How to write a 3 voices FUGUE in 20 Steps - FREE PDF Download
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- เผยแพร่เมื่อ 24 ก.พ. 2022
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I liked your fugue a lot. I think that this approach is quite good. Everybody only studies J. S. Bach's approach (as if he was the only one who composed fugues in that times). One doesn't realize that the only real strict part of any baroque fugue is the initial exposition of the elements in three-, four-, five-parts, or more parts. The development and the end are totally free parts that open us many possibilities. The true art of baroque fugue is don't be cliché. I studied some Renaissance ricercari, canzona and fantasias and I found many interesting devices that we can make adaptations to baroque idiom. I don't wanna be attached to J. S. Bach's way of making fugues because I think we have to be creatives respecting the limits of the era we are composing in.
Bach wasn't the only one to compose fugues, but he is by far the best... So why now learn from the best? Bach's fugues, their beauty and complexity have not been surpassed to this day and it won't ever happen...
@@joesalz9963 I don't wanna defeat you or your output. This approach of studying one particular composition technique has a problem in my opinion: your works can be attached to only one way of output and be "crystalized" and having no personality. I am a student of composition and I don't want my works have the resemblances of Bach, or Vivaldi, or Couperin, or whosoever. For example, Vivaldi has the best model for composing solo concertos, he has THE model to treat the ritornello form of a typical baroque solo concerto, but Haendel, Telemann and even Bach (this last one learned from Vivaldi) have very interesting and clever ways of treatment of the ritornello form. The more diversified composition techniques one learns the more creative and personal one gets and has a distinctive "label". Stravinsly has a quote I really love: "Composing is solving problems". Then the more devices one has the more creative and efficient one solves compositions problems. Moreover the problem with pasticcio composition is being tied to a specific way of composition and don't be personal.
@@millennial8441 I don’t disagree and my comment didn’t suggest you should “sound” like Bach. What I had a problem with was that you made it sound that studying Bach or writing fugues like Bach was a bad thing. There is a reason why Bach is studied so much, especially with counterpoint . He simply has no equal and like everything else, there is nothing like learning from the best. No one can surpass Bach when it comes to writing fugues and counterpoint, but even you’re one 10th as good, you’d be pretty darn good and will have a solid foundation to use in your own compositions. And Yes, I know many composers learned a lot from Vivaldi, even Bach, but it doesn’t mean Bach didn’t study Vivaldi. Bach studied Vivaldi, took what he learned from him and came up with his own compositions that sound nothing like Vivaldi’s.
Learn from the best but don’t sound like the rest. :)
It might be worth exploring JSBach’s sketches. The “how” of writing a fugue cannot be explained by simply documenting its progression from beginning to end. We know from his sons that subjects were conceived canonically on a scratch piece of paper to explore the possible stretti and sequences available to the composer (a process called “stasis”). Furthermore we know from several of the sketches in the cantatas that he would often draft the disposition of the subject in large sections (occasionally the entire work) before adding the other voices. There are a few cases where the subject was written, and an outline of the free accompanying voices was provided for an assistant or his son to fill out on his behalf.
That's interesting. I found a similar thing: I write out the subject, then displace it in another voice, so it's played against itself. It sounds like an echo when the subject is rhytmically interesting. Then I transpose it, to explore all other harmonic combinations. It's extremely tedious and time-consuming. Is this correct? I'm reading Jadassohn Manual of Counterpoint. Are there any books on this subject? What a blessing writing counterpoint truly is.
@@Mrius86 The most rigorous treatises on the matter are “Movable Counterpoint” and “Doctrine of Canon” by Sergei Teneyev
I've written a number of fugues myself and have concluded that the subject is everything. Learn to write good fugue subjects before writing fugues
@@Vextrove What would be a good way to learn to write good fugue subjects?
@@Vextrove And yet, Bach wrote amazing fugues on shitty subjects such as the King's Theme.
You are a genius. Thanks a lot.
I will try it...
Love the way you make things seems approachable, thank you!
My pleasure!
Key word: "seem". Fugues scare me.
*THIS WAS GREAT!* Both the precision in the specification of the method and the fugue itself made me think to the point of feeling or made me feel to the point of thought, as with Bach's fugues.
U R just great sir..... i think this is the best way to start and write 100s of fuge=ue first in this way later we can go even deeper tq so much... great inspiring work wish u great health wealth and happiness bro... lovedd it ....
OHHH, I loved your fugue.
Great!
Stay tuned for tomorrow's video. It's about Fugue!
It's would be interesting to explore 4 part fugue techniques...
❤ Lovely fugue and masterclass!!!
Great content! Thank you 🙏🏻
Thank you so much for this invaluable video with priceless explanations! Could you please do videos formats to write a tonally complex fugue (like those of Sorabji, Stevenson, Hovhaness etc.) or in case of starting the subject with any voice other than the soprano or a fugue in more than one subject (double fugues, triple fugues and quadruple fugues)? Also what about fugues in more than 3 voices?
Great educational content!
Thank you so much! Best step-by-step instructions on how to write a fugue for someone with some training in music theory, skilled at playing piano or harpsichord.
Thanks so much for the PDF. Very helpful
Good video, Richardus!!! bravo!!!
Some people that don't like baroque music usually argue that fugues are artificial. If we see just as a kind of formula or a cooking receipt, I would second their opinion, but we should never forget "la musicalidad". I understand that your point was a kind of babysitter for newer composers and that's praiseworthy. I read time ago that if Bach's fugues were analised under established forms for doing a fugue, all of them would be rejected. Your channel is very helpful, GRAZIE MILLE!!!
Saludos desde Iquique, Chile.
p.s. 1: The sound of the "W" in the word "answer" is silent, so, the pronunciation is [ÁNSER] 😊 easy!!!
p.s. 2: This is my first work that was performed with my choir, I hope you enjoy it and be "pietoso" about critiques 😇 It starts with a homophony and then a choral fugue.
th-cam.com/video/N1j5fGyz7qg/w-d-xo.html
Complimenti! Mirabolante e completa spiegazione!
Thank you so much.
superb master
I just discovered your page
You make great videos!
Good -oversimplified- way of explaining the making a fugue
Yes like a suggestion to explore this world! Thank you for your comment! I have a Patreon with exclusive contents on music, improvisation an composition, if you want to support my activity I'll really appreciate your Support! patreon.com/richardus_cochlearius
Have a nice day! 😉😉
Another counterpoint enthusiast! :)
Thanks!
Really useful, I've been playing around with fugue composition for a bit but still have not got the hang of it.
Great, thank you very much :)
thanks!
Bellissima!
Hi Richardus, thank you very much for the lesson in the easiest way explanation. Are you also coming- up with the 5 voice fugue and teaching on exposition, development and recapitulation in fugue writing. Thanks and have a wonderful day
Hi Michael! Thank you for your comment! All Is possibile, but it requires a lot of time, but I want to do it!
If you can support my activity it will be easier to make more videos because each video requires a lot of time!
On my Patreon, with the Semibrevis Membership (www.patreon.com/richardus_cochlearius) you can download all the PDFs of my videos! Thank you so much! And have a wonderful day ✨✨✨✨✨
Grande Richi
Tack!
Taaaac!
@@RichardusCochlearius
Thanks for the detailed info and the free PDF! I used to play with synths but I also like classical music, especially fugues but could never learn hogy to compose in that way, now I have some ideas, even if I wouldn't/couldn't follow the instructions, I think one could apply this knowledge even for electronic music like ambient and so on. (Breaking out from the "loop trap", lol)
Keep up the great work and many thanks for the educational videos!
Trank you😊
Your fugue is very good, is beautiful, I admire this piece! is it really your fugue? I think so. Very important: Where can I download this teaching skript that you have offered at your video?.
Check the description for that link
Very good ! Only one thing that differs from the old style: I don't know an 18th century fugue in F major that has a passage in E major( here as V of a minor).
Yes. In the major mode it is not an usual thing doing modulation at the 3rd degree of the main key... Instead, in the minor mode the 3rd degree is the relative key. I've never done an exhaustive research about that. Thank you for your observation, I really appreciate it! :-)
@@RichardusCochlearius True. This can be perfectly observed in The Well Tempered Clavier. In many minor key pieces a shift of a third is frequent, while I never saw such thing in the major key items.
In a sense minor key fugues are easier to craft succesfully, the tonal and harmonic possibilities are more extensive, without loosing coherency of the piece.
Btw, I appreciate you showing the hand of Guido of Arezzo !
wow
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your channel is gold
Please, you are explaining a fugue and you play Eine kleine Nachmusik in the background ? Couldn't you play something from Bach? From what I understand he was pretty good at writing Fugues. All humor aside your video was ok, if not a little simplistic. I support your work and wish you Gods Speed.
I have to play the video again and again and have to write down the steps. it is a little too fast for me but it does not't matter. I can repeat it. I have already a F major subject and I am thinking about two countersubjects. But it is too late at the evening now.
❤️ You can download the free PDF
PS. I gave you a like.
👏👏👏👏👏
Hi Richardus! Thank you so much for teaching this great art!! Is there any rule in the tonality you're using for the answers? For example if I'm not mistaken you wrote the answer in CMaj to the initial subject (in F). Is any reason for doing it or would another tonality have worked? Thanks again!
Hi Tim! My pleasure! 🙂 The answer of a subject usually is at the 5th degree, but in some other cases can be at the 4th (plagal answer). The answer can be the exactly transposition of the subject (real answer) or it can be modified in some points because of the I-V relationship of the tonality that can create a few problems (tonal answer). This operation works with all the keys, major and minor! Obviously it is impossible teaching how to write a fugue in one video... but I think it can be an easy way to make people curious about the old practice of music! For other questions write me on instagram!
@@RichardusCochlearius Obviously not but even this advice is a huge input for a neophyte like me! Thanks a lot for this detailed answer
Thank you very much for this video. However, there is one crucial piece of information missing, and that's how to write a correct answer. Clearly it's not as simple as just transposing the theme up or down a fourth/fifth. I have tried several times, using all three suggested subjects, and all my attempts up to now have been unlistenable train wrecks.
There is also the question of when exactly the answer comes in.
An explanation of this would be invaluable, and deeply appreciated.
Hi Christian. Thank you for your comment on this video.
Obviously it is not simple to make a correct answer, but this topic needs an own video only about that. It may be the top if for one other video on my channel! There are many books that talk about how to make a correct answer, but not all are really clear and not historically correct. If you are really interested about historical composition, you can conctat me on my businesses whatsapp account +39 351 9796305 for a lesson or for planning a personal composition path on your personal goals! See you!
Writing the correct form of the answer is much written about, possibly over-complicating it! I suggest you start with the unaltered transposed form - for some fugues this is correct ( a 'real' answer)
1) Consider changing an early note. The general principle* is tonic is answered by dominant, and dominant by tonic, particular if those notes are a prominent leap at the start. So, looking at the three fugues at the end of the video, the top one, in D minor starts D - A; in the A minor transposition, a real answer would be A to E. Alter this to A-D. The second, in C major starts GGGCCCC; the answer wouldn't be DDDGGGG, rather CCCGGGG, keeping the tonic-dominant polarity, and ensuring these notes prevail. That is the only change needed for this theme because it remains in C major throughout.
2) However, the other themes in this video all change to the dominant key. This isn't wrong : four of Bach's WTC have modulating themes (notice it's not that common: 44 remain in one key!) The answer to such themes has to be modified so it doesn't go from the dominant key to its own dominant - this is too remote; rather, one finds a place to make a cheeky, innocuous adjustment to an interval, so you're a tone lower, on the SUB-dominant transposition of the theme (which, given the modulatory nature of the theme, would bring you back to tonic, the dominant of the subdominant). It might be an idea to write out transpositions of the theme in the dominant and subdominant keys, comparing them to find a suitable place.
Using the examples at the end.
1) D minor. Unchanged answer would be
A E C A C D E D# E.
First change the second note from E to D (point 1 above):
A D C A C D E D# E
Then, we want it to come back from A minor to D minor, ending on a D, not an E. Here's the subdominant form:
G D Bb G Bb C D C# D. Here, I suggest using that altered D as the point where you move from the dominant for to subdominant form, thus:
A D Bb G Bb C D C# D
2) E minor. Unchanged answer would be
F# B C# D B G F# E F# B C# B A F# G# F# G# F#, ending in F# minor (cf. Bach's E minor Fugue in Book 1 of WTC!)
Change the first note to E, and then decide on a suitable place to alter an interval, so that from that point onwards you're a tone lower. I think the most attractive spot here is the leap to the high B; if this is changed from a 4th to a 3rd, so that you have an A instead and then carry on a tone lower. Job done.
E B C# D B G F# E F# A B A G E F# E F# E
For the opening of fugues, the answer usually enters immediately after the subject has finished. One needs to consider the metre, so that it fits into the beats of the bars in the same way as the subject (although, as the D# minor and G minor Fugues from Book 1 of the WTC demonstrate, beats 1 and 3 can be understood as equivalent - the subject starts on beat 1, the answer on beat 3.
If there's a necessary gap between subject and answer, a short link is required - E-flat Fugue from WTC Book 1 is an archetype, with this little link becoming a crucial motif during the fugue.
*See Jacob Gran's TH-cam video for a more thorough explanation using hexachords.
@@maskaraid4763 Many, many thanks for your wonderful answer. This is exactly what I needed. I will study it closely and look forward to implementing it. Thanks again!
Thank you for your long answer!!
@@maskaraid4763 thank you for your long answer! :-)
If the subject is modulating to the dominant, shouldn't the answer lead back to the tonic?
Hi MLM, thank you for watching my video! Yes, this is the rule of the school fugue. Generally, first consider the context and what you want to do. There are many examples of XVII and XVIII century fugues where the answers doesn't observe this rule 😀😀😀
@@RichardusCochlearius thank you! Keep the good work!
How do you write a countersubject that sounds so good only using thirds and sixths? Is it a rhythm thing?
Hi Dylan! It is a baroque trick. Are you a composer?
@@RichardusCochlearius Hi! I am not a composer, just a lover of baroque music. I do play around with some composing softwares sometimes, but I can't seem to capture that baroque essence. Species counterpoint doesn't seem to help me because the cantus firmus in species counterpoint has a fixed rhythm, while in free composition it has a varied rhythm.
@@dylanfernandez3910 I see.. This is a common problem, you are note the only who says that. Can I help you in some way? I do also online lessons on harmony counterpoint and early music theory, and the first lesson is for free... If you want you can show me in our first free lesson your exercise and then we can, eventuality, find the right way to help you learning counterpoint? What do you think about that? :-)
@@RichardusCochlearius Haha, it's fine. I think I'll figure it out on my own. After all, I do this just to kill time.
Dear Dylan, find yourself a copy of Johann Joseph Fux`s Gradus ad Parnassum. Read it, work out the exercises and all will be revealed to you. Wishing you much success.
step 7, is the free counterpoint on the subject or countersubject?
It is on both the subject and the counter subject
@@RichardusCochlearius ok thanks
Nice video, thanks, but why at 1:32 do you play totally irrelevant music loudly in the background?
Thanks Clack for your comment! Only to make the video more fluent and exciting
@@RichardusCochlearius Watching you write your fugue was exciting enough!
My question is actually how to write the counter subject ?
Bach is amoung us!
amogus
why background music ? it is annoying. Thanks
Can you explain how the Answer is found?
Hello Ryan! Thank you for your comment! Yes! It can be the topic for a future video! Thank you for your suggestion! I appreciate it very much!
I have subject.
Nice!
@@RichardusCochlearius I can send subject when i record it.
@@daniloapostolov-dacatv1536 yeah, of course!
Why on earth do you have some completely irrelevant music as a sound track - it adds nothing and gets in the way of reading your music
pessima pronuncia
Shish
Get rid of the Mozart in the background, it's really annoying
Hello Rechardus !
I am trying to open the pdf , and it won’t work I don’t know why , can you send me the pdf via gmail ??
Ok, richardus.cochlearius@outlook.com
@@RichardusCochlearius Thank you !!