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Thanks Peter. I've been told the harmonies in the bass clarinet with two bassoons sound rather heavy: so I'm going to modify those when I can get round to it. Will try Henry's suggestion of putting the melody in the violins too, for more timbral variety.

Yes, now it looks fine! The chords and intervals in each hand can be clearly recognized. I would also decide to have the beam nearer to the majority of the notes and adjusting the length of the stems is obviously driven by the means to avoid collisions with the dynamic marks – what you’ve well done in the example. I have also not read „Behind Bars“ and other standard literature concerning engraving. I usually try to follow my aesthetic feeling which has been taught by the good old hand-engraved editions, for example the Mugellini edition of the Welltempered Clavier (Breitkopf & Härtel) which I use to play from. For my note engraving I do not use MuseScore (or other software with a graphical user interface) but lilypond (which has a different approach, you’re typing the score in a sort of „software“ source code in a simple text file and lilypond „compiles“ it to a .pdf and .midi file). However, that might not be everyone’s preference how to work when composing, there is an interesting „essay“ from the lilypond creators concerning what make it so difficult to let scores produced by computer programs look as satisfying as the hand-engraved ones.