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There you go. People spend time creating these responses. So have I. (On this forum, I might add...) It was the most useful feedback I received. As nice as it is to receive positive reviews, they don't provide the same opportunity for growing as a composer. Sorry, but exactly why does this matter to us then? Oh well then. Here's what I think you want us to do: 1. Don't point out every "mistake." 2. You don't learn about them. 3. You continue to write them into your pieces. Great! Optimal solution! ... That's why people point out these things. To help you. Now, if you'll excuse me, I'm going to go and act on some criticism of one of my previous works.

Good, that's how it should be. You should always have some sort of backing for what you write, otherwise the conversation is meaningless; we then argue definitions as opposed to any formal material. However, and despite me largely disagreeing with most of what people have said about planning pieces in this thread (even though I don't personally plan pieces), if you're using these theoretical, precompositional exercises out of fear (I use this term loosely; I don't think you're actually literally "afraid") or in preparation of theory-based criticism, you may be in the wrong headspace when it comes to using theoretical "justifications". Rather, they should be your sword, not your shield. Even if you happen upon an interesting motive in your writing unintentionally, you can understand why you processed and wrote it as such; that is to say, the theory is able to be used in moment-to-moment composition, as opposed to a restriction in any short-scale form.

I guess the fact that you're asking for help with your music, but not showing anything of what you actually composed but some schemes you made, sums up the situation. This is very present in most of your pieces, you come up with some thorough explanations for every note you put on the page, but sometimes leave the "emotional" aspect of music composition to the side. Yes, you have an expressive goal with most your pieces, but you always seem to approach them as in a "let's see what reminds me of that in other people's music", followed by "I'll stirr all of that" fashion, if it makes any sense. It's not because you've identified those characteristics in other pieces that they will be of any use for you. As cliché as it might sound, try creating your own storm, without seeking into people's music for the tickboxes you have to fill.