November 18, 20187 yr Needs to be reworked. Chord voicing and voice leading don't follow the rules. Examples: m. 1 - suspension on the tonic chord with a 3-2 voicing. m. 2 - beat 3/4 omits the third of the V/vi and returns to the V7. m. 6 - beat 3, m. 7 - must use E# to signal augmented sixth chord. Missing the other half (G). Resolves to 1 without the proper voice leading in the alto voice. m. 16 - retardation incorrectly resolved from the bass m. 24 - parallel dissonances in the soprano/bass then soprano/alto m. 32 - register transfer in the soprano/alto unsubstantiated in bass. m. 45 - Resolution to a dissonance. Counterpoint (which is used too much when truncated) comes second to harmony. Those rules come first.
November 19, 20187 yr Author Hi Monarcheon, Well I must admit I guess I don't understand properly everything that you say 🙂 even though interesting. Would be because my theoretical compositional skills are very poor, humbly comparing to what seem to be yours. I usually compose by ear, fixing some errors here and there, but surely not with the theoretical depth you seem to be in possession of. I issue my music when it seems ok with my hear, to an extent. I hope it doesn't bother your wisdom too much 😉 Currently I unfortunately don't have enough time to learn more theory, even if I'd like to have as an experienced eye as you seem to have. Maybe in the future. Until then thank you for listening and taking time to review 🙂
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