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Since they have done some great reviews I'm just going to give you some general impressions. I think the piece is very well done in terms of structure, melody, modulations. What I see are two general aspects: 1.) The bass Alberti...., it has already been commented. I don't think the classics would use it in a whole piece. In fact it is common to see them start with it and abandon it soon to give way to other patterns. I understand that doing an Alberti bass all the time is an easier solution than writing and looking for a more varied left hand. But so much of this kind of bass is monotonous and sounds like a hybrid between classicism and Steve Reich. 2.) I think there is a bit of a mess with minor scales. You know, natural minor, harmonic, and melodic. There are times when, as @Henry Ng Tsz Kiu pointed out, the VI degree is ascended and not the VII, or vice versa, etc... And those augmented second leaps, for example F -G# are not what you would expect in this style. That's why sometimes it sounds a bit "flamenco".

Bartok's axis system is a good place to start exploring.

That is the point. Dozens of musical systems and languages were created in the 20th century, but you can use them however you want. Of course, if you want to sound like the Schönberg school, you will have to apply all its principles. But if what you want is to use the dodecaphonic system to express yourself however you want, then welcome. For me, that's the way it is with all styles.

Who cares how Schönberg feel when he doesn't care how we feel towards his music haha!

Congratulations, it sounds great. But, strictly speaking, there are many elements reminiscent of tonal structures. Although the moments where important chords are concentrated, these are well chosen not to be "consonant" (although the octaved E at the end would not have been forgiven by Schönberg, haha), the overall texture of accompanied melody is not very typical of dodecaphonism. Nor is repeating patterns typical of this style. Anyway, all this doesn't matter. Schönberg and colleagues designed this system and we can use it as we want. In fact, at that time each one did with the system what he thought was good for him.

Hi @Guardian25, This is quite interesting result of the 12 tone idea. 12 tone idea is never a thing I would like to try but the effect here is funny, particularly with those pizzicatos. For the pizz. I think they may take shorter note values, in those in b.6, 8,13 & 10. Also you can remove the redundant pizz. marking in b.7. Thx for sharing! Henry

Hello Guardian! In my opinion this is the best baroque piece i have heard form you. You really the melodic language in your head. There are many who try to sound baroque, if one try to arrange it its impossible because the melodic material is modern in nature. This problem is not something you have, and that is great. I think this piece as a whole is very plesant to listen to, you have some very good ideas. There are a couple of things you should focus on: Harmonic rhythm. Harmony/progressions. I think you main harmony (on the strong beats) works overall good, but its the passing notes and unprepared harmonic changes that is the problem. Often the tempo can cover this up, as it does here. For example look at score below to see more clear what i mean. Great job, keep it up! 🙂