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You're welcome and I look forward to hearing your future attempts! (-:

Same thoughts there; I should have planned the development of that episode more thoroughly, by which I absolutely corroborate your 4th point. Silly mistakes of I novice, writing a fugue with no prior planning [sighs]. Same for points 6 and 7, as for the latter I have no excuse, I utterly forgot pedal bass notes are actually an octave lower than regular bass clef notes when composing that passage. It might be unnecessary, but I really couldn't stand that dissonance. If the point you also imply is that mutation especifically there reduces independence between voices, then I cannot do but agree. Will take that into account for future fugue attempts of mine, thank you so much for reviewing my work!

You're welcome! Libra starts on September 23rd which is the 9th month of the year - maybe that's the source of your confusion?

Omg online it said it was ninth! I need to fix that lmaooo thank you for telling me! And I think I might add something before that chord. I kind of want to get all the parts to like five minutes each, so the whole thing will be an hour long. I might be overreaching my limits though. Anyways, thank you for the feedback!

Since the astrological year starts at Aries you might (or might not it's up to you) reorder your movements. In this case Libra would be the seventh sign (not the 9th as your movement is). I don't know how you should continue this piece - you wrote a pretty conclusive sounding chord at the end. Sorry if that's not much help. /-:

Oh I'm sorry it used to be a minuet in B but I changed in the middle of uploading haha! I will edit if I can I will have a look at those tritones tomorrow and see if I can find an easy workaround for that. Thanks for telling me, I tend to miss them too easily indeed! Thank you very much for the comment !

Agreed. To put it in a different sense, the piece itself needs a breath. It goes and goes albeit gorgeous; however, music is life and life needs to breathe. A sense of repose would make this composition come to life even more. Even check out Beethoven's 5th. Notice how Beethoven adds those reposes throughout the piece. Magically done.

I was definitely after a "film score" feel. So that's great. And many thanks for your advise. I never thought about being adventurous with chords outside of the home key. I'm still playing safe and hold on to what I understand so far. So much to learn and to experiment with. But you challenge me and that's great! I will make another version and apply your thoughts. Very interesting to see what happens then. And if I can understand it. Many thanks again!

One thing that isn't holding you back is being able to represent your music with great sound samples. Well done! It sounded like a romantic film scene, do you draw inspiration from film/video game music? I'd comment further, but it would just be a bad version of what gmm said. Listen to that guy 👍

Ha! Thanks for the tips with the flute, you're giving me ideas for wind ensembles now. I forget that it's better to write something too hard and have someone point it out then being timid and writing with no confidence. You could change things, but if you make changes you'll never end your changes...you could tinker forever lol. I always think of critiques as advice and inspiration for the future. Usually when someone points out a flaw or something in my music, it makes me want to rectify that in something new.

It's nice. I like your melodies, and it's got a "film score" feel to it if that's what you were going for. I thought you did pretty good overall. Since it sounds like you're relatively new to orchestral music I'll throw a few ideas out, which you are of course free to ignore if you don't like: Harmony - try to be more adventurous with chords outside of the home key. As an example, I think an F# sharp major chord at m.17 might be a nice surprise. Counterpoint - everything seems pretty consistent, but maybe try and pass some of the motives between the voices. For example, maybe have the second violins in m.13 echo the quarter, dotted-eighth, sixteenth motive the first violins play in m.12 on a different scale degree. This kind of thing will give unity between the different voices. Orchestration - The instruments are all used pretty well, but it felt like the woodwinds were underutilized. I thought maybe at the big moment at m.22-25 it would have made sense for the upper winds to all have the melody in unison rather than just the flutes. Mix - I thought the percussion was kind of overbearing starting at rehearsal A. They are all marked "mp" at the loudest, but they kind of took over the entire ensemble, especially the cymbals. I might be wrong, but it seemed like you were going for a more subtle approach, so I would tone back the velocity in the DAW, but that's just me. Overall really good! Thanks for sharing.

Some beautiful phrases you weave here. Nice use of diminution of the melody to create a soft ostinato background for the melody (1:39). The chord at 0:20 sounds especially innocent to me. Nice job!