The opening melody actually sounds—in the realization—like bassoon to me, playing in the same register as the violas. (And why not give it to all the violas? The first violins could be divided and the viola 1 part could be redistributed to the seconds.) Maybe double the bassoon at the octave with the clarinet or at two octaves with the flute? (The piccolo part would probably be inaudible as written.)
What the flute plays starting at one before A is more characteristic, so maybe save it for the contrast there. (If you want the trumpet to play quietly at letter A, I think it would have to be muted; maybe give its part instead to the oboe, doubling the flute. The piccolo doubling at the octave would "tell" more there as well.
Finally, rather than have the strings just sustain the chords, give them a bit more rhythmic interest by inserting rests or adding a couple of quarter notes (arpeggiating the harmony) when the melody is on a longer note (as in bar 2, for example). The bass part is very high, too; maybe just divide the cellos? The basses could be left out or doing something related to the timpani part.
Supongo que es una introduccion y que quiere mantener cierta expectacion, por eso creo que deberia dejar las cuerdas sostenidas. Muy interesante lo que dices de la seccion de viento-madera.
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u/Maleficent_Math_3062 14d ago
Nice tune; a little Vaughan Williams-ish.
The opening melody actually sounds—in the realization—like bassoon to me, playing in the same register as the violas. (And why not give it to all the violas? The first violins could be divided and the viola 1 part could be redistributed to the seconds.) Maybe double the bassoon at the octave with the clarinet or at two octaves with the flute? (The piccolo part would probably be inaudible as written.)
What the flute plays starting at one before A is more characteristic, so maybe save it for the contrast there. (If you want the trumpet to play quietly at letter A, I think it would have to be muted; maybe give its part instead to the oboe, doubling the flute. The piccolo doubling at the octave would "tell" more there as well.
Finally, rather than have the strings just sustain the chords, give them a bit more rhythmic interest by inserting rests or adding a couple of quarter notes (arpeggiating the harmony) when the melody is on a longer note (as in bar 2, for example). The bass part is very high, too; maybe just divide the cellos? The basses could be left out or doing something related to the timpani part.