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I have recently had an interesting mind experiment with myself. I have sometimes thought of maybe going back to school for a master's in music and I've heard some great advice on discord stating that one should seek out a good composer/composition teacher that one would want to study with and go to that school where you'd be able to study with them. So I imagine to myself that I have already done that and I'm sitting with my teacher in their office, listening to some of my music, and they ask me "So what are your musical goals in regards to musical composition? What do you really want to achieve here?" That question is what inspired the following list (in no particular order): Write mimesis music - mimicry of various natural/unnatural sounds through reinforcement of harmonics in the orchestra Feature aural illusions in my music Continue writing variations pieces on various beloved pre-existing themes or newly composed themes Write a programmatic symphony Write an original piano sonata in a unique style without resorting to cliche pianism Continue finishing old pieces that I started over a decade ago to stay connected to my past Learn galant schema and use them to write original pieces of music Continue writing old Baroque dances in a new style and include different dances besides the minuet in my symphony Write occasional pieces of music utilizing dice and/or chance/aleatoric techniques/elements But ultimately - just follow my heart and write passion projects rather than cerebral exercises. Those are the goals I came up with. Share what you think of them or what your own personal goals are and how they might be different from mine! Thanks for reading. Peter

Difficult to say. But I think that it is a bit similar to Bach´s siciliano. Could it be a variation/arrangement for guitar of this piece?

Than you indeed! Narrowing it down to one of the Bachs, it's CPE Bach's Siciliana. Armed with your hint I was able to find a recording sample and....bulls-eye! I am in your debt. Now I can get the sheet music.

I have a lot of goal about composition: -learn "styles" of writing Aka baroque galant Debussy atonal pendiatonism and contemporary. -being able to write a major work(a symphonie, requiem or a free form long pièce) -maybe trying to expand some research about music effect in medecine or extrapolate about a new way to think music.

Right now, to finish the final couple pieces on this album. It has been an experience, I tell ya

You know, I like this piece a lot. You break out of your usual style of writing here, creating a balanced contrapuntal texture that is not dense, with plenty of nice sequences and imitation that brings contrast (the hockets like in mm. 19 to 21 are great). I also don't agree with some of the things @Guillem82 mentioned: I don't see or hear any harmonic mistakes/unresolved dissonances, and I don't mind the doubled notes on the violin. Sure, it's uncharacteristic but in this case it works fine, just like the distant modulations. Moving on to things I don't like...I would surmise it as: There is no apparent organisation or plan of your musical motifs. Let me elaborate. Regarding the first point, I remember saying to you before to analyse what Bach does in the WTC with his fugue subjects in order to get an idea of how to develop them (the formal term is fortspinnung). I really would like to make this recommendation again. It is not just fugues, or even Baroque music that this skill applies to - a control and constant development of a limited number of musical ideas is a trait of virtually all classical music. Especially in contrapuntal music, a failure to do this ends up making much of your music "noodling", where you have correctly constructed melodies, harmonies and parts that work with each other, but virtually zero connection between one bar and another. As an example, when I wrote the fugal section of the Overture of my Keyboard Suite, I recognised that the driving rhythm will be 6 semiquavers-per-bar. To achieve motivic unity, I limited myself to three possible settings of notes to this rhythm: an ascending scale, a turn figure (both of these can be found in the subject), and a rising fourth from the 2nd to 3rd notes followed by a descending scale (found in the countersubjects). You can check for yourself that except at structural cadences, every group of 6 semiquavers in the 242-bar long piece belongs to one of these three settings or their inversions. This is a somewhat extreme example; the Air for example is far more loosely bound by motifs, but I stand by my point. When you look back on your fugue, ask yourself: what is it that ties the whole work together? To me, it's certainly not the subject! The lack of subject entrances aside, the head (very nicely composed) has a characteristic descending, dotted, pattern which completely disappears after the first few bars! The tail (also very nicely composed) comprise of a descending scale and a rising seventh chord in quavers. Both of these elements return very rarely for the rest of the piece. So, if your core musical idea isn't actually the subject, what is it?