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I'd love some constructive feedback on some of my works. I began this piece last February and have yet to begin the fourth movement. There are parts of the first and second movement that I'm not at all satisfied with and would really appreciate any input I can get. 



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I think I figured out how to make the audio files smaller. Apologies. I don't consider myself terribly computer literate. 


Here is the recording for the third movement. 



Very impressive work, and well done.  Some very nice string writing in the second mvnt.  Each movement has a nice and logical flow that makes it easy to listen to.

I've only had one look through of the score and a single listen, but a couple things I noticed;

Horns are traditionally scored 1324 top to bottom. (Your inner band director is coming through!)  They are written 1234 on the page.

In the 3rd mvmnt., you have a piccolo double with NO time to make the transition.  The picc is definitely well used here, but you need to allow time for the player to make the switch. (Again, traditionally the Fl 2 player doubles.)  An additional player doesn't make sense for the short amount of playing, so perhaps rescore the winds leading up to it so one of the Fls has time.

I plan to listen again when I have more time and can give more input, but I really enjoyed this. 

Thank you so much! I've been around wind ensembles so much I'd totally forgotten the way french horns are scored in orchestras! Oops, I'll fix that. Do you know WHY they are scored 1,3,2,4? I'm curious. I do remember that about the pic part. I do need to figure out something there. I like your idea of re-scoring that bit to allow time for a switch rather than giving the part to someone else. I'm so happy to have found this site. I've been seeking feedback for years and not sure how to go about since I've been out of the music Ed scene for so long. I'm having a terrible blockage regarding the fourth movement. I've started it several times and it's just not coming. Thank you so much for your kind words!

The horn scoring practice goes back to the natural horn period when crooks were used to vary the key of the instrument.  Since they could only play on the harmonic series, composers would write for 2 pairs of horns, ie, 1st and 2nd in C and 1st and 2nd in Eb.  As the instrument evolved, the practice of 2 "high" players and 2 "low" players remained, and the parts continued to be written as they always had been.

Military/Concert bands came into existence after the horn had become chromatic, so parts were distributed like the rest of the ensemble.

As far as the blockage, I wouldn't worry.  It'll come when it's ready!!!

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