Revision

This piece was written in the last week and is based on the feelings I felt while at my first year of college. The whole piece is based on change, and the emotions dealing with change. The change may not be fun, it may be sad, it may be great, but no matter what, things will be different. And in the end, that is a good thing. I hope you enjoy.

You already know the basics of what I think, but I'll let you know in depth.

I wish there was a way you could get 2/3 clarinet to mirror the bassoon/bass clarinet in the chalumeau register.

I feel there are lots of spots where instead of taking advantage of a great harmonic opportunity you just copy pasted notes so a lot of this piece is filled with unison, I'll point those out to you.

Unison spot 1: measure 11 third clarinet.

Unison Spot 2: measure 14 third trumpet. Since this spot is so sensitive they don't even need to play there.

This piece has so much unison that pointing them out to you would take forever, so hopefully you know what I mean.

The modulation before 26 feels really rushed and sloppy, and I think if you took your time and really analyzed what you're trying to do you will be resulted with a very beautiful modulation instead of something that sounds spur-of-the-moment.

26-34 is the real missed harmonic opportunity, this part could really shine if you changed the chords or maybe even the voicing here.

the chord on 33 doesn't need a fermata because the woodwind choir entrance sounds odd. Also, the low brass exiting on beat 3 makes it feel like they got tired/couldn't sustain the note rather than an artistic move, but perhaps this may differ in a live setting.

I liked the chords I suggested at you 42-end much better only because the chords you have sound more like random notes put together rather than an actual extended or poly chord there is nothing wrong with this, but with the chord changes you have the inversions sound really weird to the ear especially the second one where you have the mid clarinet playing against low clarinets, it just sounds out of place.

Lastly, this is a great piece and it does a lot in only 3 minutes. Actually, this is not great, it's amazing, I just think there is more to to make it more than amazing, which would be a completely fucktastic thing if possible.

I see absolutely no slurs in this entire piece, and given the "legato" marking at the outset of the piece, I feel like that's not at all what you want. Remember, without slurs the implication is that you want a separate tonguing/attack for every note.

I think if you're going to divisi the 3rd clarinet (or flute 2 or whatever other instrument), you should indicate "clarinet 3-4" in the score. The same is true of the first trumpets; however, in the only place you divide them up, the lower divisi is doubling trumpet 2, which is totally redundant and unnecessary.

You HAVE TO label your percussion part; just because it sounds like a cymbal on playback does not mean that particular line and notehead universally means "cymbal". Remember the cardinal rule when labeling percussion parts: HIT WHAT (what instrument?) WITH WHAT (what beater/stick/mallet?) MOVE TO WHAT (what instrument will the percussionist play next?). The last one in this case does not apply since there is one solitary cymbal roll used, but still.

You have a fermata over only some of the notes in m.33

visually, a double barline at a key change is a nice courtesy to extend to players and conductors