Project 11: Inventing Free Counterpoint

This project was a very good exercise in defining how two separate melodies can intertwine successfully together.  Unlike previous compositions, I have tried to allow each melody to find its own way, rather than be locked into a pattern using consonant triads as a base. 

In my first example I chose to use the Vibraphone and the Flute to explore the magical properties of both.  Despite using melody (A), I notated this piece in F-major and have left this piece with dynamics to reflect the free nature of the styles. 

As can be seen from the example below, I have tried to allow each melody to ‘come to life’ when the other is resting or using long slurred sections.  Of course devising two separate melodies had its challenges in terms of dissonant and constant notes, but I have tried as much as possible, to leave a slight feeling of dissonance towards the end of the piece.  In the fifth bar of this piece, I have designed both melodies to move in unison, using varying pitches to create an overall crescendo feel the piece. 

In my second attempt at free counterpoint I chose a piano as the main instrument, allowing the bass and treble clefs to play each separate melody.  Once again, due to the ‘free’ nature of this composition, I have left the dynamics blank. 

In contrast to my last piece, I have tried to use a range of fast notes in the form of motifs using quavers and semiquavers, often slurred with a staccato on the last note.  I have used elements of imitative counterpoint here too, allowing the melodies to repeat and reflect ideas and motifs throughout. 

In my third attempt at free counterpoint I chose to use the alto saxophone and the bassoon, accented by the use of the cymbals. I feel that all too often the saxophone is portrayed with a jazzy nature whilst the bassoon is usually given a comedic personality.  Therefore, I wanted to experiment in bringing these instruments together and attempt to display a different side to each character.  In this instance, I decided to aim for a more solemn, anthem-like feel, using the instruments to give a Scottish feel to the piece.  I also added cymbals, as they are often considered too brash to have a place in more delicate compositions. 

Overall I feel that this piece works well and the slight tones of dissonance (mainly given by the mismatch of instrument tones) help to achieve the Celtic feel I was hoping for.  Given the instruments used, I have applied a range of dynamics essential to maintaining a flow and not allowing one instrument to ‘lead the section’. 

The descant recorder has a reputation to being very childlike and not blending well with other instrument.  Therefore, in this piece I wanted to make a large feature of the recorder and find a melodic line and suitable accompaniment that would display the harmonic properties of this simplistic instrument.   In order to do this, I chose to use the xylophone as the second instrument as the high tones of the instrument compliment the recorder well. 

I based this piece on a simple waltz rhythm, passing the ‘oom-pah-pah’ between instruments in order to keep it constant throughout.  I have then used a very simple, repeating pattern of quavers to add interest and familiarity to the piece.  As both instrument have the potential to be very loud, I chose to use very simple dynamics, moving between forte and fortissimo.  Overall, this is probably one of my favourite compositions so far and I hope to elaborate on this melody in a later piece.