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WARNING : Ear Classification Rating - contains mild to strong dissonance and no tune you can hum. Not useable in a trailer context. Recommended ear strength - seasoned 20thC+ (and curious, adventurous ears).

Just joking, but you have been warned. A response to Bach from my point of view, here are 3 of a planned 12 (8 done so far). The Preludes generally obsess over a technical pianism and limited material whilst the fugues get their subject from something in their accompanying Prelude. The piano writing is virtuosic but not in a showy way and as the warning said, the harmony hovers between mild and strong dissonance with excursions into both territories.

Each pair is around 5mins long, so I hope some will find the time to listen and comment....(oh hell)

BTW, if you don't like them, have a go at HS and Gregorio for making me post's all their fault... :-)

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Hey Mike, did you already post all the fugues you've composed so far?  Just curious if there are any I haven't heard.

Hopefully you'll get back to fugueing again eventually. :-D  Would love to hear some of your orchestral stuff too (you may not believe it, but orchestral music is actually my true passion; fugues are just my latest fascination which may or may not last).

These are refined, elegantly flowing pieces of music, Mike!

They are as they should be, I mean, and as a later comer to this thread I've enjoyed all 3 (6) of them thoroughly.

I only had quick looks in the scores, but I did not have any queries, the mp3s provided all I could ask for.

Although they are very imaginative and inventive, I found that compositional discipline is evident everywhere. Technique is to help musical ideas develop and that is what happens here.

I have no criticism to offer on something that didn't work for me, emotionally, intellectually or technically. Great stuff!

Thanks for sharing.

Thanks Socrates, much appreciated. Fugue suits my way of composing very much, especially with my obsession about wringing every bit of music from an idea which as you know is a great way to ensure a certain amount of unity and inevitability in a piece.


There are 2 not posted yet, nos 7+8. Number 7 is even more 'out there' and is the most free-form fugue so far, using 3 parts that are sometimes in 3 note chords and sometimes single notes. It was tricky writing a subject in chords and doing the usual answer, CS etc also in chords but an ear open to dissonance helps. Number 8 is now under review and I am changing a bit of it.

Re orchestral music, there are some commercial examples on my site, but my serious pieces such as the symphony and cello concerto will not be posted here as they are too long (symphony is 48mins and the cello concerto 35mins) and the scores are still in m/s. I will post a link up to them when they are on my site.

A fugue subject with chords! Haha, that was my idea, wasn't it? ;-)  Would love to hear what you did with it.

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