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It's generally very nice. Be careful about how you work your dissonances and crossed voices. Measure 26 stood out to me as bizarre, since you resolved, off beat, to a dissonance. Measure 10 features the biggest problem of crossed voices. The problem with triplets is that it's very easy to accidentally miss over a weird passing tone in your listening. I'd encourage you to go back and look through your piece, and see if notes conflict with each other. Notation stuff: m. 21 - Make sure you use the proper way to do syncopations, with the tied over third beat. This looks intimidating to performers. All - Engraving is a bit sloppy. Move some things around. m. 13 - I'd add two up bows on the quarter note triplet to have everything start down. m. 25 - Too long a bows. Split it up. All - Bowing issues. Not as bad as m. 25, but you need to split up these bowings better. m. 46 - Last note should be a dotted half. It was quite pleasant to listen to. Cheers!

Sorry for taking sooooooooo long to answer this, but my master's degree duties are driving me crazy. I just can't say enough... Well, as for the winner... @fishyfry Congratulations!!! Your piece is extraordinary! I surely will include it in my repertoire. I also plan to record it, but it may take like an eternity, as I'm really busy at the university. Maybe on April, my (theoretical) "vacation". I'd also like to mention @Monarcheon's Sketch No. 136, especially the second movement (which I could play without all the difficulties of the other movements). I really liked some parts of it, and I may give it a further try later on. Thank all you guys for the entries. And sorry again for my long absence. I may remain absent from the site for quite a long time, maybe up to next year's first semester. Wish me luck o/

Hey, awesome! Listening time... :) Besides the clashing notes mentioned and that you have fixed, it's a nice motive. The rondo structure doesn't really bother me, BUT you have a choice here... 1) keep the structure as is and choose strategic places to develop the motives or 2) develop the structure and leave the motives unchanged Keeping that in mind as you write will help to strengthen the weak sections, almost like constructing a floor or a wall--find the weak places and think strategically about how you can strengthen them. I just listened to Winter and Lente one after the other and it feels nice, so both sections compliment each other to my ears. That's definitely cool. Keep working on the details, this is good work! Gustav Johnson

Pleasant. 1. I would make your modulation back to F# a little more clear. 2. In the second measure of every main phrase, the pseudo-chromaticism is off-putting, since the process begins as such, but becomes diatonic by the end of the bar, normally it's the other way around (tip to make something not chromatic sound chromatic), but I can kind of see the V - I approach. Maybe look into it. It's overall quite good. Pop songs aren't this short though. :)