Its a great start, I would suggest first to stick with triying to perfect 1:1 counterpoint though. and really think of a slow tempo so to really make every note ring in. I also would suggest taking a already written melody and write so the counterpoint to it that reflects some aspects of the melody in it (it may, with measure, also imitate). i must say i really started getting better at counterpoint when i started focusing on 1 thing only and trying to make the most simple thing possible, without any need to follow the rules: for example there are a lot of akward jumps in the melodies in bar 17, i would suggest singing or imagining a melody while the other plays, so to find a more natural way; another thing i would suggest to think of consonances and dissonances as colors: if handled with not much care and mixing them together with no measure they all become the color grey. there are also a lot of points of where the music stops: a silence is a very particular effect that needs to have a reason to be present, or it will sound akward like in bar 25. i would suggest again to sing a connection between the Gs and D For now thats all ik its quite a long message, but i see past self a lot in this piece, and want to help you as much as i can. Continue the hard work, keep on composing.
Its a great start, I would suggest first to stick with triying to perfect 1:1 counterpoint though. and really think of a slow tempo so to really make every note ring in. I also would suggest taking a already written melody and write so the counterpoint to it that reflects some aspects of the melody in it (it may, with measure, also imitate).
i must say i really started getting better at counterpoint when i started focusing on 1 thing only and trying to make the most simple thing possible, without any need to follow the rules:
for example there are a lot of akward jumps in the melodies in bar 17, i would suggest singing or imagining a melody while the other plays, so to find a more natural way;
another thing i would suggest to think of consonances and dissonances as colors: if handled with not much care and mixing them together with no measure they all become the color grey.
there are also a lot of points of where the music stops: a silence is a very particular effect that needs to have a reason to be present, or it will sound akward like in bar 25. i would suggest again to sing a connection between the Gs and D
For now thats all
ik its quite a long message, but i see past self a lot in this piece, and want to help you as much as i can.
Continue the hard work, keep on composing.
Sounds like something Vincent Price would play in a Roger Corman film.