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Hi @JorgeDavid! It is indeed a very good and enjoyable piece! I really like its simplicity and childish mood, maybe is it too short? I think that a longer version of this piece would be even more gratificant! I really like the VII7/V in b.4, as most of us would expect a D# not an C! Also, I wouldn't do the rit. at b.4, it is yet too early for that, a quaver union between b4 and b5 would be great. I think that the Am section is maybe too short, just 4 bars. As Henry said, this types of textures get boring easily, a more complex bass line in B section (or some kind of counterpoint) will help to keep it interesting through all the piece. Hope I helped! Samuel

Here is an Adagio for Flute in Eb major that I composed. Right now I might use this as a third movement for a Flute Sonata in c minor!

I think it is a very well resolved romantic piece on the formal level, with some harmonic variation in the development. The main part is, for my taste, a bit too "fixed" in terms of its pulse, not only because the first note of the measures is reinforced, but also because the motivic figures occupy almost constantly a measure. The middle part (as from b. 52 to b. 62) is very effective in breaking and contrasting.

Hey Guys, This is the new one. What do you think?

A mostly dark and mystery character as It's mostly like in the space. I like the progressive style and the epic feeling at the middle. The piano melody is nice to hear and it has possibilities to become timeless. It reminded me movies like the Martian and Interstellar and the video game Dead Space! Very nice work!

Here's an updated version! I was able to fix most of the mistakes that you pointed out! I also added figures to the continuo part! I already have the first and final movement of the suite, when I finish the second movement I will post it! Thanks for the feedback!

Thank you for your comments! I'm kind of realizing this just now that I've been into "pastorale music" because I wouldn't say this some time ago but maybe it's true now! @Alex Weidmann About staccato notes under a slur, in this piece theres no such case. I use it in other works more for (string word) portato, but if the score is clear I don't think that there's any way of confusing a phrasing line and that. @PeterthePapercomPoser This work is conceived as a combination of 3 "miniatures", so I understand what you mean. I also think like this, but at the moment of composition I wasn't up to doing something more developed and now I don't feel like to do so. Surely I'll end up doing something more sofisticated in the future for this instrumentation. This is something to improve, I found it a little more difficult to match the instruments at some points so I think at the time of composing it I avoided doing such thing.

Hi @JorgeDavid, I like the sound of celesta and this one is a simplistic and lovable piece! This will be a great lullaby for babies! Yeah this does remind me the simplistic texture there. It's amazing Schumann does with the counterpoint and voice leading there despite the thin texture. For me sometimes it hard to write for two homophonic lines since it can get dry and uninteresting sometimes, but here that's not the case. Except in b.4 last two beats and the ending chord of the first section.I think you can insert a third there (G# and C# respectively) to attain a richer harmonic chords there. For b.16 that G# and B chord in the right hand you may just write it with two voices, and the B will not need to split to two quavers and tied for a crotchet. That's great news! Hopefully you will squeeze some time for composing after this! Thx for sharing! Henry