Hi to everyone, I'm new to this forum. I want you to hear this very short(1 minute) fugue that I've recently written, it may not be the best, I've gotten into classical composition only recently. Let's say that this is just a compositive experiment to explore the baroque fugue. Influences from Bach or Scarlatti may be easily heard. It's not me playing, I exported the piece from Sibelius 6. I'm not sure if it's completely playable, I'm just a beginner piano player and I can't tell properly. I don't know if I respected music theory in this piece as my knowledge of musical theory is also quite limited.
What's your opinion about it?

Small Fugue.mp3

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  • Hey Simone, Welcome.... to my ear, some good-some bad  keep at it and I'm sure you                    you'll get the hang of it. I've always avoided Bach because I thought his music

                        (for the most part) , was too 'linear' and that bored me. After looking into it                     a bit deeper I am starting to appreciate his 'art' with a new ear as I learn

                        more about the architecture of his work. It is impressive to say the least.                    (or as they say all too often   awesome dude  : )      RS





  • Simone,

         I like it.  Your ending is not really baroque.  Use the same fugue and modulate through a cycle of fifths, go major then minor,  add some orchestration and you'll have a Brandenburgish concerto.


  • You had a good idea here, but your harmony isn't baroque, you have chromatic moves, that aren't baroque at all. There is a certain "pattern" that you should follow if you want to have fugue, which is the most perfect counterpoint product. If you want, I will send you that, I have it in my folder somewhere. Your ending is more classical, and counting of 54th second till the end isn't proper for polyphonic piece. But it has some nice ideas there. Keep going! :)

  •       Kristofer of course is right, but I had the same reaction about the chromatic sections.  I find myself using chromatic passages more and more because it sounds neat, or does it sound trendy?  In a one minute piece there are three or four chromatic passages.  Usually, Bach would do several minutes of fugue in different keys.  He would round it all off with some complicated progression then do a chromatic passage to the final resolution.  I feel like we have to include some key changes, chromatic lines or dissonance every five seconds or the audience falls asleep.  Why not write a nice melody in one key and rely on orchestration, and variations on the melody to provide interest.  I think the T.V. generation needs constant stimuli and dictates too much activity in modern music.  It's like a Schwartzenegger movie where the car chases are only interrupted by gun fire and things blowing up.


  • Thanks for the comments. I understand what you're saying about the lenght of the piece and the not-so-baroque final part. I plan to make the piece longer as soon as some idea pops up. Speaking about the chromaticism I guess that I tend to include a lot of cromaticism in my pieces because it makes me perceive the various parts differently, it gives me some sort of suspanse, weirdness and elegance at the same compared to a part in costant scale/key and I like this kind of feeling. Generally speaking I enjoy dissonance, chromatism and key/scale/mode/whatever changes pretty much, I guess that's the reason why I enjoy any kind of weird music, from ancient music to "bartokish" music to underground forms of modern music.


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