Canon No. 1 for harpsichord

This a short and simple canon for harpsichord written in three part counterpoint. The outer two voices form a strict canon at the octave and the middle voice is in free counterpoint. Let me know what you think! 

Hi Timothy,

Before I give my opinion, I have to say that I admire composers who can write in strict counterpoint and have the patience to apply it. I have recently studied Fux' Gradus ad Parnassum, but as a Dutch person, I will need to read it again to understand all the complex information.

As it should be, the main theme is easy to recognize. When I read your description, I expected a 'Bachian' canon, but it does not sound like anything Baroque to me. It sounds fresh, new and I was really surprised (in a positive way) by how you compose a sort of modern music, but still using Baroque elements like strict counterpoint in a canon and a harpsichord.

Maybe this is the reason why this music sounds pretty strange to my ears: you use a strict classical form and strict rules, but at the same time the melody and counter-melody sound modern.

Mm. 10 - 13 sound too 'bussy' for me. It might have to do with the electronic sound or the harpsichord, but it can also be because of the big amount of short notes.

Furthermore, I think you can do a lot more with the thematic material. The piece does not sound finished to me and I expected some kind of development.

Overall, you have done well, but I would suggest you extend the piece and develop the great thematic you already have in many interesting ways.

I'm glad you upload this, because many people think modern on contemporary music relies on atonality (or lack of tonality, let's say). But that's not true. A rhythmic development like this makes the piece modern.

I like it, indeed. But that rhythmic feeling is overused. Well, it's ok in a minute, but if something different came next...

I agree with Maarten, when the middle voice comes in it's a bit messy because all the voices keep on playing that quick-staccato pattern. I would have used that voice to balance a bit. This part in m. 11 (and similar in 13) ... I don't see, I have no objection in crossing voices many times, but in this case you're making a cluster (and the counterpoint dissappears).

26 minutes ago, Luis Hernández said:

I'm glad you upload this, because many people think modern on contemporary music relies on atonality (or lack of tonality, let's say). But that's not true. A rhythmic development like this makes the piece modern.

I like it, indeed. But that rhythmic feeling is overused. Well, it's ok in a minute, but if something different came next...

I agree with Maarten, when the middle voice comes in it's a bit messy because all the voices keep on playing that quick-staccato pattern. I would have used that voice to balance a bit. This part in m. 11 (and similar in 13) ... I don't see, I have no objection in crossing voices many times, but in this case you're making a cluster (and the counterpoint dissappears).

Indeed it is great to see that you write contemporary music with certain conservative idea. 

However, I disagree with Luis about the theme. Of course, this is a matter of taste. I think it works fine when extended, but the music will need an extra second contrasting theme. For me it feels like you can do much more with it.

Thanks for the replies and suggestions. You are right that I was trying to write a more contemporary sounding piece and was not trying to imitate Bach. I agree the ending sounds a bit messy and I will think about extending the piece and cleaning that up.