Fugue II in F-Minor (original composition)

Noteworthy features of this fugue:
→ This fugue is made up of only three basic motives:
1. the rhythmic pattern of the first and second bar (three 8th notes followed by two 16ths)
2. the figure in the third and fourth bar (also occurs in retrograde and retrograde inversion)
3. the scale in the fifth bar (optionally moved up an octave after the downbeat, after the second beat, or both)
→ The last note of a motive can be changed to accomodate a cadence. Almost no part of the fugue consists of material that is not taken from one of these three motives.
The fugue has three parts and is written for one player.
Inspiration: I have taken some inspiration from BWV 881.
Have a nice day! ^^

[@natureboy1961]

I liked it, especially when it went "du dum dum dee"

[@averynhiell]

Thank you! That’s a surprisingly good verbalisation of the head of the subject. xD

[@philipped.picard7933]

Bach would have been proud of you !

[@averynhiell]

Thanks a lot! ^^

[@krisdabaliguy6850]

This is probably my favorite of your compositions. good work

[@averynhiell]

Thank you a lot! ^^

[@vultun29]

very captivating and energetic, lively and fresh.

[@averynhiell]

Thank you so much! (=

[@drtee51]

Nice job! Catchy subject! I have to be careful saying this, but it is vaguely reminiscent of the F minor fugue in Book II of Bach's Well-Tempered Clavier, which is also in 2/4 in F minor. But you introduce a few touches that Bach didn't think of. For instance that 16th-note anacrusis at the beginning of the subject is really pretty catchy, and it works every time you bring the subject back. I thought it was interesting that in this one you stay pretty close in the orbit of F minor and nearly related keys. (I was just listening to your D minor fugue again and you went pretty far afield in that one--from D minor to E minor and B minor). I guess the more active material in this fugue doesn't let you range quite so far afield. Not meant as a criticism, though--I think it goes right whenre you need it to go. Nice job, once again!

[@averynhiell]

Thank you so much! (=
Yeah, some people have already noticed the similarity to BWV 881. First, it was unintentional, and once I realised it myself during composition, I let myself be a bit more inspired by it.
Unfortunately, the anacrusis doesn’t work every time: in the entry at 0:45, I had to lower it to avoid parallels.
As for the keys: I felt like this fugue was a bit more “well-behaced” in terms of material etc., it didn’t seem to fit to explore too distant keys. But in the Fugue II in D-Minor, everything is a bit more experimental. ^^

[@user-gp1ou7fd2g]

Very captivating Bachian fugue subject. Captures the ear right off the bat!
Can't help thinking that this subject would have been ideal for an inverted entry, though. The very distinctive rhythm would stand out right away and be immediately recognizable, and the inverted pitches would add a lot of freshness to the music, and perhaps let you expand it a little more. The conclusion could then feature both the original right-side-up subject in stretto with its inverse for a nice contrapuntal climax.

[@averynhiell]

Thank you! (=
There are actually two instances of an inversion of parts of the subject: a sequence with the inverted head of the subject starting at 1:29, making up the episode that leads to the stretto section, and an inverted entry in stretto at 2:07. ^^

[@user-gp1ou7fd2g]

@@averynhiell Very nice. I thought you could have done more with it towards the end, like give it its own mini-exposition and play around with it, then bring in the original and have them play together to tie up the end.
Just a random idea, of course.

[@averynhiell]

@@user-gp1ou7fd2g Totally, I’ll consider the idea for future compositions. ^^

[@TimotheeDuport]

Bravo !

[@averynhiell]

Thanks! ^^

[@philippe573]

That was beautiful, elegant, and pleasing to hear. I hope you are encouraged to continue writing

[@averynhiell]

Thank you so much! I definitely will continue writing fugues. ^^

[@Xzy_158]

Very elegant fugue, i enjoyed it very much :)

[@averynhiell]

Thank you so much! ^^

[@mymusicaldream4032]

I like what I hear, keep going! My fugues are getting better but not at your level yet

[@averynhiell]

Thanks a lot! I will try and remember to check some of your fugues out as well. (:

[@hisky.]

i like this. youre good at writing fugues did you know?

[@averynhiell]

Thank you so much! (=

[@joeldepadua]

Excellent fugue. However, I don't want to be annoying, but I found the similarity with the Fugue in F Minor from the Second Volume of the Well-Tempered Clavier very evident. The subject of this sounds almost like a variation of that to me. I know this was probably unintentional, it happens by chance or unconsciously, I have been victim of things like that myself. Perhaps you should mention this similarity in the identification of this fugue to avoid criticism.

[@averynhiell]

Thank you! The similarity is semi-intentional. That is, I did not plan for it to be similar from the beginning, but while constructing the exposition, I noticed it and let it inspire me more consciously. I’ll mention it in the video description, thank you for your thoughts on that. (:

[@joeldepadua]

@@averynhiell👍

[@MartinSmithMFM]

Too close to 48 Book One fugue to be more than a poor pastiche.

[@averynhiell]

I assume you are referring to BWV 881? Well, the subject is similar, but apart from that, I think the two fugues are rather different. I don’t think it’s fair to call it a “poor pastiche”.

[@user-gp1ou7fd2g]

@@averynhiell IMO it doesn't sound like BWV 881 at all. There are some similarities in the shape of the subject, but tonally the two are quite distinct, and any similarities are likely mere coincidence.

[@sergiocattapan1192]

​​@@averynhiellcontinua a comporre, la tua musica è semplicemente attraente.😊

[@averynhiell]

@@user-gp1ou7fd2g Thank you, I agree. (:

[@averynhiell]

@@sergiocattapan1192 Grazie di cuore! ^^