The sextet sounds great. I thought the sonorities were really nice, and it was moody. The cello piece has a nice melodic line. I would like to hear larger and more sudden changes in dynamics. It sounds like you're using a continuous meter, I think it would be nice to inject some more jarring rhythms, even though I think you want to achieve a pastoral sort of feel.
It's moody and has nice harmony. I'm thinking the cello shouldn't go up to the treble in bar 18. The bass sounds like it just disappears suddenly. I think the melody shifts between the viola and cello too suddenly and with too large a leap without a smooth transition, which sounds awkward to me.
I'd watch the way the parts move together before you continue. Is this with the counterpoint rules you developed, that you mentioned earlier? I found it pretty rough. It's not the dissonance.
Melodically everything is allowed except the octave, the tritone and the outlining of triads.
Vertically, no octave doubling is allowed. Direct (and parallel) fifths are prohibited. Soft dissonances are approached in contrary or oblique motion. Hard dissonances only by oblique motion. (No parallel dissonances of the same type.) No resolution required.
You captured an interesting mood. Are you using your own counterpoint rules? I think you should focus more on the voice leading instead. There are parts I feel that are garbled up between voices like between 0:40 to 0:50.
So I've expanded it and written some more parts over it. Probably didn't solve any of the rough voice leading problems you find in the piece.
Chamber Concerto
What kind of scale are you using? Still on your own counterpoint rules? That's some tonguing action at 1:53!
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