QcCowboy

I'm looking over the next two movements really quickly, and seeing many of the same problems as with the 1st movement.

For example, in the 2nd movement there are quite a few improperly resolved 7th chords. Along with some harmonic appogiaturas, as well as melody not supported by the harmony.

and again with the "titles" for movements. forget those. either put it as your tempo indicator or forget them. Either your finale is "Vivace energetico" as a tempo marking, or it isn't. To be quite frank, it looks like an error in the score - "oh, look, the composer was GOING to put energetico, but then forgot".

and more of the stem problems (measure 39, 3rd movement.. stem direction completely wrong)

watch out for collisions between the material on one staff and that on another. that's VERY bad notation.

by the way, measure 72, 3rd movement, put those right hand notes back up into the upper staff. no need for a cross staff there. we're used to reading a few ledger lines between staves. at least that way it avoids putting that ugly hairpin and duplicate dynamic below the staff the way you did!

measure 84, 3rd movement, put a little bracket with your quintuplet. right now it looks like a fingering instead of a quintuplet.

measure 92, 3rd movement, why is there an A# before the trill? In music after Mozart's time, trills start ON the trilled note, not above. We are definately "after Mozart's time" even if you are writing in a common practice style.

measure 117, 3rd movement, avoid using those baroque ornament symbols. Write your ornaments out as grace notes.

measure 119-130, 3rd movement, there's something wrong with the harmony there. Notably, measure 121 part 2 of beat 1, the harmony is... off. but it's even worse at measure 127, 2nd part of beat 2. I see what you're trying to do, but it's not really working. The motivic repetition/transposition is causing a harmonic error that clashes with the rest of the passage.

meaure 132, 3rd movement, is one of those examples of harmonic appogiatura you do a lot of. The harmony changes on the 3rd part of beat 1, to the harmony of beat 2. What that creates is a sense that the beat is NOT in 6/8 but in 3/4 with a heavy syncopation on 2. Except you aren't really creating a hemiola to support that harmonic appogiatura.

And then the last part of that measure, the bass line descends G# - F#... to... what? it doesn't follow through.