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Sorry I'm a little late to this one. A lovely little piece you composed here(especially since you were basically living 18th century when you wrote this). As many others have mentioned, the piece does get a little bit mundane after a while. A little trio section might help(with varying texture and key), as well melodic variation here and there(you could sometimes break up the three note motif using dotted eights unless you really want consistency). Lastly, plan out your modulations a bit more so they sound coherent(elaborate more on m. 34 so that we can fully capture the shift to G major). Again, a change in texture might help. I am actually a fan of the harmonic minor since it gives your work a bit of an individual touch(perhaps influenced by scarlatti?). Anyways, I wouldn't be able to come up with anything half this good if there was an outage.(probably be hiding under my parent's bed) Keep it up.

The truth is that there are many, many topics that could be discussed about the leak, but in order not to be tiresome, this will be, for the time being at least, one last question that I would like to address. It is about invertible counterpoint, or double counterpoint. What is it? Well, that counterpoint in which the upper voice and the lower voice can be interchanged and still sound good. For this, it is necessary to make sure that the intervals (in strong beats) are consonant both in "normal" and "inverted" position. The most frequent is to see invertible counterpoint at the octave. That is, two lines that can be inverted by raising one an octave and lowering the other an octave. But you can also see invertible counterpoint at the twelfth (which is a fifth + octave). More rarely we will see the tenth (third + octave). And other intervals are not practical, or very rare. WHY IS THIS FUNDAMENTAL IN THE FUGUE? If we compose an invertible counter-subject with the subject, we gain two enormous advantages: 1) In following expositions or entries, we can safely change the order of the subject - countersubject voices. 2) This makes the fugue sound coherent and, for the sake of redundancy, makes it sound like a fugue. Because the fugue tries to reuse the initial material as much as possible. If anyone is interested, I can post my own appreciations of how to compose these counterpoints. The truth is that mastering the invertible to the octave, you have a long way to go. To illustrate this, I bring here a fantastic analysis of Bach's C minor fugue where there is not only one invertible counter-subject, but two. Thanks to that, during the development he is placing them up, down, in the middle..... With this technique you have a great part of the fugue done.

Kia Ora Carl, This is a brilliant piece for violin and piano. First I'll address your questions: The bowing looks comfortable enough to me, though the ending in my opinion should be on a dwon bow as up bows are much harder to accent. The double stops are mostly playable on the violin, though the section from bar 77-80 is not that playable as written right now. I'd extend the high D to a dotted crotchet. My only real problems with the piece are that section from bar 77-80 and that this audio really doesn't do it justice. I'd love to learn this and record it with a pianist if you wish, I think it'd be benefited by a real performance. Nga Mihi, Arjuna

I've been listening to a lot of your music this week and last to help me with my videos. Here are some of the compositions I've listened to. These pieces were either used in my latest videos or I was highly considering making use of them (all opt in): REGENERATION by @Jordan Jinosko A beautiful symphonic work that made its debut in my explainer video Caprice in Seven by @Mikebat321 Very fun piece, made it in my explainer video Aria Of Shadows by @Nikolaos Dimopoulos Great adventurous piece here, the mood just didn't quite fit what I was looking for in my latest video. But a strong contender for future videos for sure. Desert Temple and Sky Temple by @Zeldz Give these a listen! They are superb. Sky Temple made its debut in my latest video actually. And Desert Temple has so many applications for future use in a video. String Sextet in G Flat Major by @Henry Ng Tsz Kiu Gotta love Henry's Sextet! A complex piece, but there are so many goodies here, was used in an explainer video Acciaccatura Study for Violin and Piano by @Carl Koh Wei Hao This one made its debut in my latest video about Chopin, since I talk about acciaccaturas! Mathieu's Submission (For a Ryal Leach Competition) @Mathieu This one is really good if I ever need some type of "suspense" theme!....I am a fan of the Horror genre, and I have added some horror elements in my latest videos. Caprice for solo violin no 3 and 1 and 2 (linked in 3) by @luderart The style can work very well when you only want one voice to convey a certain mood. I've also listened to parts of Chopin's Fantasie Impromptu and Piano Concerto 2.

This is a nice piece! Im really loving how the piano compliments the violin! This has a Romantic era feel! Who are some composers who inspire you?

@Carl Koh Wei Hao There's a 2-3 minute section in my next video that explains the grace note (specifically the acciaccatura!). And the timing, mood and notation of your music is the perfect fit. Stay tuned for my next upload. As for your piece, around 2:00 in, this is where your strongest writing is because you effectively use the piano and violin to talk to each other.