October 24, 20232 yr Very nice again! My suggestion would be try out diffrent forms. You seem to be able to compose an A/B Form very well. it's good to have a lot of tools in our toolkit as a composer and one of the ways to exspand our toolkit is to try out new things 🙂
October 28, 20232 yr Hi Aaron! I like the fact that you've used 1st and 2nd endings effectively in this piece and you put the fermata at the very end of the piece and not in the middle like in previous pieces of yours which would arrest the motion of the music. I think the weakest spot of this piece is in measures 2 - 3. The combination of quick 16th note runs suggest a hemiola in bar 2 and in bar 3 the harmony is also a bit unclear. I personally would have the left hand in bar 3 play a G, A and F# in quarter notes. The F# at the beginning of bar 3 clashes with the right hand's G major implied harmony. I think besides that the piece works really well! You seem to be a quick learner and are improving rapidly! Thanks for sharing! Peter
October 31, 20232 yr Hi Aaron, Your venture to different keys in this one and a great job on that. I think the voice leading from b.10 to 11 can improve by changing the B-A-G-F# to G-F#-E-D which will run smoothly to the C# next bar. The tritone in b.15 LH between C# and G is not too nice for me, maybe changing it to B-A-G and b.16 A-G-F# will be better in terms of voice leading and also provides imitation with the RH! I may change the LH in b.17 to E-A-C# since I would like to prevent the double C# in the 2nd beat, since the sound of a double leading tone is not quite nice for me. As Peter said you really improve rapidly, and I think you do take our advice! Thx for sharing! Henry
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