Something like 20 years ago I heard a radio programme about Die Kunst der Fugue (JS Bach), and I was inspired to write short music where to voices in double/half tempo, the fast part playing twice. Quite a fun, almost mathematical conondrum. In my case the slow part was the upper part. I think that is a good idea, as it's often easier to hear the melody in th upper part, and the slow version is harder to hear as a melody. Having it both slow and in the lower part can make it harder to "hear". I've been trying to write fugual music lately ... or more like a fughetto I guess. I'm not to concerned about following all kinds of fugue rules and convensions strictly. It can be quite hard, but it's fun and rewarding!
That worked really well! I wonder how it would work if the augmentation was in the treble part. My suspicion is that the piece would seem to drag more. I'll have to give it a try.
I'm curious about how well this method extends before things get distressingly complex... how about three voices, the 2nd in augmentation and the 3rd in diminution (and maybe at the 5th?) I appreciate that doing that for the piano would introduce an additional set of considerations (i.e. what is physically playable) that might put it beyond the scope of a 15 minute demonstration, but it would still be fun to see.
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Something like 20 years ago I heard a radio programme about Die Kunst der Fugue (JS Bach), and I was inspired to write short music where to voices in double/half tempo, the fast part playing twice. Quite a fun, almost mathematical conondrum. In my case the slow part was the upper part. I think that is a good idea, as it's often easier to hear the melody in th upper part, and the slow version is harder to hear as a melody. Having it both slow and in the lower part can make it harder to "hear".
I've been trying to write fugual music lately ... or more like a fughetto I guess. I'm not to concerned about following all kinds of fugue rules and convensions strictly. It can be quite hard, but it's fun and rewarding!
Absolutely. Enjoy!
That worked really well! I wonder how it would work if the augmentation was in the treble part. My suspicion is that the piece would seem to drag more. I'll have to give it a try.
It can work that way
When I read the title I thought that all the canon would use augmented chords, which is silly. 😊 Thank you for this great video! Have a nice day.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Thanks for the video, best regards from Argentina!
I just join the channel, because... music matters! :D
Welcome!
God bless this man 🙏❤
You’re too kind. Much more at www.mmcourses.co.uk
I'm curious about how well this method extends before things get distressingly complex... how about three voices, the 2nd in augmentation and the 3rd in diminution (and maybe at the 5th?) I appreciate that doing that for the piano would introduce an additional set of considerations (i.e. what is physically playable) that might put it beyond the scope of a 15 minute demonstration, but it would still be fun to see.
That scenario soon becomes more complex but it’s amazing what’s possible.
Bach, Art of Fugue, Contrapunctus 6 a 4 in Stylo Francese Fuga inversa
Stretto fugue with augmentation and diminution
@riverstun 😀
Great lesson. Now what if you had originally written a triplet, what would be your augmentation of that?
You could double the values eg quaver triplet becomes crotchet triplet.
Gracias!
A pleasure. Much more at www.mmcourses.co.uk
Merci beaucoup.
A pleasure
I thought you were going to augment the fifths 😅
😀