First: welcome back (Bach?)! Second: that's AMAZING! This is the best imitation of Bach I've ever heard, you could easily pass it as a new found original by JSB. I was even afraid that this fugue wouldn't come to an end and just break as the last one of the Art of the Fugue... I'd really love to know who the hell are you really, and I strongly suggest you to complete the last fugue from the Art, because you're probably theonly one really worthy to accomplish this task. Thanks!
I'm glad you liked it! It's a great motivation for me to see that other people enjoy listening to these pieces. I'd prefer not to reveal who I am for the moment, a bit of mystery is always good! If someone knew who I am I'd really appreciate to keep it secret, thanks!
@@thebachemulationproject3268 Oh, I definitely don't know who you really are. :D As I said, I just have suspects, and I'm sure I'm not alone in this, but we could be all wrong. :D This is a really good job, anyway. Your other "emulations" are good (some really good, some less), but this one is really astounding!
One thing I've noticed between early period Bach and late period Bach is that early one's fugues seem more mechanically constructed. Later ones involve more developed episodes, which ends up evolving the development of the subject even more. With three subjects, there is a lot to work with. Funny thing is he stopped doing his very improv style composition in his later period. Instead, it seems he's incorporated his improv style into his more structure composition method, which one example that shows up is the said more elaborate episodes, and in general more varieties of phrasing and melodies.
This is simply delicious. Of course, I can name a work that could have been the primary source for this Fugue. This is Counterpoint 8 from the Art of Fugue (BWV 1080). But the final passage takes the drama to a new level: Bach could not finish the last counterpoint of the opus. His son wrote an autograph that ended in melodic d minor. In your case, the final holding of the theme B-A-C-H seems to grow out of this incompleteness, and the Fugue seems to complete not only its movement, but also the movement of Counterpoint 19 from the "art of the Fugue". Unmatched. Can I meet you? I really want to show you some of my polyphonic ideas. --------------------------- Это просто восхитительно. Разумеется, я смогу назвать произведение, которое могло стать первоисточником для этой фуги. Это Контрапункт 8 из «Искусства фуги» (BWV 1080). Но финальный пассаж выводит драматургию на новый виток: Бах не смог дописать последний контрапункт опуса. Его сын приписал автограф, который оканчивался на мелодическом ре миноре. У Вас финальное проведение темы BACH словно вырастает из этой незаконченности, и фуга словно завершает не только своё движение, но и движение Контрапункта 19 из «Искусства фуги». Бесподобно. Могу ли я с Вами познакомиться? Я очень хочу показать Вам кое-какие свои полифонические идеи.
Wow, this is just insanely mindbogglingly good. I know I'm not saying anything new here but I think this is the kind of music we all aspire to write. Can't stop listening (and trying to analyse - the markings on the score are really helpful, thanks!) Keep the music coming...
Bloody Hell... Stefano is right, this could easily pass as a new found original by J.S Bach. I have never heard something so incredible in my entire life from a Bach emulation, I was absloutely in awe when watching this, physically whispering "WOW" in real life with my eyes wide in wonder. Soon it will come to the time where you have to tell us, are you a professional composer? This is the type of music that I will always dream to create, although I never will as I am not at all skilled enough. Whoever is behind this channel gives me hope that there is still chance for real music to be written again. As Alma Deutscher recently said in her latest video: "But maybe this award today means that a more tolerant age is dawning, when melody and beauty will once again be permitted" The annotations on the score also helped me to understand the triple fugue much more than I otherwise would have. Thank you :D
Fantastic work, congratulations! Impressive the closeness to the Bachian style; it is clear that the model here is Contrapunctus 11 from the Art of Fugue
From an above comment by the channel: “ I'd prefer not to reveal who I am for the moment, a bit of mystery is always good! If someone knew who I am I'd really appreciate to keep it secret, thanks!”
I wonder if the author composes his own original music. He is exceptionally gifted, and it would be interesting to listen to his compositions. With such talent, it must be a rare occurrence in the modern world.
Incredible work! I too am trying to emulate Bach’s style by writing a three or four part “Keyboard practice, the first part being preludes and fugues. I was wondering what program you use to animate your compositions with annotations and all. Once again, bravo!
A lovely bit of counterpoint. While I do love these pastiches and think they’re impressively crafted, I must admit I’d be really interested to see you develop your own compositional voice, assuming you’re not already trying to do that. Have you got any non-Bachian compositions I can listen to?
Thank you! All works from my channel are exercises I do for myself, it's just a hobby. For the moment, I'd prefer not to reveal my identity... I do have other compositions, but I'm still developing my own voice, which is going to take years if I want to do it in a solid way.
For what it’s worth, would we say that Handel lacked his own voice in relation to those who came before him? In many ways, his “core” style is that of Corelli, with some other contemporary influences-A. Scarlatti, Purcell, among others. Would we say that Boyce and Arne and Stanley lacked their own voice in relation to Handel? They were very competent composers but also very much “clones” of the mighty master. And then there are composers like W.F. Bach, J.L. Krebs, Kirnberger, Homilius-all students of JSB-who were writing more or less in the old style until the end of the 18th century and whose works often could be mistaken for those of JS. Did they have their own compositional voice? Of course they did. Finding one’s own voice doesn’t necessarily mean adopting a prevailing contemporary style or inventing a new one. I am convinced that much more can be said using the Baroque musical “language.” This composer clearly has fluency in this language. Let’s see what he/she has to say using it. If his/her voice expresses itself best in this idiom, let’s respect that. I just found this channel and am eager to hear what else comes up.
I am sorry for my inadequate English. I support all the nice words from other comments here, but....is this really a triple fugue? No, it isn't. At least two triple combinations are missing. I can't find S1 as tenor/soprano, S2 as soprano/bass and S3 as tenor/bass.
That's a good point. Bach does that in BWV 1080. That would be the ideal triple fugue. The most important thing for me is that a Triple Fugue has 3 separate sections (like 3 one-subject fugues), each with a different character in order that subjects sound like subjects instead of countersubjects. Then, all three subjects should be combined at least once in my opinion. So, since people some people say BWV 552 (or even BWV 849) are triple fugues, I'm gonna keep calling mine a triple one :) But, I agree with you, ideally I should have combined all the subjects in different voices. Instead, I decided to save one triple combination for the very end of the piece. Thanks for pointing that out!
The Bach Emulation Project, I am sorry for my inadequate English. Quote: "The most important thing for me is that a Triple Fugue has 3 separate sections(like 3 one-subject fugues), each with a different character in order that subjects sounds like subjects instead of countersubjects." Yes, TBEP! I am totally agree with you on this! But what coming next?....quote: "So, since people some people say BWV 552(or even BWV 849)are triple fugues, I'm gonna keep calling mine a triple one:)" No, no, no, don't do that. By this composition you proove that you got the knowlegde way above people who think BWV 552 and 849 are triple fugues. You know better! So the next triple fugue you publish, I expecting that you take your skills more seriously, and compose at least 3 developments in the final section, do we have a deal? My last triple fugue is deleted because of Covid 19, and my triple section has 6 combinations, 3x2.
Sorry, TBEP, I was wrong. My triple only consist of 3 combination that repeats two times. BTW - thank you so much for the instrument that sounds so good. I am so tired of people who present their compositions on a "instrument" that hardly cost more than 20 $ at the supermarked.
@@geiryvindeskeland7208 Hello, Geir. It`s been a while. I hope you have been hard at work writing. I have a few new compositions on my own channel, which I think you might be interested in, so I hope you will take a look. As for this triple fugue, I cannot understand why there are no bar numbers. it`s easy enough to turn on the automatic bar numbering function. Otherwise, it makes a lot of hard work having to go back again and again to check the accuracy of one`s counting. Perhaps I should have qualified my original comment by saying that because people`s abilities differ, parts of this piece are unplayable BY ME. For example, bars thirty-three, forty-eight, seventy-eight, and one hundred and fifty-one all have intervals which I would find very awkward, if not impossible to play. I see that my comment has also been echoed below by Rohan C. The test, of course, would be for an actual person to play the piece and not a computer-generated programme.
It’s a fine tribute, but "emulation" is something else. I’d be happy to go through your scores with you point by point to help you get closer to your goal.
This definitely is awesome to see, but I have to say that while this sorta sounds like Bach, I think it is a long way away from Bach's craftsmanship. Many passages are simply awkward to play and don't feel quite right underneath the hands. Additionally, there are many notes whose placement I question as their inclusion adds little to the overall piece--I don't know about the rules of the Common Practice, but I'm more so speaking from an intuitive place. I could be wrong about all of this though, and I just need to get good. Still though, this is a great piece to listen to and play along with, and I thank you for such an effort. Please make more, you are an inspiration.
Not too bad, but Master Bach is less predictable and drastically more modular. This must be an early AI because there is not enough variation of note types and not enough sustains tied to repeated notes. Judging by the rudimentary rhythmic simplicity of the piece and the overall aesthetic of the motifs and counter-subject, I would say the AI has only 'learned' or encountered Bach's Art of The Fugue and I feel like the BACH motif was too forcibly contrived. However I give it a 7/10 for it's albeit slight similarity to Bach and for the human who aided in the composition
@@thebachemulationproject3268 I guess the answer whether diminished to perfect fifth (or visa versa) depends on which theorist you consult. I'll give you another contrapuntal rule that's debated: the 3rd of a chord cannot be doubled, unless it's first inversion (this second part is debated among theorists but Bach does it).
@@xmvziron Perf5th-Dim5th is always possible, no doubt about it. Dim5th-Perf5th should always be avoided. However there's an exception for this last case: if fifths (dim-perf) are part of two chords with inversion and the bass moves in contrary motion. But sometimes I've seen Bach doing that without contrary motion in the bass... Regarding the 3rd: In a first inversion the third shouldn't be doubled in this style. In a root position, doubling the 3rd should be avoided if possible. However, there can be exceptions if they are product of a good voice leading.
art of fugue intensifies
Very similar theme to art of fugue
First: welcome back (Bach?)!
Second: that's AMAZING! This is the best imitation of Bach I've ever heard, you could easily pass it as a new found original by JSB. I was even afraid that this fugue wouldn't come to an end and just break as the last one of the Art of the Fugue...
I'd really love to know who the hell are you really, and I strongly suggest you to complete the last fugue from the Art, because you're probably theonly one really worthy to accomplish this task. Thanks!
Yup this is almost an original by Bach! I too have asked before who is behind this youtube channel with no answer sadly...
@@Nooticus Well, I've got a suspect, giving the style of these videos and the fact that someone else have been missing from TH-cam for months...
OMG I think you might be right, the style of the scrolling score is so similar and it the amount of knowledge would make sense... geru... is that you?
I'm glad you liked it! It's a great motivation for me to see that other people enjoy listening to these pieces. I'd prefer not to reveal who I am for the moment, a bit of mystery is always good! If someone knew who I am I'd really appreciate to keep it secret, thanks!
@@thebachemulationproject3268 Oh, I definitely don't know who you really are. :D As I said, I just have suspects, and I'm sure I'm not alone in this, but we could be all wrong. :D
This is a really good job, anyway. Your other "emulations" are good (some really good, some less), but this one is really astounding!
When you suddenly get possessed by Bach’s soul.
Please open a Petreon account to gain support
This could pass off as my work, bravo!
One thing I've noticed between early period Bach and late period Bach is that early one's fugues seem more mechanically constructed. Later ones involve more developed episodes, which ends up evolving the development of the subject even more. With three subjects, there is a lot to work with. Funny thing is he stopped doing his very improv style composition in his later period. Instead, it seems he's incorporated his improv style into his more structure composition method, which one example that shows up is the said more elaborate episodes, and in general more varieties of phrasing and melodies.
This is simply delicious. Of course, I can name a work that could have been the primary source for this Fugue. This is Counterpoint 8 from the Art of Fugue (BWV 1080).
But the final passage takes the drama to a new level:
Bach could not finish the last counterpoint of the opus. His son wrote an autograph that ended in melodic d minor.
In your case, the final holding of the theme B-A-C-H seems to grow out of this incompleteness, and the Fugue seems to complete not only its movement, but also the movement of Counterpoint 19 from the "art of the Fugue".
Unmatched.
Can I meet you? I really want to show you some of my polyphonic ideas.
---------------------------
Это просто восхитительно. Разумеется, я смогу назвать произведение, которое могло стать первоисточником для этой фуги. Это Контрапункт 8 из «Искусства фуги» (BWV 1080).
Но финальный пассаж выводит драматургию на новый виток:
Бах не смог дописать последний контрапункт опуса. Его сын приписал автограф, который оканчивался на мелодическом ре миноре.
У Вас финальное проведение темы BACH словно вырастает из этой незаконченности, и фуга словно завершает не только своё движение, но и движение Контрапункта 19 из «Искусства фуги».
Бесподобно.
Могу ли я с Вами познакомиться? Я очень хочу показать Вам кое-какие свои полифонические идеи.
Wow, this is just insanely mindbogglingly good. I know I'm not saying anything new here but I think this is the kind of music we all aspire to write. Can't stop listening (and trying to analyse - the markings on the score are really helpful, thanks!) Keep the music coming...
Yes!! Thank you for this! So much value in this piece!
Bloody Hell... Stefano is right, this could easily pass as a new found original by J.S Bach.
I have never heard something so incredible in my entire life from a Bach emulation, I was absloutely in awe when watching this, physically whispering "WOW" in real life with my eyes wide in wonder. Soon it will come to the time where you have to tell us, are you a professional composer? This is the type of music that I will always dream to create, although I never will as I am not at all skilled enough. Whoever is behind this channel gives me hope that there is still chance for real music to be written again. As Alma Deutscher recently said in her latest video: "But maybe this award today means that a more tolerant age is dawning, when melody and beauty will once again be permitted"
The annotations on the score also helped me to understand the triple fugue much more than I otherwise would have.
Thank you :D
Thanks for your words Nooticus! Yes I am a professional composer
Contrapunctus 11 revisited! Bravo!
you've got the urge to right a fugue!
This was an instasub immediately following the introduction of the third theme! Excellently done!
This is amazing!
Bravo! Made me feel similar as when I listen to the art of fugue. Very inspiring.
Absolutely genius
Bravo!! 👏 The upside down B-A-C-H made me laugh out loud. 😆 Would love to hear this arranged for a full orchestra. 🎶
Dayum, this is amazing
the Bach's name theme arrangement is really clever. well done
Spectacular!
Fantastic work, congratulations! Impressive the closeness to the Bachian style; it is clear that the model here is Contrapunctus 11 from the Art of Fugue
Splendida e complessa fuga meravigliosamente Bachiana!!!
You are incredible, Gerubach! 😋
From an above comment by the channel: “ I'd prefer not to reveal who I am for the moment, a bit of mystery is always good! If someone knew who I am I'd really appreciate to keep it secret, thanks!”
wow this is amazing! you should be proud keep it up!
Il y a des passages vers la fin qui rappellent fortement l'Art de la Fugue (contrapunctus XI).
I wonder if the author composes his own original music. He is exceptionally gifted, and it would be interesting to listen to his compositions. With such talent, it must be a rare occurrence in the modern world.
Great I found a new channel.
3:16 B A C H
Elegant
Incredible work! I too am trying to emulate Bach’s style by writing a three or four part “Keyboard practice, the first part being preludes and fugues. I was wondering what program you use to animate your compositions with annotations and all. Once again, bravo!
where did you study composition?
1:52-2:03 beautiful bass part
A lovely bit of counterpoint. While I do love these pastiches and think they’re impressively crafted, I must admit I’d be really interested to see you develop your own compositional voice, assuming you’re not already trying to do that. Have you got any non-Bachian compositions I can listen to?
@Aryn Dorneal thanks for the recommendations :)
Thank you! All works from my channel are exercises I do for myself, it's just a hobby. For the moment, I'd prefer not to reveal my identity... I do have other compositions, but I'm still developing my own voice, which is going to take years if I want to do it in a solid way.
For what it’s worth, would we say that Handel lacked his own voice in relation to those who came before him? In many ways, his “core” style is that of Corelli, with some other contemporary influences-A. Scarlatti, Purcell, among others.
Would we say that Boyce and Arne and Stanley lacked their own voice in relation to Handel? They were very competent composers but also very much “clones” of the mighty master.
And then there are composers like W.F. Bach, J.L. Krebs, Kirnberger, Homilius-all students of JSB-who were writing more or less in the old style until the end of the 18th century and whose works often could be mistaken for those of JS. Did they have their own compositional voice? Of course they did.
Finding one’s own voice doesn’t necessarily mean adopting a prevailing contemporary style or inventing a new one. I am convinced that much more can be said using the Baroque musical “language.”
This composer clearly has fluency in this language. Let’s see what he/she has to say using it. If his/her voice expresses itself best in this idiom, let’s respect that.
I just found this channel and am eager to hear what else comes up.
Do you have plans to complete The Art of Fugue? : D
This sounds a lot like contrapunctus xi with episodic material from contrapunctus iv
played on modern piano, just like Bach did
I am sorry for my inadequate English. I support all the nice words from other comments here, but....is this really a triple fugue? No, it isn't. At least two triple combinations are missing. I can't find S1 as tenor/soprano, S2 as soprano/bass and S3 as tenor/bass.
That's a good point. Bach does that in BWV 1080. That would be the ideal triple fugue. The most important thing for me is that a Triple Fugue has 3 separate sections (like 3 one-subject fugues), each with a different character in order that subjects sound like subjects instead of countersubjects. Then, all three subjects should be combined at least once in my opinion. So, since people some people say BWV 552 (or even BWV 849) are triple fugues, I'm gonna keep calling mine a triple one :) But, I agree with you, ideally I should have combined all the subjects in different voices. Instead, I decided to save one triple combination for the very end of the piece. Thanks for pointing that out!
The Bach Emulation Project, I am sorry for my inadequate English. Quote: "The most important thing for me is that a Triple Fugue has 3 separate sections(like 3 one-subject fugues), each with a different character in order that subjects sounds like subjects instead of countersubjects." Yes, TBEP! I am totally agree with you on this! But what coming next?....quote: "So, since people some people say BWV 552(or even BWV 849)are triple fugues, I'm gonna keep calling mine a triple one:)" No, no, no, don't do that. By this composition you proove that you got the knowlegde way above people who think BWV 552 and 849 are triple fugues. You know better! So the next triple fugue you publish, I expecting that you take your skills more seriously, and compose at least 3 developments in the final section, do we have a deal? My last triple fugue is deleted because of Covid 19, and my triple section has 6 combinations, 3x2.
Sorry, TBEP, I was wrong. My triple only consist of 3 combination that repeats two times. BTW - thank you so much for the instrument that sounds so good. I am so tired of people who present their compositions on a "instrument" that hardly cost more than 20 $ at the supermarked.
Strepitosa!!!
Please tell me it's not AI...
I don`t intend to be negative, but parts of this are unplayable with two hands.
Malcolm, where?
@@geiryvindeskeland7208 Hello, Geir. It`s been a while. I hope you have been hard at work writing. I have a few new compositions on my own channel, which I think you might be interested in, so I hope you will take a look. As for this triple fugue, I cannot understand why there are no bar numbers. it`s easy enough to turn on the automatic bar numbering function. Otherwise, it makes a lot of hard work having to go back again and again to check the accuracy of one`s counting.
Perhaps I should have qualified my original comment by saying that because people`s abilities differ, parts of this piece are unplayable BY ME. For example, bars thirty-three, forty-eight, seventy-eight, and one hundred and fifty-one all have intervals which I would find very awkward, if not impossible to play. I see that my comment has also been echoed below by Rohan C. The test, of course, would be for an actual person to play the piece and not a computer-generated programme.
It’s a fine tribute, but "emulation" is something else. I’d be happy to go through your scores with you point by point to help you get closer to your goal.
This definitely is awesome to see, but I have to say that while this sorta sounds like Bach, I think it is a long way away from Bach's craftsmanship. Many passages are simply awkward to play and don't feel quite right underneath the hands. Additionally, there are many notes whose placement I question as their inclusion adds little to the overall piece--I don't know about the rules of the Common Practice, but I'm more so speaking from an intuitive place. I could be wrong about all of this though, and I just need to get good.
Still though, this is a great piece to listen to and play along with, and I thank you for such an effort. Please make more, you are an inspiration.
Not too bad, but Master Bach is less predictable and drastically more modular.
This must be an early AI because there is not enough variation of note types and not enough sustains tied to repeated notes.
Judging by the rudimentary rhythmic simplicity of the piece and the overall aesthetic of the motifs and counter-subject, I would say the AI has only 'learned' or encountered Bach's Art of The Fugue and I feel like the BACH motif was too forcibly contrived.
However I give it a 7/10 for it's albeit slight similarity to Bach and for the human who aided in the composition
Its not AI
Parallel fifths with soprano and bass 1:12
These fifths are allowed my friend ;) Perf-Dim
@@thebachemulationproject3268 I guess the answer whether diminished to perfect fifth (or visa versa) depends on which theorist you consult. I'll give you another contrapuntal rule that's debated: the 3rd of a chord cannot be doubled, unless it's first inversion (this second part is debated among theorists but Bach does it).
@@xmvziron Perf5th-Dim5th is always possible, no doubt about it. Dim5th-Perf5th should always be avoided. However there's an exception for this last case: if fifths (dim-perf) are part of two chords with inversion and the bass moves in contrary motion. But sometimes I've seen Bach doing that without contrary motion in the bass... Regarding the 3rd: In a first inversion the third shouldn't be doubled in this style. In a root position, doubling the 3rd should be avoided if possible. However, there can be exceptions if they are product of a good voice leading.
@@xmvziron You try too hard mate. Never try too hard.
Dont argue with the reincarnation!