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Maybe a sort of fade out could help too.

Nice piece! The counterpoint sounds fine to me and I like the harmonies. The ending sounds a bit abrupt in my opinion. Maybe you could make it more logical? Well, the music sounds really full already, so I would not compose an even fuller harmony. Nothing wrong with space between voices. Well done!

Nice job! Think carefully about the places where you split the tenor line. Tenor is almost always the smallest section in a choir, so if possible, you generally want to give the extra line to the bass or alto instead, or it may be too quiet to be heard. For example, at measure 5, the tenor is the only divided part, so both tenor parts will probably sound very quiet compared to the other voices. You can easily give the top tenor line to the altos instead. It's easily in their range, and they are coming from a C in measure 4, so they will have no problem finding it. (:

It's a lot of fun to listen to this piece--the organ is truly the king of instruments, as Mozart himself claimed! I really enjoyed the passage from m. 54 to m. 61. It was wonderful (albeit a bit familiar) harmonic progression that built a lot of tension before landing on that big G Major chord. However, the section from m. 62 to m. 69 kind of just reused that same progression and ended with the exact same cadence, and I feel like the repetition didn't really add much to the music. A big half cadence like that suggests to me that something impressive and new is coming up--a passage of brilliant virtuosity (maybe some fancy footwork) or of great contrast, like the softer section that comes next. As for where you go next, I suggest drawing inspiration from Beethoven's Grosse Fuge: Beethoven begins with a similar structure--an introduction, a polyphonic fugal passage, and then a softer B section. He transitions out of the B section by reintroducing an ominous theme from the introduction, completely out of context. I think you can do the same thing here, even if you have to fragment an earlier theme and just use part of it as a short motif while maintaining your more peaceful atmosphere. I would choose a theme from your fugue, as you've developed that the most and it'll probably sound familiar to the audience's ears. I hope this helped, and I look forward to hearing this piece in its completed form! J Shu

Watch out for your nonharmonic tones sometimes, as they create dissonances I'm not sure you want, like a m9 in a iii chord, with a passing tone in the high melody. The time changes were effective but sometimes a little too obvious for my taste... that could just be a me thing though. It's what I like about Prokofiev Symphony 5. I agree with Luis's comments about the harmonic language... bVI's, bVIII's, and v's could be a fun thing to play around with for similar things in the future.

"Rain showers over the Town of Hollow Mist. A small secluded town full of remorse and mystery." Little theme I created, after binge-watching the show "Dark". I hope you like it! It's a little different from what I'm used to -- I purposely stayed away from heavy percussion and bombastic spiccatos.

Oh wow. This is awe-inspiring. Very good job my man!

Me like it. Sp00ky. Feels like a creepy video background music thing. Or like a main menu thing. It's nice and really sets the 'mysterious and creepy' theme for me. Even gave me few chills, although I'm a little cold, it amplified the feeling.

Yet again, another amazingly epic piece! I hope you expand on it! Great work!