Very good first try, my friend! The fugue is possibly the hardest contrapuntal form to tackle. Be very careful, however, about parallel fifths and octaves. I see one in bars 10-11. Parallel 5ths in bar 14 (Bb-F → C-G) and octaves in the same bar at the end (F → G). You used a tonal answer, which is very good! It shows that you are approaching this form seriously. But when you write the answer you must modulate to the dominant key proper (so the key of G minor) to get the true fugue effect. This means using an A natural and the F# as leading tone. Also I see that you use a countersubject which is very good, but remember that it must be written in invertible counterpoint (Only 6ths, 3rds and Octaves with the subject) The fugue form works like this (even if composers mess with it all the time, but it is a good framework): - Exposition - Episode 1 - Subject & Answer in the relative key (in this case Eb major/Bb major) - Episode 2 - Subject in the subdominant key (in this case F minor) and answer in the relative key of the subdominant (In this case Ab major) - Episode 3 - Dominant Pedal of original key (a long G note at the bass like a drone) - Short Pause - Stretti (optional, essentially an exposition where the answer starts before the subject ends) - Tonic Pedal with a last statement of the Subject and a final cadence. Happy composing!
@@josephzaarour6649 Exactly. I think the key of a good fugue relies on a combination of 3 factors: 1) Obviously, good counterpoint (it needs to make sense with the subject); 2) playing with the subject's harmonic properties, to know where you want to modulate, to go; 3) especially, to focus on the episodes. They enrich the fugue and in most cases they are its core (especially if you ignore the 2 condition by using a standard form). As a first try it's not bad, but I think with the first fugues he should use shorter, more synthetic and distinctive subjects so he can focus on the above 3. Minimal subjects not only let the technique talk, but are funnier as well, since you really need to play with the subject and create some crazy harmony roads and episodes. To let the imagination go. That's what makes Bach so unique: his counterpoint technique is as perfect as the sensibility it serves.
I wish the prelude was longer cause I enjoyed it. I liked how all of the material repeats itself in that section. Also as other mentioned, be aware of parallel octaves and 5th in the fugue. But other than that I think the prelude and fugue is great! Well done! 👍
Wonderful fugue! Thank you! Prelude in Passacaglia style is a nice introduction. There are many refined passages. The second subject, implying inverse of first subject, enhances first subject's returning.
Nice! I really like the second subject of your fugue. I think that the point about about parallels is probably good to point out but you shouldn't worry about them too much the more you practise counterpoint and keep writing fugues the fewer parallels you'll begin to write. I think your sense of the rhetoric of how a fugue should work i.e when each voice should "speak" when the piece should climax is great, and again it'll only get better. I think you should just watch out for fourths and second inversion 6/4 chords in places where they shouldn't be, which is anywhere other than in passing, or at a cadence point. Definitely keep going and you'll write some corkers I'm sure.
Wow, this is very Romantic it actually sounds musical to ameture like me, I have no idea of how to write a fugue, but it's useful for generating new motifs to use in other composition.
If you were trying to write a fugue in the contrapuntal style of Bach, you still need some work to do here. The piece sounds great regardless! Even if it’s more of a fugato canon than the true fugue. Well done!
Not so bad, but in my opinion, the actual form of the fugue, (basically just a sonata form) is the main reason that a fugue would be different from other counter point forms, just using simple counter point cant gives us the feeling of a fugue
Very nice and very professional. I don't know if this was your intention, but this sounds early Romantic rather than Baroque(and that despite the continuo part; btw. i'm not sure if continuo should be used in a fugue unless it's a movement in a concerto, sonata or suite).
@romualdandrzejczak4093 Well i guess you could say it's my intention because i wasn't trying to restrict myself to sound baroque, and I've took inspiration from Nicholas Ma's fugue video to add continuo
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Very good first try, my friend! The fugue is possibly the hardest contrapuntal form to tackle. Be very careful, however, about parallel fifths and octaves. I see one in bars 10-11. Parallel 5ths in bar 14 (Bb-F → C-G) and octaves in the same bar at the end (F → G). You used a tonal answer, which is very good! It shows that you are approaching this form seriously. But when you write the answer you must modulate to the dominant key proper (so the key of G minor) to get the true fugue effect. This means using an A natural and the F# as leading tone. Also I see that you use a countersubject which is very good, but remember that it must be written in invertible counterpoint (Only 6ths, 3rds and Octaves with the subject)
The fugue form works like this (even if composers mess with it all the time, but it is a good framework):
- Exposition
- Episode 1
- Subject & Answer in the relative key (in this case Eb major/Bb major)
- Episode 2
- Subject in the subdominant key (in this case F minor) and answer in the relative key of the subdominant (In this case Ab major)
- Episode 3
- Dominant Pedal of original key (a long G note at the bass like a drone)
- Short Pause
- Stretti (optional, essentially an exposition where the answer starts before the subject ends)
- Tonic Pedal with a last statement of the Subject and a final cadence.
Happy composing!
Very insightful advices! Thank you so much!
Fugues do not have a super fix form, this is a suggestion
@@josephzaarour6649 Exactly. I think the key of a good fugue relies on a combination of 3 factors:
1) Obviously, good counterpoint (it needs to make sense with the subject);
2) playing with the subject's harmonic properties, to know where you want to modulate, to go;
3) especially, to focus on the episodes. They enrich the fugue and in most cases they are its core (especially if you ignore the 2 condition by using a standard form).
As a first try it's not bad, but I think with the first fugues he should use shorter, more synthetic and distinctive subjects so he can focus on the above 3. Minimal subjects not only let the technique talk, but are funnier as well, since you really need to play with the subject and create some crazy harmony roads and episodes. To let the imagination go. That's what makes Bach so unique: his counterpoint technique is as perfect as the sensibility it serves.
Actually the fugue is not a form…
I wish the prelude was longer cause I enjoyed it. I liked how all of the material repeats itself in that section. Also as other mentioned, be aware of parallel octaves and 5th in the fugue. But other than that I think the prelude and fugue is great! Well done! 👍
Thank you!
Wonderful fugue! Thank you!
Prelude in Passacaglia style is a nice introduction.
There are many refined passages. The second subject, implying inverse of first subject, enhances first subject's returning.
exactly! that was what I wanted to portray
bro cooked
thanks brother 🗣🔥🔥
I know how it feel when two bars sounds great ... Then considering you've done great piece bro ❤
Thank you sir
This is so beautifully done. I enjoyed listening to it!
Nice! I really like the second subject of your fugue. I think that the point about about parallels is probably good to point out but you shouldn't worry about them too much the more you practise counterpoint and keep writing fugues the fewer parallels you'll begin to write. I think your sense of the rhetoric of how a fugue should work i.e when each voice should "speak" when the piece should climax is great, and again it'll only get better. I think you should just watch out for fourths and second inversion 6/4 chords in places where they shouldn't be, which is anywhere other than in passing, or at a cadence point. Definitely keep going and you'll write some corkers I'm sure.
Noted! Thanks for your advices!
I know nothing about fugue but I'm looking forward to learn how to write one. Brilliant! 💯💯
Go for it!
@@schewts :)
Sounds lovely ❤
Wow, this is very Romantic it actually sounds musical to ameture like me, I have no idea of how to write a fugue, but it's useful for generating new motifs to use in other composition.
Professor Layton ~
Very pleasant. I can see this being the BGM of a Microsoft desktop game.
Andante all the composition. I liked the choice of instruments and harmonies. Try adding a few "presto" parts. Up to your taste, of course!
Thank you, my friend.
Thanks for sharing your music!!!
Brother, you didn't compose a fugue, you only composed the exposition of it.
Yes, someone pointed that out, thanks though!
It's a little Fughetta.
@@Lord-Of-theDarkness precisely a Fugato.
Wow! This is beautiful! Especially for a first time. Also, is this a MIDI? It sounds so good I almost thought it was a real performance!
@@Bobasdf123Music Thank you!
If you were trying to write a fugue in the contrapuntal style of Bach, you still need some work to do here. The piece sounds great regardless! Even if it’s more of a fugato canon than the true fugue. Well done!
Thank you!
Not so bad, but in my opinion, the actual form of the fugue, (basically just a sonata form) is the main reason that a fugue would be different from other counter point forms, just using simple counter point cant gives us the feeling of a fugue
@@m.enferadi8373 Thank you, I'll keep that in mind next time
Very nice and very professional. I don't know if this was your intention, but this sounds early Romantic rather than Baroque(and that despite the continuo part; btw. i'm not sure if continuo should be used in a fugue unless it's a movement in a concerto, sonata or suite).
@romualdandrzejczak4093 Well i guess you could say it's my intention because i wasn't trying to restrict myself to sound baroque, and I've took inspiration from Nicholas Ma's fugue video to add continuo
Excellent music from the perspective of Ameture like me, almost like Schubert but a different voice.
nice piece
Splendid
Thank you!
what music software do you use? cuz the vibrato sounds nice
@@youtubetiks2 musescore 4
Probably not a fugue, but nevertheless a good piece that needs a better quality of sound
Thank you!
It is a fugue jeez..
I don't know what a fugue is, but well done and congratulations.
Great fugue! I danced along. What software is the playback from? is it a performance?
It's musescore 4! And no it's not a performance :)
@@schewts It's just AI strings playing back?
@ Yes
this sounds wonderful to me!! what sound fonts do you use if this is musescore?
@@polarpython183 Just musesounds
@ wow, i didnt know they were that good. thank you!
Let him cook(how do you learn counterpoint or partimento?)
@@chichochill I watched a video about counterpoint by Skylar Lim, and I haven't really learned partimento actually
very good !
@@Davi.K Thanks
nice
good job
What software have you used?
Musescore 4
Cuidado con el rango de notas en el clavecín. El instrumento no soporta octavas tan graves.
amazing is this first? really?
Let's gooo
😍
well, this isn't a fugue technically
@@Misa_Susaki the first half is a short prelude and the second half is the fugue. this is my first time writing one so its probably horrendous
how so?
@@schewts Yeah, I was talking about the second half. It sounds good, but it doesn't follow all of the rules of a fugue.
@@Misa_Susaki Oh, yes, someone has explained in the comment. Thanks for clarifying
Yes, it is. @@schewts
Hey bro dont speak rabish because the athor compose two part!
The second part ia MODERN BEAUTIFUL FUGE!😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊
Splendid