Music Composers Unite!
Finally - a Fugue I'm pretty happy with.
Utilizing double answers for the second voice in the exposition - first tonal, then real, then the episode into the entry of the 3rd voice.
The second subject in the last minute of the fugue is a loose inversion and re-imagining of the subject, starting on the 3rd scale degree, and with voices entering a minor third below. So the tonic of the subject becomes the 3rd scale degree of the next voice and so on. Seemed to work pretty well, I'm not sure how orthodox that kind of entry is though.
Interesting subject. I found the syncopations a bit hard to follow (that could just be me, though).
I found the break at around 2:00 a bit disrupting. I wonder if there may be a way to make that transition smoother so that the second section doesn't sound like something extraneous.
I wouldn't be too worried about "orthodoxy"... but I'd be more concerned about whether the music as a whole "works" well.
No need for orthodoxy Tom as far as I'm concerned. The form is open to so much interpretation and creative freedom that one wonders why it is not used more in our time.
I really enjoyed your fugue but found the accents on the playback of the first few entries a little too hard.
As to the music, I think the loose inversion works well and am curious as to why you went loose rather than literal - I know sometimes it just doesn't work the way one might want it to.
I did not like the cadence leading to the inversion as it felt too drawn out for me. I actually think the cadence came too soon and you could have had another episode and statement before that point, especially one that might have ramped up some emotional impetus with close obvious stretti or some such method.
However, despite my minor and merely subjective niggles, to my ears it is a nicely controlled workout. how many fugues have you written?
Thanks for the replies guys, I often seem to write fugues in two parts, as obvious double fugues - but joining them together is something I need to work on.
The second subject is a 'loose' inversion because I just wrote out what I thought the inversion should sound like - making it more of an organic inversion. I could have a look at what the strict inversions are like and see how well they work though, that could be my post-fugue homework :)
Mike: I've written around 30 fugues, some rather short, and some unfinished, but at least 27 'finished'.
They're all on my soundcloud if you're interested: