My first scores after starting to age a trio ans duet

Edited February 6, 20233 yr by hw1234

Hi @hw1234,

In mmd28 the modulation to D minor in b.6 seems too abrupt for me. You should more preparation to it since the first few bars start in F major. Even though the keys are really similar, you should have a cadence for the modulation! Also the ending clash of C natural and C sharp sounds strange. If you keep using either one of them will be fine, since using C is more modal and C# more tonal, but here it's equivocal, unless you want to have a medieval feeling here!

For mmt1 I see you have imitation between instruments which is good. But those cadence ending on a second inversion chord, e.g. in b.12 and 16, whose bass is F,  or the 2nd inversion chord of G minor in b.6, does not meet the harmonic rules in this style. You can probably just use a root position for the ending! There are rules for the use of second inversion chord in Baroque style music, for example passing 6/4, cadential 6/4, and you should check on these paradigms and rules first to compose your own! That will greatly benefit your own compositions!!

Henry

I liked the first one over the second. The only thing that I would revise engraving-wise is the change of tempo speed. It might be wiser to mark the bar where it starts with a double division line, but that's just a detail. 

Kind regards!

Hello. It all works well. Perhaps you have to impose a general plan, with a general form, then a clear harmonic path, and finally some small elements of developments either thematic or motivic.

It is always difficult to start from a blank page, it is better to sow a few small stones to guide yourself and the listener. (But maybe some things have escaped my listening unfortunately).

I also think that to help you save all this, the writing unit can be inscribed in clearer lines of forces, by means of harmonic processes (or polarity to be invented perhaps).

Could you give us some tips on how you proceed in the composition?