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I think all of these are equally important, if you're counting arrangements you did when you say "your music". I wouldn't say one or two or three of them are the most important. If I were to take one off, it might be the one about existing repertoire just because I only really feel a need for this with my arrangements of other composers, I don't feel a need for this in my compositions. If there's a comparison to be made between my composition and preexisting repertoire, I probably already know about it before I'm even finished composing the piece.

Thank you for the reply! And sorry for my late one! So I did take into consideration your suggestion about utilizing more dynamics for the winds, so in the later sections, I tried to implement that idea and to hopefully use them as tools for building up the suspense I was attempting to create. And as for the harmonies, I tried to utilize more complex harmonies and dissonances for the later sections. Let me know what you think of that if you get the chance! Thanks again for the comment and feedback!

I think, if anything, this is the most useful thing. But then, I don't know, it's really hard to talk about music.

Really musical and dramatic crescendo. If you really feel inspired by this game and find yourself writing more of these kinds of short pieces, maybe eventually you could group them together into a set of miniatures? I'd be stoked to hear them as this makes me want to hear more. I think the music has a really eerie feel to it and is beautifully orchestrated and produced. I did notice that the strings have the most dynamic changes while the winds are mostly static in their melodic content. The strings seem to always either be moving towards or away from something while the winds have more flat/static melodic figures (at least it seems that way to a casual listener - I do see in the score that the winds also have crescendi and diminuendi). I guess that's not necessarily good or bad - just a habit to take note of. Great job and thanks for sharing! P.S.: Great use of simple harmonies. You really seem to get alot of mileage out of your tonic, subdominant and dominant chords.

I really liked the sparse orchestra and mood you created in this introduction - to a larger work? I encourage you to develop the material. Mark