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Hi @44W74l4,

I do find the harmony more reasonable here! I think you are having a clear Tonic-Predominant-Dominant-Tonic harmonic structure here. Personally I have the following thoughts:

-What if change the quaver G note in b.10 to G-E semiquavers for smoother transition?

-In b.14 I feel like it's I instead of IV there. Maybe you can in b.13 the left hand changes to E-F#, dotted crotchet-quaver, then change b.14 LH to G major (G-A-G-F#-E)

-I feel like the iii chord in b.25 less smooth, and I may just change it to a I6 chord with note B less emphasized.

-Nice little imitation in b.29-30!

-Will change the G to A in LH b.42 better?

Thanks for your update!



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I like the clarity of the melodic line as well as the rhythmic variety in the figures. Also the general structure.
I find it a bit unusual that the second part starts with the I chord in first inversion. A piece in this style seems to call for the harmonic shift here to the dominant or some other nearby key.

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Hi, Aaron

I love your piece. It's relaxing to listen to and it has an impromptu feel to it. I'm a classical composer too so I am endeared to my fellow Haydn/Mozart fans. 

Your theme could become a rondo them but it would need a little more movement and clear harmony. I'll add a short example. 

My advice to composers beginning out on their journey is to look at melody writing. Forget textbooks, YouTube videos are way more helpful. Look at sentences and periods. And learn about schemas. Start composing 8 bar themes with a complementary B section.

A = 8 bars *tonic to dominant

B = 8 to 16 bars *dominant to tonic

You can begin the B section with any inversion in the dominant I believe. You can start a piece with the third in the base if the treble is the 1st or fifth scale degree. I'll include an example although it's actually beginning with V7 of II. 



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