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Epic Piccolo Parts!!

Has there ever been a song or a piece that you have played in school band or Symphonic Band where the piccolo part during full FORTE Tutti sections was just so EPPICCC that you wished that there were more than 2 Piccolo players currently playing at once in your Symphonic Band at that moment!! If so name the piece.
The piece I played Piccolo in is called "The Witch and the Saint" by Steven Reineke

Woodwind balance

I am seeking advice from ensemble players and/or anyone reasonably experienced with scoring for winds, especially if you have a background in chamber music.

I compose and arrange for piano, strings, and guitar, but I am hoping to expand my horizon and beginning to look into orchestration in general.

I own a grand flute and have a basic understanding of what it can do and how it will sound not as MIDI but in real life. What it can cut through, and what it will only ever-so-slightly color.

By extension albeit to a lesser extent I can claim the same for the piccolo.

However, I have zero experience writing for oboe, clarinet, or bassoon.

The following piece is my very first attempt at balancing all five woodwinds mentioned above, and not just against one another but against five string instruments as well.

https://musescore.com/user/27897310/scores/5545711

Owing to complete inexperience, at first I tried to tackle this by thinking in terms of flute and string quartet, and treating the rest of the players as supporting cast. I have no idea if that's the wisest thing to do, but that's what I know. So it starts off tame and only gradually grows more confident.

The piece is tonal and requires no virtuosity from any of the players. I am not concerned with what's playable and what isn't. I am concerned with balance, texture, and color. 

So if the individual parts are unremarkable that's a good thing. My focus is on making them come together to form a cohesive whole. Not on pushing the envelope, but on acquiring an understanding of the basics. There's no point in writing the next Rite of Spring if you can't even orchestrate two bars of a simple waltz.

In brief, I have no idea how any of this will sound on actual instruments, what to look out for, and what not to worry about. 

So if something jumps out at you as an experienced ensemble player, by all means do let me know. 

If nothing does, all the better.

The runtime is six minutes. 

Thank you in advance.


Alex.