, but transposed as E). However, it sounds not lydian but seems to be somewhat a leading tone to the following G (sounding F). And more interestingly, the long E in bar 3 (sounding as D) has for me the typical lydian character. This must be due to the accompaniment by the phrygian harmony of the strings. The chord [F - Cb – Bb – E] (which is very dissonant) resolves to Bb minor totally absorbing the lydian character of the E! Whereas the Bb major chord [F - Bb - D] in bar 3, second beat brings the expected brightness! This impression is very similar to the combination of the Lydian Augmented and the Spanish Phrygian scales by @Gwendolyn Przyjazna in her Iridescence (progressive rock instrumental), where the (augmented) lydian scale appears to be much „darker“ than traditionally expected and the (spanish) phrygian scale sounds much more „brighter“. So all in all it is a harmonically interesting piece and a brilliant example what can be done using those scales (and not being stuck with only major and minor).

After I while withouth posting anything, I decided to share these two lieder that I wrote for my Harmony lessons. I tried using a chromatic language and I really like the results (although my teacher always finds errors in everything), what do you think?