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Hi Aaron,

38 minutes ago, 44W74l4 said:

Most of the time I compose to apply some things i heard or read about, in this piece from measure 23-28 i  harmonized that ascending  bass scale

Yup I like that ascending bass! Maybe next time you can try a descending one.

It's interesting that you're adopting the 7 bar structure (2+2+1+2 for b.1-7) and (2+2+2+1 for b.8-14)for the opening sections two phrases. I find it harder to balance for a 7 bar phrasing than an 8 bar one. Do you try this intentionally?

Again in your middle section (b.15-28), you are staying in the dominant C major key, after you establish it in the first section. Maybe modulating to other close keys, like subdominant Bb major, relative minor D minor and supertonic minor G minor will make the piece more varied harmonically. Again in the middle section it consists of two 7 bar phrasing, so I'm sure you are trying it.

For b.36, maybe using a ii6 chord there will be nice.

Thx for sharing!

Henry

It sounds pretty good, but why are you so intent on using chord arpeggios on top... They don't make melody.

Kia Ora Aaron,

Sound very good, vey pretty I can imagine being played in the house of an 18th Century Nobleman. A single caveat:

• I feel like there was not really enough contrast in this piece, even though it is really short. Perhaps play around with dynamics? Make the first section forte and the second section piano?

Thats all. Keep composing and improvign Aaron.

Nga mihi,

Arjuna

Sounds good to me, I like the bassline in particular.

Now this one has some real irregular phrase lengths!  There's 7 + 7 bar phrases in the main theme in the beginning and also 7 + 7 in the 2nd section after the repeat.  I think because of the irregular phrase lengths and overusing step-wise motion the melody can sometimes sound like it's aimlessly wandering about the keyboard.  But that might just be how I perceive it.  Thanks for sharing!