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Hey Aaron,

6 hours ago, 44W74l4 said:

I wrote them on the bus

Won't the bus shakes your pen off? 😝 I do sometimes have idea on bus too! Maybe it shakes my brain out for inspiration.

For the Allegretto one I love your modulation to F# minor. For b.19 maybe I will go for F#-G#-F#-E#-D#-E# for the fluency of the melody.

For the Andante it's nice of you to try the supertonic minor in b.9, and the sequence is nice.

The Allegro one is my favourite of the three. I like the spirit in it. And you are trying a three part structure for a tonic minor contrasting section which is for me a good improvement! I may go for F# in b.13 RH.

Thx for sharing and it's nice to see you keep improving and developing!

Henry

Hi Aaron! I listened to your pieces, and I must say I really enjoyed them, specially the Andante in D major.  The way you transitioned from D major to A major in section A was really nice and created a sense of journey. I really liked it. An E7 chord in m.8 would fit so good for the perfect cadence in that A section hahaha I love 7th chords. 

In section B, the shift to a minor key provided a nice contrast. Very well thought. And finally the return to D major was satisfying and gave a sense of resolution. I felt overall, the composition carried a sense of subdued joy with a touch of melancholy. 

I really liked the pieces! I look forward to hearing more from you in the future! 😄

I like all three of these pieces.  But I notice a common problem to all three.  You don't use 1st and 2nd endings in them.  I think it would help tremendously to let the music flow easily without sudden hiccups because of a fermata that should only be part of a 2nd ending (as in the Andante in D major) or a hanging rest that shouldn't be there but should instead include the anacrusis which will allow the phrase to loop easily back to the beginning (as in the Allegro in A major).  Thanks for sharing and good luck!

They are three harmonious pieces and I think they are in a gallant style, which is one of my favorites.

I would like to make two remarks about the third one:

1. The modulation from Amaj to Cmaj (using Emaj) and also the return via Cmaj - Am - Amaj ... seems to me a bit strange for this style, especially since they are not prepared. These triadic relationships are more posterior, at least used so boldly. In this period the tonalities where you modulate to are part of the format and going so far out of the way diverts attention, it's as if the listener can momentarily "lose" what's going on.
2. I think that the use of the anacrusis and repetitions is not entirely conforming. As written you have 5 parts in some measures. This could be written in a more correct way. In my opinion the silence is left out, well it would take longer to explain.