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Nocturne- E minor.mp3Nocturne- E minor.pdf Hello. Recently finished this piece and felt it was something interesting to share; What i feel makes this piece distinct is that its quite heavily harmonically driven, as in the melody doesn't stray far from the current harmonic background; I'm quite satisfied with the structure, as i feel it keeps the piece interesting and fresh all the way through; I'm still not sure if i should say this piece is in E minor, as its never really suggested until the very end. (also this piece used to have a subtitle in early stages, but as i was composing further on it didn't quite stick, so some ideas of what to call it would be nice) Thoughts and feedback are always welcome. Enjoy the music.

I really like how the piece patiently unfolds it's texture and content without trying force it's melody out so strikingly against the accompaniment, rather they compliment one another to create that moodiness, the erraticness sounds natural rather than abrupt... The continous motions of the accompaniment make the pauses in the ending measure and the ending feel well-earned rather than just reached.

Hi @Aw Ke Shen ! I actually did this before when I was young, as I always press the middle pedal of an upright to practice so everything is muted. I did this to strengthen my fingerings though. Your learning approach as you describe would be mainly aural and theoretical, but there are also some people who learn by auditory or manual method, so it really depends. My recent learning approach would be to play the piece as close as the original tempo with all details. By forcing myself to so many things happening I actually learn faster than just grabbing details first, probably because I’m an N person (intuitive) in MBTI instead of an S person (sensory), so I need to grab the big picture before going into details first. Henry

HELLO Let me just say that if you have no experience in composition, you’ve got a long way to go before you can compose a proper fugue. I get the impression you must have some knowledge of counterpoint. But before you start composing fugues, you need to master other, less demanding areas of strict counterpoint. It’s simply not possible to come up with a logically structured composition just by studying two of Bach’s fugues and leaving it at that. What you’ve written doesn’t sound bad, but, in my opinion, there’s a point (which I think is the one mentioned by @Lithl ) where everything falls apart quite a bit, and that’s in bar 6. Because you’re forming a D#–A tritone which, although the intention is for some of these to be passing notes, I think that should resolve into a Bb chord. Enharmonically, you have Eb–A, a tritone which, in this context, must resolve in this way. The solution you’ve suggested for another context is fine, but here, at least for me, it ruins the whole thing.