Leaderboard

I'll echo what @Quinn said: I don't think you need to indicate every last up and down bow, unless that is the specific bowing you want. The players are perfectly capable of figuring out what bowings are the most musical for them. I think the ricochet can be notated with a slur over staccato notes, as in this link here.

Well, I'm no Paganini so there's Little I can say. What tempo is it to be played at - and if your slurs are phrasing or bowing slurs - like the last beat of bar 1, semiquavers 1 and 2 need the down and up bow marks changing if the slur is grouping the notes under one bow-stroke. Or the up bow sign needs removing altogether. I'd have marked the bowing with the down bow on the first beat, up bow on the second beat, down bow on the third beat down to the g of the fourth beat and the rest on an up stroke so the player is ready for another up on the chord in bar 2. Bar 2, I'd leave the player to choose how to play the staccatos - they'd probably do it up bow but might alternate strokes. The last beat on an up stroke...I suspect that's how it would be played if you left out the bow marks........and things. (Edit] Views will differ about this but unless I want a particular effect, in a piece like this I'd leave the bowing to the player, just indicating what's staccato, accented, spiccato, martelé, if necessary. But it does depend if you want an effect that wouldn't otherwise be natural to the player. ....

If I have any way of improving this please tell me. And if you have any advice I would love to hear.

Indeed. Or you could make the melody the "third above" and the tenor part the harmonization. People do tend to right root-heavy basslines.

Most chorale type compositions put the melody as the soprano voice. But what I'm talking about is not as in putting chords to a melody, but harmonizing the melody line itself. Like a guitar lead in thirds or something. Example Don't like Jazz or Adam Neely, but he illustrates the concept here

So if you want to harmonize a lead line in thirds, generally you harmonize it in thirds downward so that that the top note is the original melody, unharmonized. Otherwise, the harmony notes start to sound like the main melody because the ear will be drawn to the higher note. Like Hedwig's theme from Harry Potter, for example.

Okay! I will update the piece with the added tenuto! I appreciate all of the feedback on the piece, it is much needed. Thank you!

Nice job! Note: I am just going to talk about the Woodwind Quintet you just posted. I enjoyed the adventurous melodies and trade offs between the different instruments. The only thing that really bothered me is that sometimes your phrases sound cut off because you have a staccato mark at the end - I would have used a tenuto there (I mean a line over a staccato mark) to avoid that. Also the horn part is on the whole written a bit on the low side (as a horn player myself I don't think it would be a problem to play - it's just a nit-pick I guess). Besides that this is really a very enjoyable piece of music!