Counterpoint: Fugue in C minor, in Baroque Style
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- เผยแพร่เมื่อ 27 เม.ย. 2024
- It's Fugue o'clock for me again! On today's menu is a 4-part fugue in Baroque style, based on the notes 'C-G-G'.
As usual, I visualized it using MAMPlayer (for the animation) and Sibelius (for the score).
Sections:
Exposition: 0:00
Episode I (Modulating to E Flat Major): 0:47
Subject in E Flat Major: 1:08
Episode II: 1:15
Subject in E Flat Major: 1:32
Episode III (Modulating back to C minor): 1:40
(Modified) Subject in C/B Flat Minor (VI of IV): 1:58
Episode IV (Modulating to F minor): 2:02
Subject(s) in F minor and D Flat (superimposed): 2:13
Episode V (Modulating to C minor - with many False Entries): 2:20
(Partial) Subject entry in C minor: 2:33
Subject Entries in C/G minor (Dominant Pedal Point): 2:42
Final Entry in C minor/major: 2:51 - เพลง
One of the best fugues not from Bach I have ever seen. The counterpoint is so creative and intelligent.
I agree!
A very intelligent fugue. Bach would be proud, Nicholas
Wow, this is amazing. I love Fugues to bits, and this one fulfills my appatite.
Very nice, I love the part right after 1:40, where the piece is modulating back to c minor
A quelque chose malheur est bon, ce virus aura été pour vous une belle source d’inspiration ! Bravo, c’est magnifique comme vos deux premières fugues.
Great fugue!
Аааааааа, ну это же фантастически красиво. Это настоящий Баховских Космос, старик был бы доволен)). Как же я рад, что нашел вас и подписался на ваш канал. С наилучшими пожеланиями из России.
Bravo, Nicholas! Sounds so right with the harpsichord effect. Positively Bachish!
When I heard the tonal answer, I immediately knew I was about to hear something properly good. Really nice job!
Wonderful work, once again!
Splendid!
Как говорят теоретики одесской консерватории: "Бах и полифония - это наше ВСЁ." БРАВО!!! СПАСИБО БОЛЬШОЕ.
I´m suspect to analize that but I love that style of composition! :)❤
Bellissima ! Complimenti !
Excellent fugue!
Beautiful!
You're in the top 5, Nicholas. Great job
Bravo!
wunderschön 🤩
👍🏻
Absolut fantastisch! Ich glaube, ich werde sie üben und am Cembalo spielen!
Vielen Dank für Ihren freundlichen Kommentar! Ich kann dir die Partitur schicken, wenn du willst.
Very good ! but with your keyboard skills I woud love to hear it played by you !
Thank you! I'd love to as well, it just takes lots of time to make recordings, and my schedule at this moment doesn't allow it...
Chords are chords ok i got it but what's the secret of melody
Sorry for my inadequate English. Here is a lot to enjoy! Nice harmonies and counterpoints! But I disagee with the use of tonal answers at least in this fugue. You pointing out the interval C-G, a fifht. Therefore I wish you could give me real answers in every development. I don’t like tonal answers because the melody line in the fugue subject always differs from the original.
A tonal answer would be the expected and "default" option for such fugue subject. There are myriads of such subjects that are treated this such way (BWV 537, 1080, etc.). The adaptation of the subject's head allows for more seamless transitions and key changes.
Hey, Nicholas Papadimitriou. So I have a theme for a fugue in d minor that I want to be in the style of Bach's Contrapunctus XI from the Art of Fugue. I suppose you could make it a complete fugue. I have the theme on musescore and continued a little bit. If you can make it work let me know. I'm from Greece too btw :)
Hey! I'd gladly give you ideas or advice on how to continue, but I don't have the time to completely work it out right now.
Is the animation made with smalin's program?
Yes.
@@NicholasPapadimitriou1993 cool.
To compare it to bach ill give a strong 90% out of 100% it sounds like bach a lot
Very nice treatment, but one thing severely holds your work back. Rhythmic pacing--one of the absolute fundamental concepts of any composition. That is, your music does not ebb and flow. It just runs on like a sentence that never stops. If you carefully look at any Bach work, you will see where rhythmically there are endings to phrases. Now, the phrases might juxtapose (overlap), but every line has it's ebb and flow, and the lines together also have an ebb and flow. Ideally, there should be points in your work where a breath is taken, and also variety is given. An easy way to build that into your work is to insure the presence of some passages (other than just the beginning) where there are 2 voices and not always 3. And also one of the voices becomes much slower--less active. Some examples, go to ms. 31 cadence. A cadence is not only harmonic. It is also rhythmic. Here ideally you should linger -- even briefly, to give a rhythmic breath. This would be a nice spot to let one of the voices rest a few bars, but within 4 beats you are back with three active voices. Anyway, all of this in your work is easily correctable, but you need to actively think consider it and very actively plan your work around it. Other than this, some very nice ideas!
I disagree with this. Fugue means chase or flight. If you listen to Bachs fugues all the voices are in a constant development. Yes there are cadences, but so are there in this fugue. Have you listened to it fully?
@@philip.stigaard Yes, Bach's fugues they are in development, but in a very controlled way. And, much of that control has to do with pacing. How fast they develop, how fast the general harmonic progression is, etc., all of which will determine where the cadences are planted. Planted! Just like pillars to a large building. Cadences hold everything together through time. These are all pacing considerations. Bach's work ebbs and flows as any good work does; it just doesn't start off as a sprint. And fugue does not mean "chase or flight" like a bat out of a cave in the middle of the night. Music is like a good story; it paces, it takes it's time, it develops it's ideas stepwise; one idea superimposed over next in a very maintained and controlled manner. These ideas are all fundamental to the artcraft of composition. You don't have to agree with me. You can write whatever you want. Just don't plan on being taken seriously. But if you do in fact read, you will find endless writings on this subject matter by Stravinsky (Collected Essays) , Bernstein ("The Unanswered Question"), or Mahler and R. Strauss' back and forth writings. These are all good places to research.