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    • Yes probably would have been better off with no key signature! I selected all notes and just let Finale spell it out according to the key signature. I really appreciate the critique! Thanks!
    • May I join? I probably won't be writing a fugue for a while, but sometime in the future I would like to. Theo
    • Interesting work, though I do have to say I find the ostinato takes me completely out of the world you're trying to create. Because of its rhythmic persistence and novelty interval structure, it sounds a bit like a joke, and doesn't connect to much going on in the rest of the piece. For that reason, I kind of find the adherence to rhythm in this piece to take away from the atmosphere.
      You do wonders with intervals in the piece; the parallel fifths and pattern structure you set up with transitional periods are really good ideas, but it all felt very static, and in that way, nothing surprised me. I didn't feel anything close to psychosis because the affect and the execution didn't seem to line up that well. In short, you've got lots of good tonal ideas, but you restrict yourself with the rhythm.
    • The distance between the first and second sections is a little bit strange, especially with the drum fill that doesn't connect to either.
      The "polyrhythm" in section two doesn't have the progression quality you probably want to. It just sounds like what we heard before layered on top of an unrelated track. In other words, it's to feel as though it's very cohesive.
      The third section is the same effect, where there is something we're supposed to be latching onto, but doesn't sound like a meaningful progression of what we just heard, other than the chord progression. 
      The fourth section is a better evolving on the second section with the different affect and similar polyrhythm.
    • :30 is a little weird because of the doubling of the leading tone without the actual use of the tonic. So the chord feels a little incomplete. It makes more sense whenever it comes back because you make a related chord (#vii) out of it, but the first time, the audience isn't introduced to that possibility.
      The phyrgian dominant sound used in the second half of the piece to me sounds a little to distant from the other mode in the beginning, but it works fine. I would try to avoid accentuating the augmented second as a melodic component, though.
      Good work.