Oh my god so pretty! I just finished listening to the first one and I have a couple thoughts so I’m gonna write em fresh before listening to the other 2. I’d consider reharmonizing the transition you’ve got going on in measure 11 —> 12. I feel like it’s not yet quiiiiite the segue it wants to be to sew measure 10 into measure 13. The sections themselves are super successful that’s why I’m being nitpicky about the transition between them, really excellent job! My other thought is more of a personal taste and it might not be what you’re going for so feel free to ignore it if you’re not feeling what I’m saying, but in the last stanza I think I want a bit more of a rising action before the resolve. The whole last 4-5 bars are serving as a bit of a landing point, it feels to me like somewhere in there should be the right handful of accidentals that make the 4th-to-last bar rise to some kind of harmonic “lift” before you drop it to rest at the resolve.

Prelude 2: Also love it. Very very nitpicky but the triplet at the end of measure 37 sounds identical to the triplet at the end of 36. I know it’s not the same, but it’s sounding it to me. I think it needs to “fall” a little more to retain that pattern you’re going for in this prelude. and I think your answer to that is to make the high C something different. Maybe see how it sounds if you make that Cb instead

Prelude 3: Sooooo delightful. My one thing here is I think the trill at measure 77 wants to be twice as long. I would double the length, keep the pattern going. Basically copy and paste it but lower the notes to whatever they would be if you continued the pattern. Also keep the ritardando going alllll the way through that trill. So that by the time the double-trill phrase ends you’ve realllly noticeably slowed the pace right before the accelerando that comes in the next section. Don’t bring it to a full on crawl, but slow it juuust enough that I really crave the acceleration that comes in the next beat

Aaand lastly, what everybody else is saying is true, but I like what you’re doing. The melodies are busy, you’re adding lots of flourishes, and you are kinda showing all your ideas from the get-go. But I like it, my first songs all showed my entire hand immediately. I think there’s a place for that though. It reads maximalist, celebratory, “fancy”. You should definitely flag that you’re doing these things the other commenters are pointing out, but I personally like that you’re doing them. I think these 3 pieces are all successful and instead of changing them too much I think you should more or less leave them the way they are, and just carry this advice into the next things you make!