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I'm glad my advices helped you in a way^^ As for the books, you shouldn't look for fugue books without a good knowledge on counterpoint. You may try the traditional "Gradus ad parnasum", by Fux, or a more modern approach by Schoenberg "Preliminary exercises on counterpoint". By studyind a good method of ounterpoint, many of these doubts will vanish (I believe). About the more specific doubts, here are better explanations. - "Your subject should start in the 3rd beat of the measure. It's a matter of writing, but quite imortant." I don't really understand this, can you please explain more? Does this mean having a rest in the first beat isn't a good practice? There's absolutely no problem on that. Many fugues composed by great masters start with a rest. However, this rest choice is not arbitrary. Please remember that music is sound, so what you hear is what really matters, more than tons of theoretical rules. In your fugue exposition, the subject is clearly written on a different beat than we normally hear. At least I heared it as a third beat. My suggestion is: add one more eighth-note pause (that is, a half-note pause), and start the subject on the third beat, OR start on the third beat in anacrusis^^ "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)." I understand the problems with parallel 5ths and octaves, but so far I have not heard of any restrictions regarding parallel 4ths. Also, when you say "avoid direct movement to perfect consonances" what do you mean? Well, some authors don't even consider the 4th a consonant interval!!!! I'm not telling you that I agree or not with this, but if you're following the common practice of traditional music, avoid 4ths intervals on 2-part writing. It's even worse when it's paralel. About the direct movement, I'm saying "do not move two voices to the same direction and ending on a perfect interval. That is, if you move one voice up, and the other one also goes up, be sure that the notes they're stop on do not create a perfect interval (unison, 5th and octave - and the specific case of the 4th too). If both voices go up together or go down together, make it in a way that they'll form a 3rd or a 6th (and compounds). That's a bit limited for now, but it's a good start. You may have more freedom to chose intervals of 5th, octave and unison if the two voices go to that interval by contrary movement, that is, one voice ascends while the other descends. Go look for counterpoint methods/books and many of these "problems" will be soved^^