Short little Fugue.

Well, like the title says, pretty short fugue here. I wrote this based on a subject SiemeN did as part of an exercise in the lessons thread, hence the name (which means "Fugue on a theme from--" if you can't read Spanish.)

Actually I only wrote the title in Spanish so I could use the translation "Fuga" rather than "Fugue" since I like how "Fuga" sounds, but not "Fugue." I'm weird.

The fugue itself is pretty simple and silly, does the typical tonic -> dominant -> relative -> tonic structure cycle. I did include a bunch of... cough, questionable harmonizations and I totally ignored augmented 2nd jumps since I like how it sounds.

I tried to make it a 4 voice fugue, BUT given the complicated subject, speed and other such factors, it tends to variate in density a whole goddamn lot. I mostly tried to keep it 3 voices except when the chords came around, and of course there's a lot of those.

Not very typical baroque, but eh who cares I liked it this way, hahaha. Thanks to SiemeN for the subject there, which was fun to work with and thanks to Bach for the inspiration since I wrote this after a dreadfully long analysis seminar about Bach fugues.

The question now is, should I write a prelude to go with it? Or a fantasia? Or a toccata? Or some Jazz Improv? Or Mambo?

Here be the links:

fugamimenor.mp3 mp3 file.
fugaenmimenor.pdf PDF score.

This was really interesting. I thoroughly enjoyed listening to the fugue.

Enough with the compliments though - on to my (probably underqualified) suggestions! Certainly your decision to treat this subject was brave, but I find the spate of second (or even third!) inversions rather jarring and muddying. It's possibly fault of the second bar of the subject, which appears tricky to harmonise in any other way. The bassline that enters underneath the spread chords is also questionable - bars 10-13 sound, well, not quite right. Having said that, the fugue picks up once you've escaped the exposition and first episode. Mind you, the answer in the exposition is lovely, and I'm glad you brought it back for a da capo.

I prefer 'Fuga' too. 'Fugue' sounds too much like some stodgy foodstuff, or an expression of consternation. Keep up the good work. It's nice to have an influx of baroque composers here. I'm off to check out your other fugue!

Originally Posted by Zetetic

This was really interesting. I thoroughly enjoyed listening to the fugue.

Enough with the compliments though - they're useless! Certainly your decision to treat this subject was brave, but I find the spate of second (or even third!) inversions rather jarring and muddying. It's possibly fault of the second bar of the subject, which appears tricky to harmonise in any other way. The bassline that enters underneath the spread chords is also questionable - bars 10-13 sound, well, not quite right. Having said that, the fugue picks up once you've escaped the exposition and first episode. Mind you, the answer in the exposition is lovely, and I'm glad you brought it back for a da capo.

I prefer 'Fuga' too. 'Fugue' sounds too much like some stodgy foodstuff, or an expression of consternation. Keep up the good work. It's nice to have an influx of baroque composers here. I'm off to check out your other fugue!

Well, it was not easy to write coherent lines of melody with something that is so interval-oriented. But, I think I did pretty OK all things considered.

PS: You DID listen to my other fugue! You even commented on it! ... Right? Or I'm seeing things...

I did. . . but I'd forgotten all about it. Sorry. I'm tired!

hey SSC, this is a nice job really, very ejoyable... but can i ask you which sounds you used to make the cembalo?? since it is very nice, better than the one from garritan personal orchestra

Thx. I ran it through reason's soundbank, it's pretty OK for this type of thing, but on a real thing it'd be much better of course.

yes indeed, when you perform it on real instruments you get a range of things that a machine can never emulate... as much perfect as it can be, but still this one gives a good idea.. i really liked the "side-sounds" like the plucking of the hammers, was more realistic indeed. anyway nice job

That was amazing ()

I honestly enjoyed listening to that piece!