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this is the piece I newly composed, hope everyone like it.

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m. 8, G vs. G#
m. 16 - 17, leading tone resolves up half step in classical theory, which this seems to be.
m. 21,why the double stroke?
Section 2, a key change to E minor would help performers.
m. 82, awkward return to D minor.
m. 100, awkward.
m. 112, need to designate if l'istesso tempo or not.
m. 112, slur by 4, not 8.
m. 125, fix it. Poorly mixed non chord tones.
m. 191, i vs. V?
m. 196, unjustified use of double stops; not dramatic enough, and really unnecessarily hard.
m. 232, awkward.
add a rall. at the end, probably. 
The increasing intensity of the main theme is interesting but you repeat the main theme a bit too much, especially since this deviates from rondo form already. 

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You have great musical ideas. However, you tend to do the two things below:
a. Having the same note name in the melody (violin) as the bass line (piano left hand) does not sound so good on inverted chords. As a general rule, bass notes should be different from the melody notes on inverted chords, but they must match well together.
b. You imply various chord progressions, but there's often the one or two odd notes that don't fit. Below are the places worth looking at:
1. 0:5, 0:40 2:15, 3:48, 3:56 and 4:5: G4 vs. F4 in piano right hand because you want a 2nd inversion D minor triad, but G is not part of that
2. 0:6, 0:40, 2:16, 2:21 and 3:49: E1 vs A1, A1 is preferrable because the violin already plays an E. Adding G4 to form a seventh in the piano right hand would be nice.
3. 0:9, 0:25 and 3:51: A1 preferred over D2
4. 0:13: A1 or C-sharp2 is preferred over E1 because it is not logical to transition from a D minor root position triad to a 2nd inversion A major triad.
5. 0:25 and 0:42: G1 prefered over B-flat1
6. 0:51: awkward
7. 0:53: G1 or B1 preferred over D2
8. Piano solo: there are numerous spots worth looking into and it is easiest for me to record the changes as an audio file (will do ASAP)
9. 1:11: B-flat4 in the violin part does not fit because you want to be in E minor
10. 1:16: awkward, adding a C somewhere in the piano part will fix it. Adding a B major chord will make a soother transition to the E minor tonic triad.
11. 1:35: Adding a G somewhere in the piano part will make this chord sound less empty
12. 1:41: Adding an E somewhere in the piano part will make this chord sound less empty
13. 1:44: B1 is preferred over F-sharp1 for a smoother transition from the previous chord
14. 1:47: C2 or A1 preferred over E2 for a smoother transition from the previous chord
15. 1:50: B is preferred over C, an augmented chord is not appropriate here
16. 1:53: Violin should play B4, A4 and G-sharp4 vs C5, B4 and A4
17. While the violin plays the repeated notes, the piano can play a soloistic passage that matches well with the violin part.
18. Agree with Monarcheon that transition to D minor is awkward.
19. 2:24: G-sharp4 sounds awkward here (piano right hand)
20. 2:27: D5 preferred over E-flat5
21. 2:29: D1 preferred over F1 because violin already plays F
22. 2:30: D2 preferred over B1
23. Piano can play some moving notes anytime while violin plays a held note.
24. 3:9: F (or should it be E-sharp5, can someone clarify) in piano right hand preferred over E5 because E5 clashes with violin part
25. 3:26: G preferred over F-sharp in piano part for a smoother transition to next chord
26. Fill in gap at 3:33, sounds awkward
27. 3:36: C4 and E-flat4 does not fit, use D4 instead (piano right hand)
28. 3:59: G1 preferred over D2
29. 4:9: A3 preferred over B3 (piano right hand)
30. 4:10: A1 preferred over G1
31. 4:17: C-sharp5 sounds awkward in the violin part. Either remove

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31. 4:17: C-sharp shunds awkward in violin part. Either remove it or add a D after it.
32. 4:18: E2 preferred over D2
33. 4:19: D2 preferred over F2 because violin already plays F
34. E-flats in the fast violin passage should be replaced with E because we're in D minor and E-flats clash here.
35. 4:51, 4:54, 5:0, 5:14 and 5:28: E1 preferred over G-sharp1
36. 4:56: there should be no As in an E dominant seventh chord
37. 4:59: D1 preferred over A1
38. 5:11: an F in the piano part is preferrable for a less empty sound, and there should be no G
39. 5:13, 5:19, 5:28 and 5:31: A1 preferred over G1, A G in the right hand would be nice to form a 7th chord
40: 5:17: Es do not fit in a D minor triad
41. 5:27: F4 preferred over G4 (right hand)
42. Piano and violin can end together.
Attached are the typical changes I suggest for the first big piano solo. There is more than one possibility, and feel free to play around with my example.

Edited by ilv
Add details and upload example.

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