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Hello PaperComposer Thank you very much for your comments. Yes, the A-natural in measure 24 can be considered as a bit odd (I can agree with you). But now, I recall how I was thinking: Another (third) repetition of ms 1-4 (the motif) after the second repetition in ms 16 would have been misplaced and boring. But at the same time, I really wanted this repetition. So I constructed a solution by inserting a quick segment, starting at ms 17, including a short climax at ms 25, followed by a rapid relaxation. Then I returned to the initial motif of ms 1-4 ( starting in ms 33). The odd A-natural in ms 24 was put there on purpose. I thought that it sort of adds to “divert the memory of the listener” away from the initial A-minor motif for a moment. At the end the segment, the motif does not sound “worn out” anymore, when I repeat it again (twice!) in ms 37-48. Of course other solutions would have been possible, including an increased delay, but I wanted to keep up a strong focus on the motif and not lose momentum of this rather short piece. Thank you again PaperComposer for your constructive feedback!

I'm only going to talk about a specific little part, since I think the last version posted is serviceable and works fine. So, the point of adding those little semitone suspensions is to imply a Dominant -> Tonic resolution. Not necessarily the tonic, but certainly a resolution of some kind. Even if you only have two voices, you still need to think what kind of harmony you're implying. So, in measure 9 there, it's in G major, then A minor (II degree), then A major -> D major (double dominant) in beat 1 and 2 in measure 10, then G major, then... so that's the issue there with measure 11. It's a tritone from E to A#, which goes into a 5th. Very harsh sounding. As it is, you can say it's maybe Emajor -> A minor, but it's still weird to have the E and A#. I think it'd be more elegant if that E would be replaced with a D on measure 11. That way it'd be just an augmented D chord that ends in a 6th that goes down the Amin there. You can of course change the C to an A for better effect. Anyway, important thing to remember not every chromatic movement is made equal. If it's simply an ornament or an easy suspension, then there's no major need to think so much of the harmony through. But if it's inside a slower segment followed by more chromatic movement and that it has to go somewhere specific, then you need to know what the chromatic movements are representing. One instance is just for color and flavor, the other is functional.

Hi @Olov: You idea of resolving the leading tone to the tonic as usual isn't bad, but I'd keep it like that, since Alto and Tenor are resolving to that tonic one octave below and to keep the progression on the Sopran. Happy you like that and thanks for your comments!

Very expressful piece and joyful song. Good instrumentation, I like the end with the timpani. In measure 34 it would sound better if the soprano went up to G instead of F# on the first beat. That may need that you also maybe prepare with an F# in the end of measure 33, or a another D. It flows better and will fit more with the style (baroque/classicism). That is my opinion.