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Good day Aaron,

First of all, good job with this short simple piece. A few comments/ criticisms:

• Your understanding and use of Binary form is exceptional, but there is a bit more for you to learn. I'd say your next steps are to study modulations, and how to implement them into Binary form.
• Nice, I see you've started to phrase your melodies. Your next steps is to expand your phrases from 2-bar phrases, into four bar phrases which are far more common, and also to start using cadences in your phrases.
• Once again, dynamics should be starting to appear in your music. This will create greater contrast between the sections, and is something that will become immensely more important later on.

Nga Mihi

Arjuna 

I put all of my suggestions, tips, and reasons for them on a score, which means I technically copied and changed your work without your permission, but I think this was the most efficient way to get my points to you, rather than writing tons of paragraphs here. I hope this doesn't bother you.

Suggestions like the articulations and dynamics are merely what I thought would work well, but I'd much rather you stick to your vision than copy mine. Other things like voice leading and harmony are not just personal opinions but are important for the classical style and such.

Btw, your piece was a blast to study and provide feedback for, since I've been studying clementi sonatinas and as such have gotten a lot of exposure to the theory and aesthetic of this classical style you're trying to emulate. Alot of people here write pieces that are way too dense or long to go nearly as in depth as I have here, and I thoroughly enjoyed it. Thank you.

Anyway, I hope my feedback is of any help!

Hey Aaron,

I like you are using the ii/V for the modulation to D major in the first half, and you start introducing different in the beginning of the second section like the relative E minor! Jonathon @ComposaBoi's suggestion is great so I am not gonna add anything here haha!

Henry

I think @ComposaBoi's contribution is tremendous to this thread and he really shows how this piece could most certainly be danced to like a traditional minuet!  (by removing the fermatas the music flows much better and uninterrupted)  I like the crescendos and diminuendos that he added to the B section and at the end of the A to make the cadence stronger.  I am not sure how much I like the sforzandi or the sudden changes in dynamics in the A section.  I think those kind of sudden dynamic changes would be much more appropriate in a scherzo (which is also a form that evolved from the minuet in a classical symphony).  Thanks for sharing!