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Well, for a first attempt it's not that bad, but I spot some severe inconsistencies here. I don't know what kind of style you wish to pursue or if you have some intentional will to break the rules, but considering that you're seeking the traditional way of composing fugues, here are some points: - Your subject should start in the 3rd beat of the measure. It's a matter of writing, but quite imortant. - Be careful in your counterpoint, as you're writing many paralel 5ths, 4ths and octaves. In writing in a traditional style, you must avoid the direct movement to perfect consonanses (5th, 4th, 8th, unison). - Try to make a more proeminent subject, This one is not a bad one, but is not that memorable. Put more attention on the head of the subject, as it's the part that will make it recognizable on each new entry. - You start on a high A, then makes the answer a 11th apart. Considering that the A is the III degree of the F#m key, then the answer should be on the III degree of the domiant key (C#m), which is E. You did it well, but an octave lower. It should be on the E of the last upper space. I know it's above the soprano (and you should try to avoid crossing voices for now), but you have a descending subject and descending order of voice-entry. It can be a problem if you don't know how to deal with it well. For now you could: (1) change your subject so that it doesn't end on a note lower than the starting note of the following entry; or (2) change the entry order of the exposition (maybe from bottom to top). - Your subject repeats the note C# many times on a regular interval of time. This may become a bit boring for a fugue. Try changing at least one of them (one in the middle). - Your 3 entries follow a weird order: you start with the soprano (apparently), then goes to the alto but the soprano lowers the register so that it starts to sound like an alto (and the alto like a tenor). Then you have a 3rd entry on the same register of the first one. Which one is the soprano, the 1st or the 3rd? - Watch your pauses, in order not to make the voices sound confusing. The end of the first entry is not so clear when the next one enters. You give some pauses and an isolated note that, at first, may confuse the listener as the beginning of the next entry. Well, we can always do better. If you're willing to compose fugues (I also do so, as a passion^^), you surely must listen to a ton of them. I suppose I must not mention Bach as a suggestion, as you might be listening to him already. But listening is not enough! Look for analysis! You may find some animated analysis of his fugues on the net easily. I'd also suggest André Gedalge's "Traité de la fugue" ("Teatrises on the fugue", I guess). It's a good fugue that introduces the composer step-by-step into the art of composing fugues. I hope I helped somehow. Fugues are my passion and I really appreciate anyone who's interested in composing them too. Good luck^^

I wouldn't worry about it too much. I was trying to find a specific Vivaldi "Dixit Dominus" a while back and I had a really hard time figuring out which one it was because, 1. Vivaldi wrote about four "Dixits Domini" and every time he did, he kept certain aspects from the previous ones and just tweaked other parts and 2. everybody else's "Dixit Dominuses" also have similarities to the one I was looking for, and to each other. If you start with the same text, the natural rhythm of that text will lend itself to certain rhythms in the finished piece, and the meaning of the text is going to lend itself to a certain type of sound as far as chords go. And then, of course, they were all quoting and resampling each others' work a bit here and there too, intentionally or not. It's also entirely possible that you are hearing similarities that wouldn't occur to someone else, because you know whose music you listen to all the time. All the music of the 90's has a sound. All the music of the 80's has a sound. Because we get ideas from the musical culture around us, and we respond to what other people are doing. But that's just how a musical style develops and evolves. That's how we end up with the Baroque Period. I wouldn't worry about it too much. If it's in you, get it out on the page to make room in your head for the next musical idea. History will forget the forgettable tunes, and sort out what is your best work for you. You just have to worry about producing content for history to sort. (: