Reworking a Short Composition

I started writing this a few years back on the guitar, and it's never really been finished (like most of my compositions). I like it enough to make an attempt to work on it some more.

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I've noticed that I have a habit of leaving out important information in my posts regarding... things, and I'll try to do a better job of... that. This piece is not finished, and may be nowhere near finished.

Any opinions or suggestions are welcome. Thank you. =)

-----UPDATE-----

I've played around with this some more and added a few ideas I had, as well as cut out some various things. So far this piece has gone in a completely different direction than I thought it would. Measures 25 and 27 would have some hammer-ons and pull-offs to make it sound smoother. If I ever get my equipment set up so I can make decent recordings, I'll record instead of using sound fonts.

I'm still concerned about how well it fits together, primarily with the transitions at measure 16, and 44. Is it too much contrast?

---10-19-09---

Score -> oak2.pdf - File Shared from Box.net - Free Online File Storage

MP3 -> oak2.mp3 - File Shared from Box.net - Free Online File Storage

It's nice. A little stagnant though.

Sounds like a Baroque Sarabande for lute by Bach. Well done.

A# in 29 is welcome! Nice use of V/VI there.

I counted 48 consecutive measures with the exact same rhythm with the exception of 5 spaced throughout. The melody and the secondary functions were interesting, but the rhythm just made it all redundant. I would introduce the rhythm used in MM 1-6 and 57-66 a lot more. The half-quarter rhythm works, but not over and over. Spread some notes in between. Use more Quarter-Quarter-Quarter and Quarter-Dotted Quarter-eighth measures etc. You could also vary the bass line like you did in MM 24 and 48 a little more.

There are many things that can cause someone to lose interest in a piece. Whenever you write a song you have to be very careful to make the rhythm, melody and harmony (and sometimes lyrics) interesting. The best pieces ever written are extremely gripping in all of those aspects. For example: a great melody will not compensate for a poor harmony. It