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Posted

Focusing on your prelude:
Any reason why your first and third measures in the left hand are tied across the center of the bar instead of just being a half note?
The beat of space in those opening bars feels a bit unsubstantiated. No reason to not fill them in, especially since you're trying to establish material.
Augmented second leap to a the fifth in contrary motion sounds off in 7. Same in m. 14 (with a minor 3rd leap).
Why write out the trill like that in mm. 7, 11, etc.?
m. 12 is also weirdly empty, strange considering first go through it had your bass voice continuing on regardless.
Direct fifth in m. 13 is awkward sounding. Also, what would be considered the major 6th in modern times isn't as common then.
Triadic arpeggiation of m. 16 sounds like a harmonic standstill.
mm. 17-18's retardation to the suspended tone sounds strange. 
 

Posted
6 hours ago, Monarcheon said:

Focusing on your prelude:
Any reason why your first and third measures in the left hand are tied across the center of the bar instead of just being a half note?
The beat of space in those opening bars feels a bit unsubstantiated. No reason to not fill them in, especially since you're trying to establish material.
Augmented second leap to a the fifth in contrary motion sounds off in 7. Same in m. 14 (with a minor 3rd leap).
Why write out the trill like that in mm. 7, 11, etc.?
m. 12 is also weirdly empty, strange considering first go through it had your bass voice continuing on regardless.
Direct fifth in m. 13 is awkward sounding. Also, what would be considered the major 6th in modern times isn't as common then.
Triadic arpeggiation of m. 16 sounds like a harmonic standstill.
mm. 17-18's retardation to the suspended tone sounds strange. 
 

 

Thanks for your review.

I don't really know music theory, so I don't have reasons why I did all those.

After reading your review, it really doesn't sound right. I'll try to fix it. Thanks again.

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