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Great job!! I enjoyed listening to your piece, and I don't have much feedback, but I'll start with this : WRITE MORE!! This has the potential to be even better than it is now. I know it's for an assignment, but if you have time, I would consider adding to it. One thing I noticed is how stagnant most of your parts are for the majority of the piece, your contrabass stays on pedal tones, and your violin 2 and viola stay on double stops pretty much the whole time. Which isn't a bad thing, just something I noticed - they could be more active and have more movement, while still supporting the harmony. Something else I would add is getting away from the clean breaks between ideas. For example your viola plays repeated notes until m.8 when they switch to another rhythmic idea, maybe there's a way to hint at this before the idea comes in concretely (this may be something you explore if you decide to add to the piece). Great job & happy composing!!

Some serious chops showcased here. So since this piece is so well put together, the criticism may seem harsher. My intent is not to be that but give deeper insight since you know what you are doing. Reh B: I wonder if we would get more of a flight feel if the snare wasn't here? Then maybe repeat it with the drums. At 34, I would argue the climax comes WAAAAAAYYY too soon. I wonder what would happened if you would delay it for about 6 bars....or even two bars. Be mindful of where your woodwind players breath. Some of these passages are calling it. Reh K: Usually passages like this are ended on the downbeat. It's a trick Ravel taught all of us! Notice how he ends the phrase on the down beats. It gives it more connectivity. Even if you don't want it, it syncs better. (Example Attached) Overall: I can't wait to hear this live! Daphnis and Chloe woodwind run example.pdf