Fugue in G-sharp minor (No. 4)

Well, not much to say this time. I've been seeking for parallels for over, like, 3 hours (well I don't really know how actually long) since I finished it until now, but there might well be too many my sight may hat übersehen (I'm not German but anyway, sometimes other languages are better at conveying quite specific meanings in instances like this one :D). So, without further ado, here it goes. Hope you enjoy it!

Your problem is with particular passing tones at a lower metrical level. Like in m. 6, where there's parallel G# -> B and the passing A# doesn't count towards mitigating it. Be wary also that a diminished to perfect fifth going upwards is generally considered incorrect (unlike P to diminished going down), like in m. 5.

I think the end would be better if there was a stronger V-i feel(or V7-I).

Other than that I can't really give you an analysis of the counterpoint, I'm no master.