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I was going to copyright this piece but I don't really know if it's good enough to do that quite yet. I was looking for feedback on it so I can change it before it gets properly cemented the way it is. Specifically, the basic low strings part and the countersubject I wasn't sure how well they were implemented. Thanks a lot and enjoy!

That was great! My favorite part was the second section of the prelude (poco piu mosso), although I'd have to agree with Luis in that it took a long time to get there with the repetitions (although I suppose this could be ornamented and thus made more interesting in a live performance). I'm not really the right person to comment on what should or shouldn't be happening in a fugue, but it seemed well-balanced to me and was engaging as it chugged right along. My only question was whether the bass in mm. 62-69 could be given something more rhythmically interesting, but that's really just a quibble. Great work!

This is a work for solo viola in the classical (or maybe Late Baroque/Mannerist?) idiom responding to @danishali903 's request for original solo viola music. It was (kind of obviously) inspired by Bach's famous Prelude to the Cello Suite No. 1. The chord progression and 'melody' are based on the first movement of a piece that I uploaded to the old version of the site, "Three Simple Songs" for violin with guitar accompaniment (I think this has now been lost). Generally, I think the tone of the piece is pretty suitable for a hospital floor. I watched the bowings for Bach's Prelude and it made me feel pretty confident that there should be no slurs in this one, but I wonder if it wouldn't get tiring to hack away at a viola for nearly five minutes straight. I'll defer to better judgments on this and other aspects of difficulty/plausibility. One final thing: the 9/8 time signature had me a bit confused about how to mark the tempo. Right now, it's marked "Moderato" because the dotted quarter notes come at about 100 BPM. However, it feels more like an Allegro or even Vivace tempo, and when I put it through my sound library, it automatically marked it as 150 BPM in (non-dotted) quarter notes. Which way is correct? Sorry for the book. Thanks for listening!

I think it's very nice! I didn't get bored at all. It reminds to tha large solo for viola in "MAdrigal Opera" (P. Glass).

It feels like an etude. Playing the beginning of it briefly, it felt like a student's piece that someone made to be more expressive. The modulation to A was sharp and awkward. The other ones work better because of the use of the V7 chord. I don't see the parallel to the Bach Suites. They all play with a certain gimmick but are by no means bound to it. This one feels obligated and bound to a certain technical style, which contributes to the basic feeling of it. Putting slurs in could change it in a basic way that would change the style subtly but enjoyably. Cheers.

I (a violist as well) am really enjoying the fruitful results of danishali's request. This one is my favorite so far. The others tended to short pieces more on the side of practice, but this piece feels quite complete. In response to your question would this get tiring doing it separate as opposed to slurs - no. I wouldn't say separate is particularly more tiring that slurs and generally the pieces that are exhausting are the ones that require very fast bow/finger movement all across the strings and lots of shifting, neither of which your piece has. There are a few places where I think it does repeat a cycles a few too many times, but that's really up to your ear to decide. At measure 30 however, where you have the surprise of the C natural, it seemed for a moment you were going to shift the character in an interesting and unexpected way (and one that would be very Bach like indeed) but instead you just continue on to a ascending scale before the recapitulation. I'd like to see that part expanded upon as I think it would add to the dramatic tension and make the harmonic release of the upwards scale into the restatement of the begging much more satisfying. Nice job.

Per Danishali's suggestion, a piece for solo Viola. Short and in the manner of a dance.

This one is awesome and really suite the Viola's mellow tone with it's somewhat mysterious, lurking sound. I wish the 7/4-10/4 would have kept going on, it really grabbed me. I would also throw a repeat in before the last two measures if I were performing this. Your pieces always leave me wanting more (in a good way). I am curious as well about the interesting choice with regards to time signatures. Was there any particular reason behind them? They must have been intentional considering how many different time signatures there are and how frequent it changes.

As a fellow violist, I would be happy to contribute! I've already got some ideas and have been meaning to put out some solo viola music so this is all the more reason. Listen to Bach Cello Suites 1-3. They are not particularly difficult from a technical standpoint for the most part, but are considered quite difficult pieces to master because of phrasing and how exposed you are.

Your work really has improved from when I first came to this site. Or maybe I've just grown more accustomed to it. Or both. I'm glad someone answered Danish's cry for help too!

It stays within its bounds and I think that's what makes a short piece like this work. I'll never not questions 7/4 and 11/4 in an easily subdividable piece, but otherwise it holds together nicely.

I like this one a lot. Even the final 4th chord.