Fugue of Cliffs and Dales | Original Composition in C-Minor

Noteworthy features of this fugue:
→ this is a counterfugue, which means that the answer (highlighted blue) is the inversion of the subject (hightlighted purple)
→ also the countersubject of the answer is the countersubject of the subject in inversion
→ at 1:07, there is a pseudo-entry of the answer in the middle voice, followed by an actual entry in the lower voice
→ at 1:37, a rhythmic variant of the answer is introduced, which occurs again at 2:29
→ at 1:47, there is also a rhythmic variant of the subject, which forms the first entry of the stretto section
→ at 2:07, the stretto section culminates in a very close stretto of the subject, which follows the subject a fifth higher and with only half a bar delay
The fugue has 3 parts and is written for one player.
Score: drive.google.c...
Have a nice day!

[@alindmay]

Thanks Averyn for another fugue in your style. Full of rules... and still full of life. I listen to it half a dozen times and are still not bored.

[@averynhiell]

@@alindmay Thank you so much, I appreciate it a lot!

[@fugaljourney]

you are the best fugue writer on youtube no doubt. this one is just too good

[@averynhiell]

@@fugaljourney Thank you so much, I feel honoured!

[@howardyu50211]

Magnificent

[@averynhiell]

@@howardyu50211 Thank you! ^^

[@obonyxiam]

well done!

[@averynhiell]

@obonyxiam Thank you! ^^

[@wheelmanmitch]

This is awesome! I would like to point out something at 1:18 however. The tenor should be written as a duplet instead of two dotted eighths. This also applies to the dotted eighths preceded by an eighth rest + sixteenth rest. It should be an eighth rest followed by an eighth note inside of a duplet. A duplet is equal in value to two dotted eighths, and is much better for reading!

[@averynhiell]

@@wheelmanmitch Thanks a lot! (=
I wasn’t aware of this, thank you for pointing it out. I don’t see why it should be necessarily easier to read, though. Tuplets are always relative to the amount of time they stretch, which you have to parse while reading. Dotted eights are always exactly the same length. I find it hard to imagine that this should be more than a personal preference, but I am by no means an expert on notation. Would you care to elaborate? (:

[@nicksunrise1334]

Brilliant!
Could it be a reference to "Mein Weg hat Gippfel und Wellenteller" by Arvo Pärt?

[@averynhiell]

Thank you! ^^
The title is similar by accident, and I hadn’t heard the piece before, so no, it’s not a reference. (:

[@Andscool]

just out of curiosity, why do you still use musescore 3 and not the latest version? awesome fugue btw.

[@averynhiell]

@@Andscool Thank you! ^^
I switch between the two versions, depending on what instrumental sound works best for the piece at hand in my opinion. But I’m certainly biased towards MS3 because I’m already used to it and have a whole bunch of customised palettes and key-shortcuts there. Also, MS4 feels more unwieldy to me. And while it has certainly richer playback options, it also has issues with playback that MS3 doesn’t have. But there are a couple of pieces on my channel which I recorded with MS4. Do you have no issues with MS4?

[@Andscool]

@ oh I definitely have some issues with MS4, especially with the performance and playback. For some reason, when a score has a lot of instruments and/or is really long, the performance completely tanks. The playback has this weird faint sound that comes after a note is played on piano, and is most noticeable in the lower register. However everything else works great for me, I just am excited to be able to add custom SmuFL fonts in 4.5 because I’m not a huge fan of most of the ones offered currently.

[@averynhiell]

@@Andscool There you go. ^^
I want to concentrate on the music, not on appeasing a stubborn software.

[@DPNack_]

0:30 how did you make those parallel octaves work ?

[@averynhiell]

@@DPNack_ These are not actually considered parallel octaves, it is called “doubling”, which is when two voices are completely parallel (usually in octaves) for a longer stretch. (:

[@DPNack_]

@averynhiell oh I see now thanks

[@nurrasyid14_]

You made a blunder on the upper note of 27th measure. Should let a long B or Dotted B and then B-C.

[@averynhiell]

While it may be a matter of taste how effective the device is here, I employed it quite on purpose. (:
The d in the middle voice is a so-called suspension, which is resolved two eigth-notes later. The same thing happens in bar 25, btw. The harmony is already c-minor in the second half of either bar; the suspension just adds a little more gravity, in my opinion.

[@moai76_]

Suena algo salsero en alguna partes

[@averynhiell]

¡Jajaja! xD ¿Dónde, por ejemplo?

[@ambienthangout]

How did you get Glenn Gould to play it?

[@averynhiell]

I got my connections. (;