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We have a counterpoint class this year where we are supposed to write lots of fugues. A few turned out pretty well so I thought I might as well share here.

Score included.

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Excellent work Greg. I liked how you used both the main subject and the first countersubject as basis for the later development. 

Should we get you a nice new wig for christmas?

Nice piece of work Greg.... well conceived . I enjoyed it even tho' I am

not a fan of the harpsichord- however you spell it.

Ya got a keeper here. Thanks for posting it.      RS

In my humble opinion this was very well done.  The voices tie in together very nicely, and the theme is quite pleasant.

On the other hand, and recall I'm a layperson (amateur composer), I kept wanting the theme to evolve into something else.  There were various points when I thought it was about to do that, but then it didn't.  It kept faithful to the same thematic and spirit throughout, with only modest departures, and personally I experienced it as disappointments.  Maybe this results from the rules you're supposed to follow.

You're obviously very capable of navigating the fugue waters, however.

Best,

Mariza

I remember taking counterpoint during Jan term and Whitworth University.  Nice work!  This sounded very good, I would have thought it was one of the classics.  I don't have more specific feedback, but I enjoyed it.

I love fugues. They're such great brain exercises, can produce such great forward motion, and feels completely satisfying after you have finished writing or playing one. Things I would do differently: make it longer, explore more of the bass range, and I wish the main subject was more melodic and rememberable. Your subject sounds more like a great counter-subject or a varation of a subject. I would almost switch your subject and counter-subject since counter-subjects tend to have the faster rhythms. Great job.
Rod

I enjoyed this piece quite a lot; it flows quite well and is well-rounded.

I felt that it would have helped to have the slower subject entering as the middle voice in m.9 enter earlier, so that the listener can become adequately acquainted with it before the texture has become too thick. As it stands, because of its slower rhythm, I found that in m.9 it was obscured by the faster-moving voices and failed to catch my attention the first time I listened to it, so that when it returns in the lower voice in m.27 I couldn't readily identify it -- I thought it was some kind of augmentation of the subject instead. Had it been introduced earlier in a more obvious context, it would have been easier to identify it when it occurs in the middle of a thick texture.

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