I cannot get the audio to play past 0:28. But the music I heard was pretty pleasant, and I got where you were going with it.
As far as countermelodies go, Luis gave a good example to study. I would recommend spending some time studying counterpoint if you get a chance. Not that you have to follow all the rules in your compositions, of course. But those kinds of exercises are good at getting you to think about how good melodies fit together. It all really depends on what it is about writing the melodies together that makes it hard on you.
That picture looks like Pyramid Head with a guitar, haha.
Anyway, I kind of expected this to have a little more contrast in terms of splitting the measure and dynamic range, but it wasn't as potent as I would have hoped. Similarly, the beginning seemed to lack impact for me (I think it was the sound of the soprano).
But other than that, it had a nice atmosphere, and great sounds in the bass as Luis said, I just was expecting a little more spectacle, perhaps.
No worries I didn't take things the wrong way haha. I'm here to learn after all and you guys are awesome I've already learned so much already from you guys.
Yeah I do have that fear and have been showing that a lot in my recent pieces. So yeah I'll definitely take a listen to Holberg Suite. Thanks!
You said students so you teach actual classes? I didn't know that which makes your advice even better! Hahaha
Hey, what I'm about to tell you is not to be condescending in any way. I just think that this is important for you to know. You seem to be in a rut of what I tell my students (ironically) "constant change", where composers feel the need to change something every measure in fear, wrongly, that the piece will get boring. In this case, it could be chord progression. I think it would be really great for you to listen to the first movement (Prelude) of the Holberg Suite by Grieg. In addition to being one of the most beautiful string pieces ever, Notice how motifs come back and more importantly, how stationary chords and only subtle changes make the piece feel frozen and at other times really energetic. That contrast is so important. Notice the sonata form used within (ABA) it's simple and effective.