0 A Fugue or not a Fugue? Posted by Lori Sweeney on April 15, 2009 at 2:58pm in Music Analysis and Critique It was suggested that I post my new piece here as opposed to my blog. I had challenged myself to write a Fugue but I'm not entirely sure if I've done it properly. Any input?A Fugue Ending in D.mp3 Views: 14 You need to be a member of Composers' Forum to add comments! Join Composers' Forum Email me when people reply – Follow
It sounds more like a Partita to me - or at least reminds me of a Bach Partita I played when I was a kid.
what is your definition??
I might be wrong though..
I'm afraid the piece is not a fugue and nor is it contrapuntal. The piece is not entirely without merit but I implore anyone who wishes to write counterpoint to study,study, study.There is a craft of composition as well as an art. As mentioned, Bach's 48 is as good a place to start as anywhere. Why not take one of his subjects and see if you can create a convincing countersubject to it and then go back and and see what he did.
I would have to disagree with both Josef and Michael. I do believe it is a fugue, it does not matter whether it is polyphonic or not. One can state a theme and then state that theme in another voice without continuing a polyphonic texture in the voice that first stated the theme. That is exactly what you do in fact. There's no rule that says you can't do that. To my understanding a fugue is anything that has this general structure: Exposition--Episode--Statement--Episode--Statement and so on until the Coda (sometimes preceded by a stretto). Yours certainly has this structure, so I believe it is a fugue. I personally like the two-voice polyphonic and homophonic texture that alternate between throughout. That is to me unconventional, and therefore interesting.
You have a beautiful theme and your progressions move along very nicely. I believe what could make it sounds more like a fugue is to write out a counter-subject that would come after the statement (theme). Right now what you have going on where a counter-subject would normally go is a I chord--V chord--I chord. Can you turn those chords into a counter theme of some kind that throughout would accompany the theme as it develops? Does that make sense? Wonderful job. I really like the way you come back to the home key you established with picardy third near the end of the piece. Very energizing.