QcCowboy

Just to get the ball rolling, I'll make a few comments.

I am not convinced by the 2-part writing through-out. This is, considering it is basically "neo baroque" (or "pseudo", since it's really just baroque, there's nothing "new" about it) a suite, and not a sonata.

Just a few minor quibbles: a prelude starts a piece. It does not end with a prelude. And unless something is a set of preludes, there's no reason for two preludes within the same suite/sonata.

The fugue is not, as you noticed, really a fugue. That's ok. It's a good try. Practice does make perfect.

I think that now you need to be working on writing not so much from what your ear tells you should come next as from a more intellectualized conception of where you are going. My overall sense is that this is through-composed music, without a real plan to it.

Even as simili-baroque music, it has a same-ness that is a bit tiring to the ear. It would help a great deal if you varied your textures more. Move away from the 2-part writing, into more complex material.

Also a better sense of how the harmony leads from one place to another will bring more interest to your music. Understanding, for example, how to modulate clearly from a tonic to a dominant or subdominant areas, how to establish firm new tonal regions, using borrowed chords,etc..

I think you will tremendously enjoy studying counterpoint as well. Your music could use some greater facility with non-chord tones (appogiatura, suspensions, etc...).

This is still a large piece of music. But I would like to know that the next piece you write is also a large step forward in your understanding of counterpoint and harmony.