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I think the only "problem" if it is that is the rhapsodic form with several different parts. But I don't think about it as a problem. It's just the form you wanted to use. The same happens (to me) with the use of atonality or near atonality or whatever. Currently I don't care if I mix one thing with the other. Yes, it's good to know the harmonic systems and languages, but I don't think any contemporary composer stayed in a unique field. It's different if you want to stick to a classic style. Otherwise, anything is possible, the only thing that matters is the result, and if it is a way to express something, or share something. I like this sketch a lot, perhaps for its eclectic character, and its musicality. Anyway, one needs to approach the listening of these pieces with "open ears". This is not very "radically" contemporary, but one of the worst things, in my opinion, is trying to listen to contemporary music with classical mentality. Different languages.. The part in secondal harmony (m. 19-22) is tough, surely because the chords are doubled, I like hiere the A at the bottom. Greetings.

It's a little bit out of character in the big sections for this kind of sounding music... but that's okay, it's your own style. I would look into the permeations of the Phrygian Harmonic/Dominant scales. When you get back to the main section, maybe make it feel like an A', since your B sections use the same kind of harmonic language as the A sections. I actually kind of like the orchestration in terms of the texture. It feels inclusive. The ending was a bit weak in my opinion though. It felt out of rhythm and kind of abrupt. Maybe use the harsher tones of the scale to draw it out? Good job.

Thank you Noah! :) Unfortunately I'm not a professional mixing and mastering engineer, maybe the mixing and the mastering is not so perfect, but I hope, it's not too annoying. :)

I enjoyed it. The ethnic instruments definitely add some interest. It felt like it would work well as game music or possibly film music, although it got to be a bit too repetitive for my personal taste. It might have been my bad speakers, but it seemed the orchestration was a bit cluttered in some of the more bombastic sections and would've been more powerful with a bit more clarity. All in all, well done.

I love it! It's really charming. I like especially how you use the two flutes as a sort of polyphonic single instrument instead of two flutes (maybe some rest beaming might help in an updated version). Is it bad to say I didn't really care for the slow parts as much? Okay, that's not true. I just thought they were the slightest bit out of place and kind of took away from the atmosphere of the piece a little bit. If that kind of B section existed elsewhere in the piece, that wouldn't be the case, but as it stands it's a bit awkward to me. Congratulations on a great piece!

There are times when no other instrument will do. Like if you're a rich person and you need your palace chandeliers dusted. What are you going to use, a guitar? A harpsichord? No. When the girls come out in their little blue aprons and their hair sensibly tied back in buns, dusters at the ready, you need the finest double reed instrument to keep their concentration at full measure. I would suggest a reasonable obligato, rich in filigree but stern enough not to distract the delicate fingers in their work. Two hundred year old crystal must not be allowed to become commonplace glass as you might see at J.C. Penney's. Humor is welcome provided it's tasteful and not too bawdy. Nor should it cause excessive motion in the female diaphragm, as work may suffer. And lastly, the tempo must be natural and never rushed. Good things take time. That's why you need a bassoon.