Just discovered your channel. So great to see talented young musicians and composers who love the fugue, Bach, and the yearning for the sublime. Truly a kindred spirit!
Now here's a composition that potentially you could get people to play on acoustic instruments without needing to have mutant hands. And then as an actual string quartet, they could apply pitch bending for just intonation (not sure how hard this is to do in MuseScore).
Last time I tried out MuseScore 4's temperament adjustment panel it was merely an experimental feature with no actual effects to apply. I'm not very confident of that having changed thus far, but I'll look into it either way. Thank you kindly for your comments and constructive feedback.
In essence, an ideal sense of contrapuntal integrity has to take into account both verticality and horizontality: the former pertaining to harmony and correct voice leading, and the latter regarding the proper contour of the melodies involved, as well as how different iterations of the motifs you use interact with each other (imitation) and get transformed in of themselves in various ways (mutations like retrogradation and inversion). Achieving the golden mean between both parameters at every point within a contrapuntal composition is the primary main goal in achieving convincing counterpoint, albeit quite a daunting one at first and (from my own experience, at least), as well as susceptible to flaws and mistakes in case of oversight. A key concept in it all has to be independent voicing: that is, making sure the voice leadings you use are not only correct, but independent from each other in terms of intervals between them. This is the main reason why perfect consonances such as 4ths, 5ths and octaves are to be avoided in parallel motion, since they undermine this principle whenever they appear. 3rds and 6ths are allowed in parallel motion, but they shouldn't be used for too long in a row since that would also undermine the independence between voices. Unfortunately I don't really have much to offer when it comes to literature to recommend on this subject, since I am mostly self-taught and my experience derives mostly from recolections of different texts I couldn't cite, as well as from thorough personal analysis of contrapuntal pieces by Bach and others among the greatest composers of all time, which worked best for me as a basic approach to learning and perfecting my art.
the ending is GORGEOUS
Just discovered your channel. So great to see talented young musicians and composers who love the fugue, Bach, and the yearning for the sublime. Truly a kindred spirit!
This one has more classical era fugue vibes, which is nice. Good sense of overall form, very impressive work.
Wonderful fuga and very strong ending!
This is great! Thank you for sharing :)
Very nice, especially the conclusion 🎉
Wonderful job! Bravo!
Now here's a composition that potentially you could get people to play on acoustic instruments without needing to have mutant hands. And then as an actual string quartet, they could apply pitch bending for just intonation (not sure how hard this is to do in MuseScore).
Last time I tried out MuseScore 4's temperament adjustment panel it was merely an experimental feature with no actual effects to apply. I'm not very confident of that having changed thus far, but I'll look into it either way.
Thank you kindly for your comments and constructive feedback.
First comment! Nice fugue!
Do you recomend any basic introctory book about counterpoint? I would like to understand what counterpoint is
In essence, an ideal sense of contrapuntal integrity has to take into account both verticality and horizontality: the former pertaining to harmony and correct voice leading, and the latter regarding the proper contour of the melodies involved, as well as how different iterations of the motifs you use interact with each other (imitation) and get transformed in of themselves in various ways (mutations like retrogradation and inversion). Achieving the golden mean between both parameters at every point within a contrapuntal composition is the primary main goal in achieving convincing counterpoint, albeit quite a daunting one at first and (from my own experience, at least), as well as susceptible to flaws and mistakes in case of oversight.
A key concept in it all has to be independent voicing: that is, making sure the voice leadings you use are not only correct, but independent from each other in terms of intervals between them. This is the main reason why perfect consonances such as 4ths, 5ths and octaves are to be avoided in parallel motion, since they undermine this principle whenever they appear. 3rds and 6ths are allowed in parallel motion, but they shouldn't be used for too long in a row since that would also undermine the independence between voices.
Unfortunately I don't really have much to offer when it comes to literature to recommend on this subject, since I am mostly self-taught and my experience derives mostly from recolections of different texts I couldn't cite, as well as from thorough personal analysis of contrapuntal pieces by Bach and others among the greatest composers of all time, which worked best for me as a basic approach to learning and perfecting my art.