I would do it this way if I had doubts, for a personal reason of mine (everyone experiences the approach to music in their own way, and that doesn't mean they feel like Mozart, but if they care even a little, they must behave in a way that doesn't give away certain things if they believe, also based on others' evaluations, that it is worth pursuing; now I won't explain here what goes through my head when I write something that I think might be at least a little valid, I mean a little, I'm not talking about masterpieces, let's not misunderstand, here I am talking about the psychological aspect), if I think that a piece I am starting to write could turn out well, I would continue it on my own, provided I don't trust [others] of course, perhaps by asking for suggestions in a parallel way, i.e., on passages similar to those I am putting into practice, but without clearly alluding to the piece I am working on; this, let me be clear, is if I do not intend to show anyone any work I am doing and I think it could result in a well-done job, then apply the suggestions received (assuming they are not 100% decisive regarding the doubts I have about certain things, because otherwise the work is no longer mine but shared or 25% mine; it's one thing to ask for opinions or advice on a harmonic passage, another the personal solution anyway, on a part of a piece, even if it is characteristic, that's how I think, and I'm speaking in paranoid jargon, okay? Then, if someone has no problem with it, they can let anyone see whatever they do), years ago on another forum a user wrote, and after reading what he was asking, the answer automatically came to me: "you are even saying this publicly, congratulations" (again, if you care; then it's not certain that it will be a masterpiece, logically, but it always depends on the importance a person gives to what they do; one must also start from the premise that someone, to prepare an exercise, might arrive at sketching the idea of a future work, so then what, do they ask for rights from the conservatory or the teacher because the idea originated there? I say this obviously ironically, but it is to specify that if someone asks these things, it is not directly proportional to a high evaluation of their ego, but rather a real "fear" of being illegitimately deprived of an idea they believe is valid; whether it will truly be valid or not will be told by others and subsequent evaluations, but let's not dismiss this type of approach a priori; at least I don't quite believe in the image of someone who writes in a carefree way, as if they don't care about anything, but deep down is a little genius; every composer cares about what they write, whether amateur or professional, and paradoxically a minimum amount of self-criticism is almost always present in those who write, more or less, but it's there, and I hope so anyway; in some way, they know how to evaluate if what they have to propose is truly a piece of junk to be ashamed of or something to work on and improve), he asked, obviously after having published his compositions: "what do you think, I haven't registered or at least safeguarded what I wrote, should I do it?", practically in the "lion's den"; I mean that by saying it publicly, he exposed himself even more, evidently, or he almost had no such fears otherwise he wouldn't have asked, or perhaps he did it pretending he didn't care, so as not to draw attention.
