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Thank you for listening and for your comments. I managed to find a solution for the odd phrasing and transposed it up to FM so that the flute sings better and the cello gets to play exciting notes in its higher register

Your phrasing after the repeat is 2 + 4 + 3 + 4 which threw me off a bit. Besides that it's nice just as many of your pieces! I'm glad to see you're back - haven't seen you in a while.

That end phrasing in your main melody is pretty much Liebestraum 3 from Liszt, but I think you know that. Nice interesting texture of a 4/4 melody over the 5/4-like left hand, but I agree with PaperComposer; it tends to get a bit stale after a while. I do appreciate the experimentation of extended chords, but I feel like we composers can get caught in the rut of a chord per measure type of feel. The harmony was a bit questionable around 1 min, but I think you're off to a great start at something with a lot of emotional depth. This was a nice relaxing piece, and just what I needed at the moment. Keep up the writing, I look forward to more from you! 😃

It makes a lot of sense if you think about it. In classical days, singers read off single sheet voice parts. The tenors just had the tenor part, no indication of what anyone else was doing, the basses just had the bass part, and likely all the basses were looking over each other's shoulders at a single copy by the light of one flickering candle... Think of how difficult it is to sight read if all you have is your part, without being able to relate it to the rest of what's going on. If you play the violin, you put your finger in the right place on the right string and you reliably get a certain note, but if you are a singer, you have to pluck your note out of thin air. It's really hard to do accurately without being able to see the complete structure of the harmony you are a part of unless you happen to have perfect pitch, which is a rare gift. Modern sheet music always gives singers all the choral parts together plus a reduction of any instrumental parts. We're in the age of modern printing. It's cheap and easy to do. Classical period's solution to save time laboriously copying notes onto handwritten sheets was to have the brass double the singers so they couldn't get lost, and to strictly enforce voice leading rules so that parts tended to move by predictable stepwise motion as much as possible, rather than by leaps, which people are more likely to misjudge. It was sheer self-preservation on the point of composers. The alternative was a train wreck every time you premiered a new piece. It's not like singers could go out and listen to a recording of the thing before they tried to sing it either.

A nice Chopinesque piece. At around the 1 minute mark I get a little confused harmonically (listening on headphones - it's too quiet to hear on my speakers). As far as writing in a Chopinesque style - it's easy to do (as your piece demonstrates) but difficult to do well. I guess you wanted your melody to have that floaty feel - you ended up writing some unusual 5 bar and 10 bar phrases in many places. You should be careful with that because you border on aimlessness. You also spend a little too much time on that C an octave above middle C for my taste. Your piece is missing some of those cool Chopinesque roulades that he writes at strategic points within a melody or to extend a melody. Also - feels like you could have used a change in your harmonic rhythm somewhere. Throughout you basically have one chord per bar and it tends to get stale. Besides those things it was a relaxing listen!

As it stands it's too 'bitty' to do much with. You could consider it through-composed and move on to something else in a similar vein. Problem is you have a defined key which would give you problems. If you wanted to go down this route probably best to redo bar 20 and modulate to a new key - the relative major? I'm in agreement with Rabbival507, have a look at what you've got and see what can be developed. The tune from halfway through bar 5 to bar 11 could be developed. Write it out as a less-elaborate melody, harmonise it, look to modulating at the end. So, vary the harmony. As it stands there's one place you could use chord IV possibly more if you adapt the tune. (One problem with the piece is it's ONLY in E minor - doesn't change key at all) Bars 15 - 17 are banal and cry out for change of harmony (bar 16) and the high B in bar 17 lands on the dominant so you rearrange the run up and underpin it with a chord. The last note in that bar might then be better an f# or c nat. Having big ambitions is good but it also pays to work within your means plus a little extra! Have a go at that melody. Try to vary it with some interesting harmony. It's easy to slip into the relative major (Gmaj via its dominant, D maj7) and back (via Bmaj7) or the subdominant (A minor), things like that. Good luck.

Not gonna lie, it's not related, I just pulled it out of thin air lol.

@PBStu First, I think that instead of changing the tempo you should change each note's length. Felt too short for a tempo change. This part is too static for me. In general- you seem to have a problem many beginner composers seem to have- you have lots of ideas but its either too consistent or too inconsistent. Here's a piece I wrote five years ago: It's way too short, way too undeveloped, and has an incredible amount of ideas compared to it's length. Back then I'd give it 8/10, now I think its 2/10 at best. The ideas don't have their respecting place to breath, develop, grow... same goes with your piece. Choose an idea or two (rhythmic, harmonic, melodic...) and use them and them only, though in different "colors" (minor/major/pitch and interval changes/long/short/stacc/legato, you know...) Lets say we take this: So: