Literally my only complaint is how the final chord resolves. The middle voices could easily have swapped notes (in their correct ranges ofc) and have been much more convincing in terms of voice-leading. But still, it's a good fugue and I enjoyed it
Very magnificent and impressive!!! You manage to compose such glorious imitations in Bach's style, while at the same time making your music sound original and unique. Thank you very much for sharing this with us!
Perhaps from a practical standpoint, it makes sense to have the tenor line played on euphonium rather than trombone, and the first trumpet on piccolo trumpet instead of the standard B flat trumpet
It sounds very convincing, and cranking out a 4-voice fugue in such a short timeframe is pretty good (and useful at times!). That being said, it could use a few more hours of refinement to polish some things like voice-leading issues, and maybe a stronger final section. For example, 02:07 measure 42 struck me for two reasons: You essentially have parallel octaves between the soprano and bass from beats 1--2 and 3--4 (and again, m43 beats 2.5--3), and (back in m42) between alto and bass from beats 2.4--3 (I don't want to use this word, but the cross-relation D-flat and D-natural is for me very "wrong"). If you were to change your bass line to something like this: (1) Db, ^F, G, A (2) Bb, G, Ab, Bb (3) C, Bb, Ab, G (4) F...., it would be much more elegant with contrary motion and avoiding my aforementioned concerns.
This guy gives good advice: th-cam.com/video/pHW1I8T0caI/w-d-xo.html Otherwise, beware of parallel fifths and especially parallel octaves, keep rhythmic diversity between the voices at the same time but mostly do what the music dictates - you need development etc. And if we hear the entire subject too often, it becomes tiresome so it needs to be varied up!
Literally my only complaint is how the final chord resolves. The middle voices could easily have swapped notes (in their correct ranges ofc) and have been much more convincing in terms of voice-leading. But still, it's a good fugue and I enjoyed it
Wow really impressed. You’ve clearly learned the historical stylings and put your own stamp on it… very difficult to do.
This is really a great piece of art, an extraordinary fugue.
Could this be played by an organist? I'm sure it would sound just as phenomenal
I'm sure! let me know if you want the score if you were thinking of arranging it
Impressive and brillantly dramatic. That you manage to compose this great work in such a short time is extraordinary. Bravo!
Only 4 hours?? Wow, that is great! Loved this!
great composition, WOW !!!!!
Sublime subject and magnificent counterpoint! This is just an outstanding fugue, especially one written in 4 hours!! Good job!
The comterpoint and imitaive sound impressive.
Stunning!
Absolutely phenomenal 👏
Amazing! Great job! Loved it :D
this is a very very solid fugue! really liked it
Epic sounding fugue 🎶🎶
Jack this is a fabulous piece of work, and very pleasing to listen to.
Beautiful fugue man!
Bravo! Outstanding.
wow beautiful fugue
Very magnificent and impressive!!! You manage to compose such glorious imitations in Bach's style, while at the same time making your music sound original and unique. Thank you very much for sharing this with us!
super !!!!!
Damn this is a wonderful composition, I immediately fell in love with the beatiful subject👌
Perhaps from a practical standpoint, it makes sense to have the tenor line played on euphonium rather than trombone, and the first trumpet on piccolo trumpet instead of the standard B flat trumpet
очень красиво!
Real purpose of good fugues in minor keys - for brass ensembles
This has inspired me to write a fugue for a brass quartet I know. Hopefully they won't kill me
This is wonderful fugue, how you manage to do it so laconic
It sounds very convincing, and cranking out a 4-voice fugue in such a short timeframe is pretty good (and useful at times!). That being said, it could use a few more hours of refinement to polish some things like voice-leading issues, and maybe a stronger final section.
For example, 02:07 measure 42 struck me for two reasons: You essentially have parallel octaves between the soprano and bass from beats 1--2 and 3--4 (and again, m43 beats 2.5--3), and (back in m42) between alto and bass from beats 2.4--3 (I don't want to use this word, but the cross-relation D-flat and D-natural is for me very "wrong").
If you were to change your bass line to something like this: (1) Db, ^F, G, A (2) Bb, G, Ab, Bb (3) C, Bb, Ab, G (4) F...., it would be much more elegant with contrary motion and avoiding my aforementioned concerns.
So what about dissonant leaps like the C to F#? I'm not good with fugues but isn't it supposed to follow the basic rules as that?
Watch out on parallel octaves ! If you try to write in traditional style its considered as mistake (mainly in polyphonic music)
Wow!! Perfect work serious!!
Any advice for writing a fugue?
Analysing other composers
@@fidelio561 thanks
This guy gives good advice:
th-cam.com/video/pHW1I8T0caI/w-d-xo.html
Otherwise, beware of parallel fifths and especially parallel octaves, keep rhythmic diversity between the voices at the same time but mostly do what the music dictates - you need development etc. And if we hear the entire subject too often, it becomes tiresome so it needs to be varied up!
I am not brave enough to write a fugue.
Can't do it if you don't try. It's surprisingly easy once you get the hang of it.
What program do you use to play it? Sounds great!
The fugue is very talented, but the ending is messed((
I’m sorry for you, but is full of errors and parallel octaves. Check better