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Hello everyone. I have two very different pieces I'd like to show you guys First is my etude in E major, which I composed a few months ago. The overall form is very much like chopin etudes, but the harmonic language, particularly in the b section, can become more like late liszt or even impressionism. The main exercise of the etude is a focus on voicing and keeping the fast right hand very light, which is difficult since the voiced notes are double stemmed with the 16th note arpeggiated-like figure. The right hand can also get a little awkward in certain parts, the left hand requires specific articulation, and I even wrote the piece using 3 staves. The pedaling is also a big challenge, and I myself struggle with it as you may hear in the recording. With all that said, while I believe it’s very musically difficult, it is definitely nowhere close to the harder chopin and liszt etudes technically, but I hope you found it interesting to listen to and let me know what you guys think. Heres my recording: https://youtube.com/shorts/_oecn04h1xg Then this is my second etude in C# minor, the one after the one in E major, which is more recent. The main challenge of the etude is maintaining a cantabile melody in the left hand thumb (and index finger), alongside a smooth rolled chord gesture in the same hand, and a rapid, but light, right hand with a 10 note tuplet in 32nd notes, which acts as a sort of ostinato. As you can tell from listening to the piece, it is very different from the first etude, which was more chopinesque in form, lisztian in harmony (particularly mid period liszt), and slightly impressionistic in texture. In this etude, however, I decided to expand further on the impressionistic aspect of my writing, experimenting with these flowing textures and ambiguous harmonies through devices like polyrythms and tuplets, changes in meter, the arpeggiated like flow of the right hand ostinato, having two different time signatures with the same number of beats working together in measures (for example having 12/8 and 4/4 or 9/8 and 3/4 together, and ravel does exactly this in “une barque sur l’ocean” in his miroirs), as well as using extended harmonies and other other random harmonic stuff i figured out through hearing these composers and improvisation which may be too difficult to explain in this text lol. Anyway, I had a lot of fun with this composition, I learned a lot of new things through it, I hope you enjoy it, and let me know what yall think. Here is the recording: https://youtube.com/shorts/JzwQNJA4yO8 Etude in E major - Full Score.pdf Etude in C-Sharp Minor, No 2 - Full Score.pdf

Oh wow thank you @PeterthePapercomPoser for this award, this means a lot to me, Thanks 😅

Yeah, I have a lot of feedback actually So, what about this exactly makes it a Chaconne? According to Britannica: "The musical form of the chaconne is a continuous variation, usually in triple metre and a major key; it is generally characterized by a short, repeating bass line or harmonic progression." I would be sure you know what the type of piece your writing is before naming it such. Musically, there are a lot of issues that need correction, and generally I think more care could be taken when writing this piece. Since it seems you're trying to write in a classical style, I will judge it that way. First of all, provide dynamics! Is it forte, piano? where would the dynamics change? Rehearsal markings are for rehearsals. Since this is a solo piano piece, you don't need rehearsal markings. You also don't need them every 4 bars. To mark the new variations, simply use double bar lines. Next, the left-hand block chords are really clunky. This is partly because they frequently jump around in root position. Even when writing keyboard music, keep voice leading in mind. But also, the simple fact they're block chords lends to its clunky nature. The left hand is providing accompaniment, and block chords are just uninteresting. Give some rhythm to it. Or make them broken chords in some way. The right hand has no melody, just broken chords, until bar 9, and then it goes away again. This is a Chaconne, a type of theme and variations, what exactly is being varied. The melodic writing itself is workable, but unclear. The notes you pair with the melody seem to have been chosen a little haphazardly. They really just reinforce the harmony, which is already very clear thanks to the block chords, and doesn't support the melody at all. It also has similar 5ths that make it sound clunky. Again, keep basic voice leading rules in mind. The rhythms in mm. 13-15 are very "pop"-like and feel out of place here, but that's not necessarily bad. Just make sure whatever you're doing, you're being stylistically consistent. The suspended chords in mm. 17-20 are non-functional and are extremely dissonant and out of place. Likewise, the left-had arpeggios starting m. 21 don't outline any functional harmony. Harmonically, the interlude just meanders. Structurally, a 4-bar theme doesn't really lend itself to anything interesting, especially with the fast tempo and very short and (and overused) chord progression. An 8-bar theme or longer would not only be more interesting but would give you more to work with for the following variations. Another structural issue is the lack of direction. In something like a chaconne or passacaglia, the harmony loops, so you can't really develop the music with modulations, sequences, etc. But there still needs to be momentum. Have each variation increase in dynamics, or note-duration, or something else, but make it gradual, and make it feel like the music has a goal. Right now, it just meanders, and it makes it quite boring. So, to summarize: work on the accompaniment to make it more interesting, make the melody stronger and clearer, consider expanding the duration of each variation, and make sure the music has a momentum.