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Thank you for sharing your three preludes, which have really nice ideas and have a generally good flow. Some comments: Prelude in e minor: The time signature change in measure 2 feels a bit forced as it does not add really to the musical structure. I would just shorten the measure. Measure 2 then rhymes very well with measure 4. Same goes for the repetition of this part at the end. The block chords feel really thick. Probably you could thin the texture a bit. Prelude in D Major: The open end on the first inversion chord is charming, however, it could be staged more effectively, e.g. by slowly petering out. Or you follow @Youngc and add a proper cadence. Prelude in c# minor: You use the inherent chromaticism quite nicely. Just an idea: You could change the last f# into a double sharp for a provisional leading tone to the dominant, but this is just an idea.

Thank you Youngc, You're more than welcome and I would love to hear your performance if you do. Mark

Wow.. that E minor Prelude.. gave me goosebumps. Thank you for the motivation I needed to get off my butt today and write ! P.S. The other two are awesome as well.. keep it up, man!

Hi Youngc, I never really like using double sharps or flats, but I know that on the occasions where it applies, it is wrong not to use them. I think I have learned much from this thread and I really appreciate it, so thanks to all who have given time to answer. Last night I also learned another very useful thing. After rummaging around the various features available in Sib 7.5, there is actually a plug-in that will do the job. In the drop down menu of the note input tab, plug-ins "simplify accidentals". This plug-in does what it says on the tin. It will change all accidentals in a selected passage to fall in line with the most conventional spelling for any given key. I know there's no substitute for actually knowing the theory, but this really does take the hard work out of writing when I'm not at the piano.

I actually liked the opening and expected a tense energetic piece which then didn't materialise. So I think the problem is the disconnect between the opening and the rest, especially in a piece as short as this one. (Thinking about it, this is what @Monarcheon alluded to: "especially since it never comes back again.") Also, the later parts feel a bit generic and lack tension. This all could still make sense if it illustrates a certain story or film sequence. That said, you have a lot of good ideas and are also quite good at blending instrumental sounds together. There is a lot of potential there.

First, please don't post music for review on my profile. If I can get to it, I'll get to it. Second, the music suffers from a. an incomplete blend of harmonic styles and b. the stratification of stylistic devices. People are saying they don't like the beginning because of the overlap between the D major and minor modes you use, and I can't say I disagree with them. It's just not a very effective way to set up the piece, especially since it never comes back again. The last thing you want is to make the opening unidiomatic. There are better ways to blend the two scales through the use of a compound mode, but not both of them overlapping. It just sounds jarring here. Secondly, the styles are very varied and I'm not sure if it's for the better. The second section with the percussion was pretty okay, but the piano sections don't blend with anything else in the track before the reprisal of the second section. Also it harmonically becomes very cliched without much thought to varying it at all. That much I can tell. What "sounds good" isn't always the best answer. All in all, the track is extremely unfocused, regardless of how it was compositionally put together. You have a lot of good material to work with, it just doesn't blend.

The title's a bit strange. They're more canons than fugatos. Fugato kind of implies it's in the middle of another piece. Anyway, I quite like these. More than some of your other stuff, since the direction is a lot more clear with the trailing voice. One thing to fix is the beaming on your notes (in 4/4, you need to be able to see where the beat is easily, not just "in between" two beamed eighth notes). The fusion between styles also works decently well. Certainly not baroque, but not completely modern either. Just in terms of general counterpoint, watch out for big leaps after a short span of time.

If I were in the audience listening to something of this title, I would think that going into a major sound a few bars in would be an interesting choice.

I mean........ it sounds like a "sterotypical" Asian martial arts-type movie soundtrack. I like it a lot!!!!!!! Do you make movies(anime, short film, documentary, etc) , I would LOVE to dip my toe in the process of making a soundtrack! Message me if you are interested.

To me, this sounds like an track I would here from an adventure movie. Definitely from a certain Japanese composer...

Beautiful sound this harpsichord. The motivic development and the counterpoint are real y good.

It didn't sound so good at the beginning (first 20 seconds), I just didn't like it so much. As for the mood of the song ... to me, it sounds like a calm melody - I almost started sleeping while listening to it, but besides that, it has some kind of a hopeful, but also a dark feel. In my opinion, it is not adventurous, heroic and energetic. I would maybe listen to the track again, maybe, but I would surely skip the first 20 seconds. The song is good, but just not my type. Sorry.

I don't know why, I just didn't enjoy it. I think that your previous one was better. But maybe I'm just tired. If you'll remind me, I'll listen again in Wednesday (tomorrow is a long day too)

I enjoyed listening to the piece. Personally, I didn't see the point of the half-notes since they are sounding like a rest. I don't know if a real harpsichord can sustain a note that long. I suppose it can. But if not, then I don't agree with the use of those half-notes. Overall, the piece is idiomatic of the harpsichord and the Baroque style. Maybe you could have made the ending a little longer and more impactful. Edit: I realize that the half-notes I am talking about are the arpeggios. So perhaps it's a software problem.