Minuet and trio

I'm writing a series of minuet and trios and in between the composition of each one I'll study more about harmony, melody, and counterpoint so that I can improve until hopefully I manage to pull off a half decent piece. Please be very honest, I'm not attached to these pieces because they are just exercises and I will not revise them instead I'll take on board the criticism and study some more to improve.

This is very nice. Well done. I am glad we have another member interested in this period. In certain areas I would have made different decisions, for example, from bar 5 of section A I would descend from the A (or 6th) to the E (3rd) in a step-wise fashion which would be a prinner (see continuing schema - prinner: http://openmusictheory.com/schemataSummary.html). 

Instead, you ascend in a 6-7-8 fashion and at the arrival of the C you modulate to G with the F sharp. Whilst there is no issues with the underlying harmony, it is not your typical example of how a "galant" composer of a minuet and trio might modulate to the dominant. I think this is because the transition is not "galant", so to speak!. Furthermore, your cadential closes are could be more defined and purposed. Here is how I would approach the A section, for example (ignore the G which I have marked as a 1st degree in bar 4. Actually, the Do-re-mi completes at the arrival of the C in the bass at bar 5 in this example. It sounds alright, although ordinarily this phrase would complete in a 4 bar fashion). 

I have changed the bassline of bars 1-4 to avoid parallel octaves (there is not necessarily anything wrong with this type of motion for an opening statement, although I personally found it out of character with the graceful upper voice in your presentation. Bars 5-8 is reworked around a prinner idea, although would better defined as a The Passo Indietro (the first 2 stages of the prinner) as the bassline does not adhere to its strict definition. It is also important to use contrary motion where possible. A purposed bass with a purposed melody is essential for effective writing for more than 2 parts.

Kind regards, Markus

Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you.

25 minutes ago, DarrenEngland said:

Thank you very much for the time and thought you spent in your comments. I checked out the link you provided to learn about the prinner and other schema. This information will help me compose better in the galant style. I really appreciate you spending time to illustrate your point with the alterations to the main theme, thank you.

 

Anytime. Glad I could Be of help