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Yes! And your examples are on point, (mostly) deliberate on my part. The story is that I was a music student (piano) many many years ago (I guess I am a *young* composer only at heart 🙂 ), and part of the curriculum was a "elementary harmony" exam whose topics correspond, by and large, to CPP (four-part harmony, modulation, some chromatism). About a year ago, in lockdown and a little bored I brushed up on the harmony textbook and started reading it, doing exercises etc. I figured I could write the exercises on the computer, and then realized I could have fun arranging them for the orchestra, and expanding them a bit. Then it struck me that I could try to write my own thing, so I did. And I've been having fun, albeit at a slow pace, doing it since then. It's interesting that you pick these examples, because that is (bars 3-4 and 62) an element that I tried to make somewhat "structural" in the piece. The Ab-A-Bb chromatic passage in bar 4 comes back in bar 20 accompanying the ending of what will become the main 4-note theme in the development; in bar 32 (descending) embellishing the bridge passage when given to the piano, esp in bar 43 in the second theme, further stressed by the fermata; in bar 62 as appoggiatura; and esp in bar 94 to culminate the development with the augmented 4-note theme in the high register of the bassoon leading to the V of Eb to conclude development. Thank you for looking at the score so carefully! I also hope to have a recording of this at some point.

CPP - Common Practice Period: traditional harmonic practices. You've done well, taking it into a slightly more modern setting and adding a few "accented passing notes" and allowable dissonances here and there. Examples. The bassoon part in bars 3 & 4 moving from the G to the Bb. The Ab is an unaccented passing note so it's clash with the piano G is fine. The A natural in bar 4 effectively forms a modulation leading to the Bb chord, an imperfect cadence. It turns an F minor chord into F major. Bar 13, 3rd beat. The bassoon F is an appoggiatura (as they call it, an accented passing note (not of itself part of the harmony)) falling to the Eb to fit the piano harmony. The piano in the same beat touches a high C, a 6th in the chord. Another clever appoggiatura in bar 62, the bassoon A nat'l against the Bb piano chord, 'stealing' (as they say) from the Bb that follows. You seem to have an ear for this sort of effect. Adds much interest. What tipped me you've had at least a brush with CPP was your use of these effects and the way you handle modulation, if you don't mind me saying so. Edit: I do hope you get a chance to hear it performed and possibly recorded for your portfolio. A little Tascam would do but even the phone is better than nothing!

You are so very nice, thanks so much! I have discovered that I enjoy composing during lockdown last spring, and I think I'm going to continue because it is extremely relaxing and rewarding. This forum has been GREAT for feedback, motivation and inspiration.

Thank you for listening and commenting and for the kind words! Maybe since we are opposites we should try and collaborate 🙂