Thanks so much!, that`s encouraging to keep growing do it yourself Bach plants :). . I´ve adored Bach since 7 years old, and i owe a lot of my well being to his music. I find the process of emulation fascinating if it hopefully includes that X factor, beyond the technicalities.
I have an association with the subject from Jan Dismas Zelenka's sonata in G minor allegro movement. Time code 4:06 th-cam.com/video/7onNr7K-_MU/w-d-xo.htmlsi=WEkfwjG7fkywvrry P.S. This whole piece is a double fugue
Thanks Thomas!. I appreciate that you listened to this and commented. I see what You mean, perhaps Bars 31 - 34 from BWV 848 Fugue in C sharp major. Wow!, that might have been unconscious :). I love when a certain harmonic idea is "encoded" within a repeating motif , so typical of Bach, it gets pretty kaleidoscopic with this kind of thing ( For instance, B flat major prelude from WTC II ). Cheers.
The use of counterpoint and episode is in style of bach. Just like what T Alexander E mentioned, it sounds more like Beethoven because of the ending and lack of ornaments, I assume. Amazing fugue nevertheless!!
hehe, Thank You!. This was, honestly my first fugue, in the style of...the spirit of, i was attempting some sonorities and counterpoint feel. strangely, fugues seem to write themselves, and this is where i think it wanted to go at the time (5 years ago) I you include Beethoven here couldn´t not take it as compliment. To me he is the next giant to Bach (at least of western music from this era). Being fixated on the Hammerklavier lately, and his own processing of Bach´s sonorities, he seemed to have on his piano all the time through the last period. Cheers!
Wonderful result indeed! I definitely hear some of Bach’s style in this piece at times and love the way you used right and left hand imitations along with some interesting counterpoint to send the piano into the baroque era. Quite a difficult task I would no longer attempt!
So kind Kris!, Thank You for listening , ( I`m quite surprised that people keep commenting on this thing I made 6 years ago.) I have a much later work that explores a more "Bachian" approach to chromatic harmony in some spots , and i think it does a better job stylistically, even if the subject is a children song , not too Bachy per se. th-cam.com/video/_DuxgG0d0uM/w-d-xo.html I believe is always worth to try and write some counterpoint even if it´s a short two voice composition. These little attempts has been an education on itself. It takes patience and asking lots of questions but worth it!. Cheers!.
Thanks for listening and commenting. , I`m working on a new fugue, based on a popular chilean children song , to be uploaded soon, after that I`ll do a new version of the prelude and fugue to replace this one. Best. S
@@SergioValenzuela , Sounds great, i especially notice You amended the end, in Your performance, to be exactly what i imagined it would sound like as i was anticipating that final cadence, and that is the perfect answer to the question posed by the piece! it's been awhile,.. love the prelude, any new fugues in the style of Bach?
@@Geopholus @Geopholus Thank You!. I don´t get what you mean with that anticipation, could you explain ?, besides the performed version has a rallentando in the end and i think i changed the bass a bit, since there are some minor flimsy solutions here and there, (in hindsight) also, with some perspective, now i think the prelude has a bit of Brahmsian touch (not in the texture, but stretching too much with some bass versus chord sonorities that Bach might used briefly in a bar not a section ), but i don´t think i will loose sleep over this :). I hope to make a new fugue someday, by now, being studying the art of the fugue . that is an Alien Work! Cheers.
@@SergioValenzuela Now carefully comparing the two versions again i see they are virtually identical, save for the Rallentando, but the midi version surprised me with it's abruptness,.. so the slower ending was better. it is a true beauty. i guess listening again today i was hoping the final cadence would roll upward or perhaps arpeggiate a little.
@@SergioValenzuela I'm learning to compose and I look up to accomplished and knowledgeable composers like yourself, it inspires me to hear music written in the baroque and classical language so authentically. Your improv is great too. I'm at an early stage composing mostly minuets and I can't wait to study counterpoint and compose fugues like you.
@@darrenfreeman4936 Man, Thanks for your warm and super nice comment. Far from accomplished I consider myself a permanent student , but I appreciate your compliment :) . It´s fantastic that You want to dive in in counterpoint and style reconstruction . I think is thrilling and a very rewarding learning experience to limit oneself to a certain sound and period , trying to make it work emotionally , aesthetically and logically . Never had any formal counterpoint training, other than reading one Bach fugue a day (Also Brahms and Beethoven), and swimming in that for hours sometimes. Unfortunately the subject matter is often treated very technically , and i think is more rewarding to learn it aurally, emotionally, intuitively from observing and trying Yourself., analog to a jazz musician learning to imitate and then create a more personal sound. Even an with an alien musical Intelligence , J.S Bach, learned his craft by studying and surveying the works of predecessors and contemporaries , not just theorizing around it . Hope to hear your minuets and fugues one day. Good luck This TH-cam version kinda robotic, is played by Sibelius, but i have a recored performance with the Prelude included on Soundcloud, if you want to hear. soundcloud.com/zulu-music/sets/prelude-and-fugue-in-the-style Best. S.
I have a problem with measure 31 though. The 16th note sequence in the left-hand does something slightly outa character with the piece. Maybe it needs one or two chromatic approach notes🤷♂️
@@SergioValenzuela I'm stunned by your talent, you have to compose your life through it's sooooooo urgent and valuable in our time and the future ahead of us. Thx!
@@norwalltino First : This is extremely kind, and thank you for your words, but i just love what i do and try to work hard , anyone learning for example contrapunctus XI by heart and obssessing over it for years could learn one or two things about harmony from god himself :). Second : I listened to your music, and i´m the one trasfixed by Your talent. It reminds me of parts of Lyle Mays, among others, Your piano piece or improvisation sounded like Scriabin, Rachmaninoff,Chopin, Bill evans but in a very personal and warm way. You are the one that the world needs!. Thank So Much from Chile. This is stunning ! th-cam.com/video/wN6njKrm_8I/w-d-xo.html
@@SergioValenzuela Thanks million of times Sergio, you are the real understanding listener, I really appreciate your comments, as I've alreday said , compose all the day long I'm a huge fan of your music and your skills, how nice to meet you, take care now, you are luckily long away from the war in Europe, as you're living in Chile, here in Norway, it's rather close. Now we have the music anyway :-) See you later
Hola, ¿como cuanto tardo usted o cuanto se tarda en general en desarrollar una fuga con esta difuciltad tecnica, cuales son las complicaciones o las cosas a tomar en cuenta en su composicion?
Hola, agradezco mucho tu interés . Esta fuga fue mi primer trabajo (y es bastante mejorable en varios sentidos ). La primera exposición la escribí en un día. Resolver el puzle que sigue y darle un desarrollo que fluya me tomó más tiempo y dedicación. Por otra parte, toda una vida de escuchar, digerir y tocar fugas de Bach, por lo que la pregunta del tiempo es difícil de responder. Sobre las cosas a tomar en cuenta, No soy profesor de contrapunto, sólo te puedo hablar desde mi experiencia autodidacta. Escuchar cientos de veces cada sección hasta que me sonara "creíble" y tuviera algún tipo de propulsión es en resumen lo que hice. Después de pasarse un tiempo desarrollando un gusto y oido contrapuntístico, estudiando y escuchando muchas maravillas de Bach y otros, quizás pero el primer desafío es encontrar un sujeto que funcione creíblemente en todas las voces, y te permita generar episodios, modular y hacer invenciones con el. Yo fui algo arrogante y ambicioso , y utilicé un tema cromático y con contra-sujeto, me metí en problemas e intenté salir. Un tema más simple ofrece más flexibilidad. ( El ejemplo supremo de esto es el "Arte de la Fuga BWV1080", con un sujeto simple y elegante, arcaico, conteniendo tantas posibilidades en la prodigiosa imaginación de Bach, como toda la energía en un átomo. ). Saludos!.
Thanks for listening and commenting, that´s correct. I recommend the book Music in the Castle of Heaven by John Elliot Gardiner for a brilliant and thorough study of Bach´s relation to faith and words, and how he designed on many layers of complexity and symbolism through his cantatas, among other interesting topics. But to me , Bach is God. Cheers!.
Hi Aaron, That is very kind.Thank You for listening and I value your appreciation. If , from your perspective , I composed "well" in this case must be that I´ve spent many many hours listening to good music, and trying to get a sense of what makes a piece "fly " , gradually improving over the years, I made lots of mistakes, and obsessed on getting it a bit better on each attempt, while trying to have fun and enjoy the process. I don´t know why this Little Fugue exercise got so many comments and i appreciate them, but more than being in the style of Bach or not, what`s important for me is if it sounds like music and can stand on it`s own or has some kind of life beyond a technical or theoretical goal. I Think that in any Bach piece , (Or Beethoven, Mozart, Brahms,.... and the list is long), exists all what`s needed, for us to observe and learn directly from the music, and monster geniuses as they were, i think they composed always balancing ears - heart - mind, even when they struggled. Cheers ! and good luck with Your Music..
@@SergioValenzuela When you compose a fugue, do you keep in mind the harmony in which each melodic line is so that you can compose the counterpoint? I'm venturing into fugue composition and sometimes I don't know how to create a convincing counterpoing because nothing good seems to fit, only mindless rhythms and meaningless melody.
@Daniel Silva Hey Daniel, thanks for your interesting question. (Alert: long reply) Writing good counterpoint is indeed fascinating and difficult , so i can relate to the frustration when not arriving at our expectations.. I´m more intuitive than technical when it comes to this kind of writing, but if you allow my two cents of advice, i would suggest that you spend some time with fugues (Bach) that you really love. I learned quite a lot just memorizing contrapunctus 8 and 11 from the art of the fugue, and spending many months on them , like re-reading a good book. You will develop a taste for suspensions and ways of combining notes against notes just by immersing yourself in the sound and structures of this incredible work, akin to a jazz player getting his or her vocabulary from learning solos, you will build your contrapuntal - harmonic vocabulary by getting whatever you can on your hands. You can start observing and reverse engineering any fugue you like including other counterpoint works of varying complexity. Bach himself learned his way when he was a boy, by copying and studying the masters of his time. Play a bit with the moving parts so you gain experience . Perhaps first getting a sense of what makes a meaningful rhythm or melody will allow you to write good basic material, How contrast is important, what roles lines play , which comes to foreground, which is more active or passive, etc... , observation is key. Take any passage of a fugue that you like , from Bach and try to separate the components, but i believe , your emotional , intellectual and aesthetic reaction to them are more important than the technical names or academic terms. Of course you write independent melodies telling your harmonic story in different ways, but each line should be alive on it´s own. The magic lies in the motion . You could freeze a Bach Fugue at a given point to hear the most outrageous and adventurous dissonance, (check Bar 75 of Fugue in B minor from WTC book one), but played in time gives you meaning , something larger the sum of the parts. Hope you have fun with your writing and explorations.
@@SergioValenzuela I’d also like to add that you can expand too. Like maybe in some sections you want your counterpoint to be free. It’s fine as long as it’s for the sake of musicality in my opinion. Having the base knowledge is important. Sometimes you need to know the rules in order to break them.
@@SergioValenzuela thanks for your mindful response. I’m practicing the b minor prelude and fugue right now and the fugue is so harmonically complex. It seems to break counterpoint rules all the time but still works because of the harmonic context and, as you said, the momentum. I’ll try to follow your tip and analyze some fugues
A Very heartwarming comment, thank You for listening!. The first page took a day, the rest 2 weeks :)....lot´s of experimenting. , Nothing more flattering and cool that you borrow the subject and do whatever crazy thing You want ;p.Cheers
Lol, good mix then!, I will rename it to " Fugue in the "style of " Bach with Haendel-ish theme" , (good J.S adored him anyway ). Thanks for commenting.
pretty good but you need more modulation. vary the rhythm in the theme more. break rhythm and use syncopation. most of your notes fall right on the beat. add more suspension. peace.
@@SergioValenzuela hi, im here again listen to this fantastic music, if you prefer, look to my "Fuga Atonal N1" and fuga atonal N2 in my channel, thanks, i subscribe in your channel now.
@@Tizohip Man, Sorry it took me a year to see this message and check out Your Atonal Fugues. Very good work, i liked the "jazzy " chord ending of Nº1 :) and loved Nº2. Atonal fugue is of course interesting, but a bit harder to follow the subjects for most people including me, if not looking at the score, but nevertheless interesting sounds and flow. Thanks for sharing this!
I'm always watching for accidentals I'm not fond of Diatonicism. Chromatic activity rules give me those notes outside the key! Bach let the chromatic cat out a the bag you know.
An excellent addition to the body of new work devoted to Bach's universal vision.
that's very kind. Thank You.
You have a great internal ear,.. I hope there are more coming. Very Beautiful work.
Thanks so much!, that`s encouraging to keep growing do it yourself Bach plants :). . I´ve adored Bach since 7 years old, and i owe a lot of my well being to his music. I find the process of emulation fascinating if it hopefully includes that X factor, beyond the technicalities.
Well - you have succeeded to imitate his brush strokes and imprint your own modern individual stamp at the same time. Bravo!
just came across this seven years later. this is great the subject is really delightful
I love the subject
Thank You:)
The subject sounds a lot like the melody from the scene in Toy Story 2 where Woody is being fixed.
I have an association with the subject from Jan Dismas Zelenka's sonata in G minor allegro movement. Time code 4:06
th-cam.com/video/7onNr7K-_MU/w-d-xo.htmlsi=WEkfwjG7fkywvrry
P.S. This whole piece is a double fugue
Una fuga davvero molto bella, così come il soggetto. Bravissimo!!!
Amazing work, and counterpoint, and I love that picardy third at the end!
Thanks for commenting, and for listening ...till the picardy end :),
Amazing work!!!. 1:00 sounds very much like a particular section in the C# major fugue from WTC l.
Thanks Thomas!. I appreciate that you listened to this and commented.
I see what You mean, perhaps Bars 31 - 34 from BWV 848 Fugue in C sharp major. Wow!, that might have been unconscious :). I love when a certain harmonic idea is "encoded" within a repeating motif , so typical of Bach, it gets pretty kaleidoscopic with this kind of thing ( For instance, B flat major prelude from WTC II ). Cheers.
The use of counterpoint and episode is in style of bach. Just like what T Alexander E mentioned, it sounds more like Beethoven because of the ending and lack of ornaments, I assume. Amazing fugue nevertheless!!
hehe, Thank You!. This was, honestly my first fugue, in the style of...the spirit of, i was attempting some sonorities and counterpoint feel. strangely, fugues seem to write themselves, and this is where i think it wanted to go at the time (5 years ago)
I you include Beethoven here couldn´t not take it as compliment. To me he is the next giant to Bach (at least of western music from this era). Being fixated on the Hammerklavier lately, and his own processing of Bach´s sonorities, he seemed to have on his piano all the time through the last period. Cheers!
It also sounds more romantic-ish cuz chromatisms
Wonderful result indeed! I definitely hear some of Bach’s style in this piece at times and love the way you used right and left hand imitations along with some interesting counterpoint to send the piano into the baroque era. Quite a difficult task I would no longer attempt!
So kind Kris!, Thank You for listening , ( I`m quite surprised that people keep commenting on this thing I made 6 years ago.) I have a much later work that explores a more "Bachian" approach to chromatic harmony in some spots , and i think it does a better job stylistically, even if the subject is a children song , not too Bachy per se.
th-cam.com/video/_DuxgG0d0uM/w-d-xo.html
I believe is always worth to try and write some counterpoint even if it´s a short two voice composition. These little attempts has been an education on itself. It takes patience and asking lots of questions but worth it!. Cheers!.
Very wonderful job! This is a nicely constructed fugue. I admire your work!
So kind Mitch, thank You!. Just listened to your beautiful Sarabande!.
I'm glad you liked it. Feel free to browse through my other works if you are open to it!
great counterpoint
Thank You!
Very good fugue. The subject is very Bach-like.
Very kind, thanks for listening.
Excellent.
outstanding
Nice thinking!
:) The fugue thinks itself if you let it unfold. Thanks for hearing!
Nice work Sergio! Bach would be proud!
:), Thank You Timon. ( He´ll surely complain about the mechanic midi )
I'd love it if you could also upload a video like this for the prelude in this set of prelude & fugue too. Great set!
Thanks for listening and commenting. , I`m working on a new fugue, based on a popular chilean children song , to be uploaded soon, after that I`ll do a new version of the prelude and fugue to replace this one. Best. S
Nicely done.
Thank You for listening!. cheers!.
loved it, very good counterpoint :)
Thank You :).
here is a more ¨human ¨performance.
soundcloud.com/zulu-music/sets/prelude-and-fugue-in-the-style
@@SergioValenzuela , Sounds great, i especially notice You amended the end, in Your performance, to be exactly what i imagined it would sound like as i was anticipating that final cadence, and that is the perfect answer to the question posed by the piece! it's been awhile,.. love the prelude, any new fugues in the style of Bach?
@@Geopholus @Geopholus Thank You!. I don´t get what you mean with that anticipation, could you explain ?, besides the performed version has a rallentando in the end and i think i changed the bass a bit, since there are some minor flimsy solutions here and there, (in hindsight)
also, with some perspective, now i think the prelude has a bit of Brahmsian touch (not in the texture, but stretching too much with some bass versus chord sonorities that Bach might used briefly in a bar not a section ), but i don´t think i will loose sleep over this :).
I hope to make a new fugue someday, by now, being studying the art of the fugue . that is an Alien Work!
Cheers.
@@SergioValenzuela Now carefully comparing the two versions again i see they are virtually identical, save for the Rallentando, but the midi version surprised me with it's abruptness,.. so the slower ending was better. it is a true beauty. i guess listening again today i was hoping the final cadence would roll upward or perhaps arpeggiate a little.
Because of the subject of this fugue, it's extremely similar to the fugue from bwv1001. The technique and counterpoint are excellent...
Never realized this close connection, thanks for making me aware, and for hearing this little work.cheers!
Wonderful!
Thanks for listening!.
Amazing!
That`s very kind, I appreciate You listened to it.
@@SergioValenzuela I'm learning to compose and I look up to accomplished and knowledgeable composers like yourself, it inspires me to hear music written in the baroque and classical language so authentically. Your improv is great too. I'm at an early stage composing mostly minuets and I can't wait to study counterpoint and compose fugues like you.
@@darrenfreeman4936 Man, Thanks for your warm and super nice comment. Far from accomplished I consider myself a permanent student , but I appreciate your compliment :) . It´s fantastic that You want to dive in in counterpoint and style reconstruction . I think is thrilling and a very rewarding learning experience to limit oneself to a certain sound and period , trying to make it work emotionally , aesthetically and logically . Never had any formal counterpoint training, other than reading one Bach fugue a day (Also Brahms and Beethoven), and swimming in that for hours sometimes. Unfortunately the subject matter is often treated very technically , and i think is more rewarding to learn it aurally, emotionally, intuitively from observing and trying Yourself., analog to a jazz musician learning to imitate and then create a more personal sound.
Even an with an alien musical Intelligence , J.S Bach, learned his craft by studying and surveying the works of predecessors and contemporaries , not just theorizing around it .
Hope to hear your minuets and fugues one day. Good luck
This TH-cam version kinda robotic, is played by Sibelius, but i have a recored performance with the Prelude included on Soundcloud, if you want to hear.
soundcloud.com/zulu-music/sets/prelude-and-fugue-in-the-style
Best. S.
Wait this sounds really close to Bach's style, good job man!
Thanks for listening🙏🏼
The opening sounded like Grieg's In the Hall of Mountain king
interesting connection!, now that you mention it :). Thanks for listening
often i hear themes too simple or basic or not that good. this theme is very nice and not boring
Thank you Alessio. Perhaps writing a nice fugue with a boring subject might be a good challenge too :). Cheers!.
nice fugue, good harmonic switchups in there!
Thank You Ernesto!!.This was an early attempt. Cheers!.
wonderful！
Thank You.
Amazing fugue, I could never write that good, but it doesn't sound like Bach in my opinion, more like Beethoven
Beautiful!
Nice!
Thank You Mario
Brilliant
This is the first modern fugue in the style of Bach that I have liked!!
Thank You for listening and commenting!. Cheers.
I have a problem with measure 31 though. The 16th note sequence in the left-hand does something slightly outa character with the piece. Maybe it needs one or two chromatic approach notes🤷♂️
Ahhh.....Only Bach can attain perfection :) . I have to disagree , but it´s entirely a matter of taste . I appreciate You listening and commenting!.
nice sound font, and fugue!
but how? This is absolutely stunning! I hope to be able to write music like this one day..
Great!
It´s a bit of an old work at this point, :) but thanks much for listening!.
@@SergioValenzuela I'm stunned by your talent, you have to compose your life through it's sooooooo urgent and valuable in our time and the future ahead of us. Thx!
@@norwalltino First : This is extremely kind, and thank you for your words, but i just love what i do and try to work hard , anyone learning for example contrapunctus XI by heart and obssessing over it for years could learn one or two things about harmony from god himself :).
Second : I listened to your music, and i´m the one trasfixed by Your talent. It reminds me of parts of Lyle Mays, among others, Your piano piece or improvisation sounded like Scriabin, Rachmaninoff,Chopin, Bill evans but in a very personal and warm way. You are the one that the world needs!. Thank So Much from Chile.
This is stunning !
th-cam.com/video/wN6njKrm_8I/w-d-xo.html
@@SergioValenzuela Thanks million of times Sergio, you are the real understanding listener, I really appreciate your comments, as I've alreday said , compose all the day long I'm a huge fan of your music and your skills, how nice to meet you, take care now, you are luckily long away from the war in Europe, as you're living in Chile, here in Norway, it's rather close. Now we have the music anyway :-) See you later
Good stuff!
Thanks John!!.
And This is the John Vogt who also writes beautiful works in the style of Bach!
Beautiful work!!! The subject reminds me of some bars from the soundtrack of the film Amarcord 🙂
Thank You!, you are right!, perhaps the melody that comes after the main theme ?, will certainly see the film again soon. cheers! :)
Hola, ¿como cuanto tardo usted o cuanto se tarda en general en desarrollar una fuga con esta difuciltad tecnica, cuales son las complicaciones o las cosas a tomar en cuenta en su composicion?
Hola, agradezco mucho tu interés . Esta fuga fue mi primer trabajo (y es bastante mejorable en varios sentidos ). La primera exposición la escribí en un día. Resolver el puzle que sigue y darle un desarrollo que fluya me tomó más tiempo y dedicación. Por otra parte, toda una vida de escuchar, digerir y tocar fugas de Bach, por lo que la pregunta del tiempo es difícil de responder.
Sobre las cosas a tomar en cuenta, No soy profesor de contrapunto, sólo te puedo hablar desde mi experiencia autodidacta.
Escuchar cientos de veces cada sección hasta que me sonara "creíble" y tuviera algún tipo de propulsión es en resumen lo que hice.
Después de pasarse un tiempo desarrollando un gusto y oido contrapuntístico, estudiando y escuchando muchas maravillas de Bach y otros, quizás pero el primer desafío es encontrar un sujeto que funcione creíblemente en todas las voces, y te permita generar episodios, modular y hacer invenciones con el. Yo fui algo arrogante y ambicioso , y utilicé un tema cromático y con contra-sujeto, me metí en problemas e intenté salir. Un tema más simple ofrece más flexibilidad.
( El ejemplo supremo de esto es el "Arte de la Fuga BWV1080", con un sujeto simple y elegante, arcaico, conteniendo tantas posibilidades en la prodigiosa imaginación de Bach, como toda la energía en un átomo. ).
Saludos!.
Beautiful! Don't forget Bach's secret weapon: every note he composed was to the glory of the living God!
Thanks for listening and commenting, that´s correct. I recommend the book Music in the Castle of Heaven by John Elliot Gardiner for a brilliant and thorough study of Bach´s relation to faith and words, and how he designed on many layers of complexity and symbolism through his cantatas, among other interesting topics. But to me , Bach is God. Cheers!.
This is a great fugue, well done! Is the sheet music available somewhere?
Thank You very much for listening. I can share the sheet music if you can email me at vale.sergio@gmail.com
To the glory of Bach! hahaha
:) Thanks for listening
How do you compose so well?
Hi Aaron, That is very kind.Thank You for listening and I value your appreciation. If , from your perspective , I composed "well" in this case must be that I´ve spent many many hours listening to good music, and trying to get a sense of what makes a piece "fly " , gradually improving over the years, I made lots of mistakes, and obsessed on getting it a bit better on each attempt, while trying to have fun and enjoy the process. I don´t know why this Little Fugue exercise got so many comments and i appreciate them, but more than being in the style of Bach or not, what`s important for me is if it sounds like music and can stand on it`s own or has some kind of life beyond a technical or theoretical goal.
I Think that in any Bach piece , (Or Beethoven, Mozart, Brahms,.... and the list is long), exists all what`s needed, for us to observe and learn directly from the music, and monster geniuses as they were, i think they composed always balancing ears - heart - mind, even when they struggled.
Cheers ! and good luck with Your Music..
@@SergioValenzuela When you compose a fugue, do you keep in mind the harmony in which each melodic line is so that you can compose the counterpoint? I'm venturing into fugue composition and sometimes I don't know how to create a convincing counterpoing because nothing good seems to fit, only mindless rhythms and meaningless melody.
@Daniel Silva Hey Daniel, thanks for your interesting question. (Alert: long reply) Writing good counterpoint is indeed fascinating and difficult , so i can relate to the frustration when not arriving at our expectations..
I´m more intuitive than technical when it comes to this kind of writing, but if you allow my two cents of advice, i would suggest that you spend some time with fugues (Bach) that you really love. I learned quite a lot just memorizing contrapunctus 8 and 11 from the art of the fugue, and spending many months on them , like re-reading a good book. You will develop a taste for suspensions and ways of combining notes against notes just by immersing yourself in the sound and structures of this incredible work, akin to a jazz player getting his or her vocabulary from learning solos, you will build your contrapuntal - harmonic vocabulary by getting whatever you can on your hands. You can start observing and reverse engineering any fugue you like including other counterpoint works of varying complexity. Bach himself learned his way when he was a boy, by copying and studying the masters of his time.
Play a bit with the moving parts so you gain experience . Perhaps first getting a sense of what makes a meaningful rhythm or melody will allow you to write good basic material, How contrast is important, what roles lines play , which comes to foreground, which is more active or passive, etc... , observation is key.
Take any passage of a fugue that you like , from Bach and try to separate the components, but i believe , your emotional , intellectual and aesthetic reaction to them are more important than the technical names or academic terms. Of course you write independent melodies telling your harmonic story in different ways, but each line should be alive on it´s own. The magic lies in the motion . You could freeze a Bach Fugue at a given point to hear the most outrageous and adventurous dissonance, (check Bar 75 of Fugue in B minor from WTC book one), but played in time gives you meaning , something larger the sum of the parts.
Hope you have fun with your writing and explorations.
@@SergioValenzuela I’d also like to add that you can expand too. Like maybe in some sections you want your counterpoint to be free. It’s fine as long as it’s for the sake of musicality in my opinion. Having the base knowledge is important. Sometimes you need to know the rules in order to break them.
@@SergioValenzuela thanks for your mindful response. I’m practicing the b minor prelude and fugue right now and the fugue is so harmonically complex. It seems to break counterpoint rules all the time but still works because of the harmonic context and, as you said, the momentum. I’ll try to follow your tip and analyze some fugues
Wonderful brainwork!
I love the subject and the way it was developed.
I feel like borrowing the subject from you😅😅😅 lol
A Very heartwarming comment, thank You for listening!. The first page took a day, the rest 2 weeks :)....lot´s of experimenting. , Nothing more flattering and cool that you borrow the subject and do whatever crazy thing You want ;p.Cheers
The theme sounds like an Handel's theme
Lol, good mix then!, I will rename it to " Fugue in the "style of " Bach with Haendel-ish theme" , (good J.S adored him anyway ). Thanks for commenting.
Soli Bach Gloria LOL!
John Benware OMFG
I think it's an excellent Bach like fuge. But more like the second book of the WTC .
Sounds strangely more like Czerny than Bach. See his Op.856 or Op.400.
pretty good but you need more modulation. vary the rhythm in the theme more. break rhythm and use syncopation. most of your notes fall right on the beat. add more suspension. peace.
I think this sound better a bit slow.
Totally up to the performer!
Sergio Valenzuela i like your music, very good.
Thank You for that Danimar :)
@@SergioValenzuela hi, im here again listen to this fantastic music, if you prefer, look to my "Fuga Atonal N1" and fuga atonal N2 in my channel, thanks, i subscribe in your channel now.
@@Tizohip Man, Sorry it took me a year to see this message and check out Your Atonal Fugues. Very good work, i liked the "jazzy " chord ending of Nº1 :) and loved Nº2. Atonal fugue is of course interesting, but a bit harder to follow the subjects for most people including me, if not looking at the score, but nevertheless interesting sounds and flow. Thanks for sharing this!
I'm always watching for accidentals I'm not fond of Diatonicism. Chromatic activity rules give me those notes outside the key! Bach let the chromatic cat out a the bag you know.
It doesn't sound like Bach. Not even close but good work
It’s a good fugue, but there is no way that Bach could have written it.
Thanks for listening. Bach is inimitable and this is a humble homage. cheers.
Really nice fugue but far from Bach’s musicality and metaphisics. Bach is uncopiable
Thanks for listening. To clarify , I really didn´t intend to "copy" Bach, but to celebrate, him and study some of his language.