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I like it a lot. It's a great job.

Very good counterpoint in several parts. I only have a minor observation: when the part B appears (the first and second time) I think the motive is repentes too many times. 

Nice when the bassoon tales the melody.

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Nice.

I like the ostinato in the bassoon (great sound too). The melodies are beautiful as well, but I think some notes in the bassoon ostinato clash with the melodies.

Indeed there are nice countermelodies. Very good that you use ABA form! This gives the music more structure. Very satisfying!

The piece has generally three sharps, but the Bb clarinet will need to play two extra sharps. Which gives this part five sharps. You may consider to write for the A clarinet, resulting in no single sharp.

M.14 & m.18. Do you really want to habe the oboe play so low? The notes can sound pretty disturbing.

Mm.39 - 47. The flute part is too low to be clearly audible. It will probably be over-loaded by the other instruments playing forte.

You write nice parts for all members of the quintet except for the horn. I am sorry to say, but the part would really bore the hornist and he has the right to. You can do a lot more with the horn. When played by a decent hornist, the horn can be as agile as the bassoon. The beautiful sound is actually never applied. You should definetely improve this part.

What is the piece about? I hear some humour.

Overall well done, but orchestration is an area thay you still have to explore (more).

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ilv    18

Good job overall. Any note names given are in concert pitch. A few spots to look at:

Filling in the little gaps in the bassoon ostinato might be nice, but not necessary.

0:14: It would be prefferable if the bassoon started the bar on F-sharp, rather than C-sharp. Starting in root position seems less awkward.

0:26: bassoon clashes with upper parts. This should immediately be followed by a root position triad.

2:4: V4 in the oboe sounds kind of awkward here. Maybe a C-sharp5 might fix it.

2:6: The transition from G4 to A4 was too early. I think it should  take place when the chord progression changes.

2:10: Too many C-sharps. G-sharps missing. Also, it might be nice if the bassoon started with an A rather than a C-sharp and perhaps this should be an A major root position tonic chord.

2:12 F-natural5 doesn't seem to belong. I feel like an E5 was intented.

2:28: funny rhythm

2:29-2:50: the oboe seemed to be the melody here, but it sounds like a counter melody. You could make the oboe more melodic or make another instrument play a duet with it.

2:59: it would be nice if the F-sharp5 in the flute part was harmonized by the rest of the instruments on a tonic root position chord

3:9: it would be nice if the A5 in the flute was harmonized by the rest of the instruments on a tonic root position chord

3:19: awkward 7th leap in flute

3:25 and 4:44:: F-sharp3s in bassoon part don't seem to belong. E-sharp3s would fix it.

3:28: the arpeggio in the clarinet could be tweaked to avoid the use of a G-sharp

3:36: sudden and unexpected chord change. Could be fixed by lengthening the previous progression

3:38 and 4:57:: unexpected E-natural/D double sharp in clarinet part. Could be fixed with D-sharp.

3:43, 6:2 and 6:16: clashy, awkward

3:44, C-sharp preffered over D-sharp (bassoon), followed by a root position D-sharp chord, with or without 7th

4:6-4:17: horn part could have more motion

4:21, 4:26 and 4:38: unexpected gaps

5:3-5:6, 5:10-5:16 and6:53: root position chords are preffered over inverted ones. You can fix this by tweaking the bassoon part and lowering the notes a bit.

5:7: B preffered over F-sharp (bassoon)

5:14: awkward minor 2nd

5:36: musical change was a little too early

Slightly awkward transition to theme. You can change the theme up a bit when it returns by embellishing the melody and harmony. This is also true with your other compositions. Everything I said at the beginning of the piece applies here.

5:16: keep the motion going

6:24: A-sharp preffered over B (bassoon)

6:45: you fixed a clashy harmonic progression that occured at the first appearance of this motif. It would be nice if you applied the fix during the first motif.

6:55: awkward B-sharp in flute part

The coda could be louder, which would make it more exciting.

7:2: missing bass line

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