Replies

  • Hi Peter.

    I have listening to a few of your fugues….And have noticed different things - about which I am inclined to go into in great detail.. But I am hesitant, as I would like to look at the score before commenting.

    Can you post the score(s) ?

    gregorio

  • I am not inclined into publishing the scores.. But, i can post one. Pick up a fugue ;)

    gregorio X said:

    Hi Peter.

    I have listening to a few of your fugues….And have noticed different things - about which I am inclined to go into in great detail.. But I am hesitant, as I would like to look at the score before commenting.

    Can you post the score(s) ?

    gregorio

    Series of Fugues
    My evolution in Counterpoint... Fugues :)H. S. Teoh here is the post ;) https://soundcloud.com/dllman/sets/fugas
  • Yes, I understand…

    Ok.. Thanks:)

     How about the first fugue you present?

  • Here the Sheet.

    gregorio X said:

    Yes, I understand…

    Ok.. Thanks:)

     How about the first fugue you present?

    Fuga em Sol Menor - Full Score.pdf

    Series of Fugues
    My evolution in Counterpoint... Fugues :)H. S. Teoh here is the post ;) https://soundcloud.com/dllman/sets/fugas
  • Hey Peter, 

    Thanks for posting.. 

    Just looking at your structure:

    You start in the 1st bar with a  4 note pattern.  That same pattern is played up a 5th in the 2nd measure, then down a 4th in the 3rd measure, then up  5th in the 4th measure.  And this is the thinking applied as you accumulate other voices.

    As the 2nd voice makes its entrance in M. 5. That pattern is lifted a 5th, along with the other voice's pattern being lifted a 5th…  in M. 6 , then both Down a 4th in M7 then up a 5th M8.  

    As the 3rd voice makes its entrance the same cut and paste is applied with all 3 voices.   

    When the 4th voice enters, the same again for the next 4 measures… 'Lift and drop'

    At measure 17, parts have been lifted an octave… ..

    OK… so my point is that you have treated the fugue - as a One bar idea that is just moved around… 

    I believe that there could be more thinking applied here, - and listening to each voice - as an entity… 

    Have you Looked deeply at how Bach puts fugues together?   (there is much to be learned there.)

    Also, i might mention that i didn't notice any episodes/sequences  where there can be an exploration of modulation.

    My intent is not to be rough, but to elucidate the structure you employ.

    I've listened to a few other fugues you posted,

    , and the same thinking seems to apply.

    No harm intended,

    gregorio

  • ps… My point being, is,  that this structure i mention is how it hit the ear as well.. This is why i asked you to post the score, in order to see if that was in fact true.. (everything {all voices} lifted and dropped at the same time - in parallel direction - with each measure .)

  • I have so much to reply.. But i can understand english perfectly, but writing it nope... I will use google translate, sorry.

    So ... Thanks for the comments ... And I must leave something in evidence ... My counterpoint is not "Manual" ... use reversal patterns to create threads. And a strong taste that I have are great standards .. So much so that any leaks are just a part, has not epsodios, etc .. And another issue is the implicit Harmony, that as my system is still not perfect (I'm already correcting this) so the real harmony appears only every 4 bars, and there remains only the sequences to cause the continuity of the piece.

    I already read analyzes of Bach's counterpoints yes, and I must say that never like what was explained, is not the kind of ideas that I enjoy inception on my counter point, though Bach is the God, not yet studied the style background him. (My music college this strike nearly a year, I am venturing alone in this universe of counterpoint)

    I'm already to finish the new type of polyphonic structure, where I will have more freedom of modulations and variations. I will not be stuck to canonical octaves exposure)

  • Need translation services, anyone? Peter, se quizer me envie em Portugues, eu traduzo. :-) Nao deu para entender muito bem o que voce escreveu, nao...

    Ainda nao escutei as suas fugas, mas tentarei faze-lo. Mas o Gregorio sabe muito sobre esse genero de musica.
  • Mariza, you are most kind to offer help..

    Thank you!

  • Aqui em portugues... Depois eu dei uma lida e realmente ficou bem confuso :x

    "Então... Obrigado pelos comentarios... E eu devo deixar uma coisa em evidencia... Meu contraponto não é "Manual"... Eu uso padrões de inversões para criar as sequencias. E um gosto forte que eu tenho são grandes padrões.. Tanto que todas as fugas são de apenas uma parte, não tem epsodios, etc.. E outra questão é a Harmonia implicita, que como meu sistema ainda nao esta perfeito (ja estou corrigindo isso) a harmonia so aparece a cada 4 compassos, e resta apenas as sequencias para causarem a continuidade da peça.

    Eu ja li analises sobre contrapontos de Bach sim, e devo afirmar que nunca gostei do que era explicado, não é o tipo de inception de ideias que eu curto no meu contra ponto, embora Bach seja o Deus, ainda não estudei a fundo o estilo dele. (Minha faculdade de musica esta de greve a quase um ano, estou me aventurando nesse universo do contraponto sozinho)

    Eu ja estou a terminar o novo tipo de estutura polifonica, aonde eu terei mais liberdade de modulações e variações. Não estarei preso a exposição canonica de oitavas)"

    Muito obrigado pela ajuda, Mariza.

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