Good work, I do have some feedback; For music written for an ensemble with a clear melody line, you're better off keeping that melody in one stave rather than bumping it around between the parts. There's no color advantage to switching and tbh you want your 1st mellos on the melody. In measure 16, you have the 4th mellos providing accompaniment; I would double that an octave up in the 3rd mellos, moving the melody to 1st as previously discussed, and bringing the melody up an octave. When mellos get that low the sound isn't as supported. In measure 35 you have the 3rds and 4ths clap, which is fine, but I would give at least a measure for them to put their horns down, otherwise they're gonna be slapping their bells with their hands instead. Finally, I would avoid using the word "Quartet" to describe a piece clearly written for more than 4 players, which is clear from the divisi already written in.
4th chair moment lmao
Repeat 4th notes forever, fourth-y.
Good work, I do have some feedback;
For music written for an ensemble with a clear melody line, you're better off keeping that melody in one stave rather than bumping it around between the parts. There's no color advantage to switching and tbh you want your 1st mellos on the melody.
In measure 16, you have the 4th mellos providing accompaniment; I would double that an octave up in the 3rd mellos, moving the melody to 1st as previously discussed, and bringing the melody up an octave. When mellos get that low the sound isn't as supported.
In measure 35 you have the 3rds and 4ths clap, which is fine, but I would give at least a measure for them to put their horns down, otherwise they're gonna be slapping their bells with their hands instead.
Finally, I would avoid using the word "Quartet" to describe a piece clearly written for more than 4 players, which is clear from the divisi already written in.