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  • Not sure what kind of feedback you are looking for as there isn't much to comment on at this stage. You have a pleasant little melody (theme and variation of Auld Lang Syne?) but not much else to go on. It's a single line, no counterpoint or harmony, on a piano which could offer significantly more texture.

    Is it written with a different instrument in mind (understanding the limitations of some midi output) such as a fiddle or pipes?

  • As Graeme has said, you have a nice simple melody. I think it would be beneficial if you added something behind the melody that could add some more depth to the piece yet still keeping it simple. I think the melody does a good job portraying an open field, in the calm... 

  • Thanks, have not thought of any particular instrument yet, I have made the melody myself, cant see why you think of Auld Lang Syne. 

    Jostein

  • Ok, added some counterpoint (after first verse), my first try at counterpoint.

    https://soundcloud.com/jostein-kauserud/ton-kontrapunkt

  • Hi Jostein,

    I have just listened to your uprated version and there is some nice stuff in there. If this is your first attempt at counterpoint then well done indeed - you obviously have a feel for it and a bit of in-depth study of the subject will allow you to do so much more - I strongly recommend Walter Piston's famous treatise as initial reading.

    There are distinct shades of Auld Lang Syne in the melody line, particularly at the cadence points - but that's not a criticism, just an observation.

    I don't know your age or musical experience but I'd say you show distinct promise - keep at it.

    Stephen

  • Thanks, turned out quite ok, but it is probably many things that can be improved, think I will revisit it later after some time then I have learned more about counterpoint. Thanks for the Walter Piston recomendation will check it out.
  • Counterpoint isn't difficult to learn but it comes with some guidelines (about intervals and the progression of voices. Traditional counterpoint is fairly strict because though it's "polyphonic" the idea was that each line was a tune and should be playable/singable by itself while harmonising with the other lines. However, not every great polyphonic composer followed all the rules.)

    What you've done here is add a partial cantus firmus to an existing tune - a pleasant one at that - so it might be worth making it a true cantus firmus - an accompaniment of one note per bar as a start then take off from there. 

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