Man that'd be great. It's difficult cause so much of the baroque music practice is in the instruments and the instrumentation, so at that point are you using historical instruments but making new music? Or using modern instruments in a baroque style with baroque rules to the music
@@faithclarke7721 I mean Classic Rock in many ways did exactly that, though perhaps not specifically with the baroque period. You can hear significant classical music influences in classic rock.
I'm a composer of forty years, and this is the first time that I encounter the collocation "compositional feature" in any language I'm remotely familiar with. It's almost as if you've no idea what you're talking about, merely trying to piggyback on others' excellent achievements.
@@alex_evstyugov By 'compositional features' (quite a common expression here in the UK) I am referring to devices such as imitation, sequence, false relation etc. which are very frequently used in Baroque/Baroque-pastiche writing. I'm only a composer of 25 years compared to your forty. Having said that, not sure how my pointing out that I approve of the composer's use of several devices (i.e. I like this piece & think it's a good piece) means I am "piggybacking off someone's excellent achievements". Anyway, Happy New Year!
@@jarjuicemachine By listening; once you've heard enough counterpoint these things sort of stick out at you. There's an easy fix by removing the G# in the bass.
@@johnathanwilson1363 in counterpoint, perfect Consonances are to be used sparingly and parallel perfect Consonances are frowned upon in counterpoint. So they could've replaced the G# with something else to avoid the parallel octaves of A twice. The piece is still wonderful and no one's gonna hate for that.
3 ปีที่แล้ว +12
And after that, in the two next measures there is D# -> E parallel octaves, between alto and bass. Sure, there is an F# appoggiatura in alto, but that does not fix the octaves, only delays them.
I love it so much I’m not even going to deduct points for the third entry of the subject in the exposition being in the dominant when it of course should have been back in the tonic, so you basically get two answers in a row. Although Bach did do that in his fugue in Cmajor from the WTC that was a four voice fugue and it returns to the tonic for the 4th entry. To my knowledge, there is never two answers in a row in a 3-voice fugue in the baroque period. But I’m being overly pedantic, truthfully this is a masterful use of Bach contrapuntal language. Very impressive!
@@authenticmusic4815 Actually, his mistake leaves a lot of room in what he was trying to say. He literally left out the most important part of what he's saying. And even if I could know with certainty that I understand what he's TRYING to say, then my point still stands. The entire point of what I'M saying is OBJECTIVELY true: he didn't finish his sentence and therefore both didn't say what he meant to say and failed to communicate. The lack of communication skill is what I'm commenting on. Even if I can still understand someone who makes a mistake, then that doesn't in any way invalidate my correction. It's my view that it's more important to communicate properly as the one trying to express one's ideas; you shouldn't rely on other people being able to decipher your ineptitude properly.
Yeah, but you still need creativity to write and not everyone is good at music. I also envy their ability to create such masterpiece like this. Although remember everyone is gifted in their own way.
@@fafablablabla this is a typical american mentality: creativity can be achieved like everything. People are not gifted, they achieve skills through experiences. For creativity just be sure to have a lot of external input, seek always for new experiences and people. And to be fair this is a very good composition but it's not a masterpiece.
@@fafablablabla honestly it's a lot easier to write a good fugue than it is to write music in styles with fewer strictures -- as long as you follow the rules superbly and have just a small touch of creative spark, it'll come out pretty well
Wow! This is good composing! I could think that this was written by Bach. I like how you modulate to some far-flung keys. I'm curious why you didn't put the flat in the key signature.
@@pseudotonal The Bach piece isn't really Dorian though--it tends to be _nicknamed_ "Dorian" because of its lack of key signature, but it's in the exact same type of tonal D minor as all of Bach's ones that are written with a flat in the signature. This fugue is essentially doing the same thing (whether on purpose or not is hard to say).
![[Part 1] ทารกน้อยถูกทิ้ง👶 หญิงชราเก็บขวดขายเลี้ยงดูเขาจนโต #โลกการละคร](http://i.ytimg.com/vi/nPTDvFCExks/mqdefault.jpg)
All across the galaxy, millions of jazz and classical enthusiasts everywhere cried out in a mix of pain and joy...
So that's what happened... I remember suddenly screaming and crying out of nowhere about two years ago, so that was it
Mhh yes! What happened this…is.
Ferf
I still want there to be a Baroque composition reemergence period. Hopefully this is a good sign.
Man that'd be great. It's difficult cause so much of the baroque music practice is in the instruments and the instrumentation, so at that point are you using historical instruments but making new music? Or using modern instruments in a baroque style with baroque rules to the music
@@faithclarke7721 I mean Classic Rock in many ways did exactly that, though perhaps not specifically with the baroque period. You can hear significant classical music influences in classic rock.
@@faithclarke7721 I think historical instruments in a modern style would be awesome.
@@digiquo8143 oh yeah definitely I like lots of classic rock music
@@boundary2580 it would be neat so tricky to do cause of the natural limitations of alot of baroque instruments
Meme jokes aren't supposed to be this good.
Very effective. I like how the structure is very lean. A one minute fugue, packing in a lot of compositional features. Good job!
Because of your name I checked your channel
I'm a composer of forty years, and this is the first time that I encounter the collocation "compositional feature" in any language I'm remotely familiar with.
It's almost as if you've no idea what you're talking about, merely trying to piggyback on others' excellent achievements.
@@alex_evstyugov that's what you learn at music school nowadays. He basically means arranging techniques.
It's not a fugue!!!!!!!
@@alex_evstyugov By 'compositional features' (quite a common expression here in the UK) I am referring to devices such as imitation, sequence, false relation etc. which are very frequently used in Baroque/Baroque-pastiche writing. I'm only a composer of 25 years compared to your forty. Having said that, not sure how my pointing out that I approve of the composer's use of several devices (i.e. I like this piece & think it's a good piece) means I am "piggybacking off someone's excellent achievements". Anyway, Happy New Year!
Thanks for the comments everyone - it was a lot of fun to make! :)
Lovely character and the ending is super cute. There's a parallel octave at 0:22 but at this point I'm just nitpicking
Damn did you discover it by listening or looking at the score?
@@jarjuicemachine By listening; once you've heard enough counterpoint these things sort of stick out at you. There's an easy fix by removing the G# in the bass.
@@TimothyZhou0 not too familiar with counter point but why does it need fixing?
@@johnathanwilson1363 in counterpoint, perfect Consonances are to be used sparingly and parallel perfect Consonances are frowned upon in counterpoint. So they could've replaced the G# with something else to avoid the parallel octaves of A twice. The piece is still wonderful and no one's gonna hate for that.
And after that, in the two next measures there is D# -> E parallel octaves, between alto and bass. Sure, there is an F# appoggiatura in alto, but that does not fix the octaves, only delays them.
For those who are interested, sheet music is available in the description now.
I'm definitely interested! 😁
It actually has quite a bit of Beethoven in it, but whatever, brilliant, just brilliant. I was smiling the whole time.
oh, gosh, no, beethoven didn't do baroque fugues, sorry, lol , definitely sounds more like bach
@@jimmythebold589 he did alot of fugues tho and they kinda do sound like this
@@jimmythebold589 th-cam.com/video/XAgdd2VqLVc/w-d-xo.html and as to how much Beethoven or Bach, I won't get into that argument.
@@jimmythebold589 Not only did Beethoven write fugues but this composition is not a fugue.
@@jimmythebold589 Beethoven wrote a lot of fugues lmaooo 3rd and 4th mvts of his 9th symphony are full of them, and famous ones on top of that
I've watched this over and over and I cannot get over how good this is
Someone paid attention in their counterpoint class
I love jokes that are far better than they need to be.
Man.. that's beautiful. Very idiomatic to the Baroque style. It really sound like something written by someone who knows this language.
I was hoping that there would be a rick roll riff in the end
This video deserves way more views
Anyone who's attempted to write a fugue before know this is hard as hell. Great job!
Impressive. Time to re-hear the well tempered clavier
This makes me so happy
the picardy third at the end
Haha yes! This was infinitely better than I expected it to be.
You were born way too late! Let's hear more of this sort of thing. Just brilliant!
Absolutely brilliantly composed
So cleaan ! Definitely seeing the bach style and fine ending with the licc traversing from left to right hand :)
I really enjoyed this, thank you for taking the time to do it.
I love it so much I’m not even going to deduct points for the third entry of the subject in the exposition being in the dominant when it of course should have been back in the tonic, so you basically get two answers in a row. Although Bach did do that in his fugue in Cmajor from the WTC that was a four voice fugue and it returns to the tonic for the 4th entry. To my knowledge, there is never two answers in a row in a 3-voice fugue in the baroque period. But I’m being overly pedantic, truthfully this is a masterful use of Bach contrapuntal language. Very impressive!
Going to point that out but you did already
THERE WILL BE A NEW BAROQUE RENAISSANCE
So beautiful and well composed!!! Love how the lick was put into a little fugue!
That was really, really good
was expecting a joke/satire piece but got a real piece of music in the form one of my favorite musicians of all time! thanks!
Truly enjoyed this in and of itself. Bravo!
This is cursed. I love it.
I really like how this builds up slowly, but ends without slowing back down. Sorry I'm late.
The tonal answer would more likely, especially since the subject has the leading tone in it. This is really good!
Would what more likely? Or would more likely what?
@@Richard_Nickerson you get what he meant. It would be better, in his opinion
@@Richard_Nickerson i mean, he's obviously wrong
@@authenticmusic4815
Actually, his mistake leaves a lot of room in what he was trying to say. He literally left out the most important part of what he's saying.
And even if I could know with certainty that I understand what he's TRYING to say, then my point still stands. The entire point of what I'M saying is OBJECTIVELY true: he didn't finish his sentence and therefore both didn't say what he meant to say and failed to communicate. The lack of communication skill is what I'm commenting on. Even if I can still understand someone who makes a mistake, then that doesn't in any way invalidate my correction.
It's my view that it's more important to communicate properly as the one trying to express one's ideas; you shouldn't rely on other people being able to decipher your ineptitude properly.
@@Richard_Nickerson very well said and i must say you're right
Aaaaand... to this day I thought the lick was invented by Adam Neely.
Bach invents everything.
The licks goes on everything
This is incredibly awesome ! What a masterpiece !
I don't know why but I LOVED IT
Brilliant idea.
Someone took the assignment a little too seriously
LOVE IT! PDQ Bach would be proud.
Absolutely grabbing the sheets to anger my music tech teacher
Honestly i'm jealous of people that can write stuff like this
just study counterpoint, it's not a gift impossible to achieve
Yeah, but you still need creativity to write and not everyone is good at music. I also envy their ability to create such masterpiece like this. Although remember everyone is gifted in their own way.
@@fafablablabla everyone has creativity, because composing is putting together ideas and that's a thing that everyone can do.
@@fafablablabla this is a typical american mentality: creativity can be achieved like everything. People are not gifted, they achieve skills through experiences. For creativity just be sure to have a lot of external input, seek always for new experiences and people. And to be fair this is a very good composition but it's not a masterpiece.
@@fafablablabla honestly it's a lot easier to write a good fugue than it is to write music in styles with fewer strictures -- as long as you follow the rules superbly and have just a small touch of creative spark, it'll come out pretty well
I died at the fifths progression part
What a great example!
Wow, this is great!
The amount of character the short change in key at 0:15 is just too 🤌🤌🤌🤌🤌
Very well written
What a fugue!
Love the ending!
This is wonderful, I love it -- wish it were a little longer! Bravo!
Dah be doo bah deeee dah boww
He even did the Picardy 😩
What’s wrong with that? That is SOOOO Bach.
This is spectacular!
My head just wants to really hear harpsichord
Well done!
That made my day (or rather evening) !
Amazing
Wow! This is good composing! I could think that this was written by Bach. I like how you modulate to some far-flung keys. I'm curious why you didn't put the flat in the key signature.
Check out BWV 538: Bach didn't always either! th-cam.com/video/ZRY7zrMGCi8/w-d-xo.html
@@Cherodar This Bach piece is in D Dorian. D Dorian has no sharps or flats. So is this fugue also in D Dorian?
@@pseudotonal The Bach piece isn't really Dorian though--it tends to be _nicknamed_ "Dorian" because of its lack of key signature, but it's in the exact same type of tonal D minor as all of Bach's ones that are written with a flat in the signature. This fugue is essentially doing the same thing (whether on purpose or not is hard to say).
genius
Brilliant!
Somebody send this to Adam Neely for analysis...lol
Amazing work!
I hate that this is reaaalllllyyy well written. Great job overall, tho!!!
I p much hate all jokes related to the lick, but big props to you on this one lmao
Still one of my favorite classical pieces
Awesome
8/10 saw some parallel 5ths
It sounds like bwv 789
Impressive and fun!
This was a big inspiration to me to make a fugue... Got frustrated and just let it all go😂
it's full of parallel octaves!!
wow - amazing job 😉👍🏻
Beautifull !!!
class-licc-al music
Niiceee
oh it's little fugue
Sounds awesome! Lol
Love it!
Excellent.
The real Bach wrote that. 😀A really excellent work!
Kinda reminds me of Bach's e major fugue from book 1
0:21 sweat jez Bach have an mercy on this guy. Parallel octaves on leading note :P
Love it.
If it ain't baroque, then don't fix it.
There must only be one
Super. Great opus.
If I am not mistaken, bach actually used a Lick in the 'Art Of Fugue' in one of the contrapunctus
me while listening: *stank face* ooh this shit go harddd
we cambridge music students give this a 5 star rating
Am I the only one here who gets giddy about the anticipation of the coming Picardy third??? lol
excelent counterpoint !!!!!!!!!!!!
genious
I almost want to transpose this to organ and make bach proud
Yes... fugue... counterpoint is life
pretty good!
Buena fuga, se nota que ese tal bach llegará lejos.
Not even lying when I say this is the exact same thing I did for by counterpoint assignment 😂
it wouldve been real funny if ending was vufpeck intro theme lol
anyway this is a nice fugue!
Dope!
Nice.
very nice, bravo!!!
Brilliant!! 👌😂