Young Composers' Fugue Challenge

Fourths are entirely acceptable between upper parts when a chord is in second inversion: (from low to high) E G C. There is a fourth between G and C, but it has been considered acceptable since renaissance times, since the bass forms consonances with the G and C (E-G is a 3rd, E-C a 6th). This fourth is always considered consonant.

On the other hand, a fourth from the bass is a dissonance. It is still often used as a nonchord tone. This fourth can also occur on the beat. It is not uncommon to see, in Bach, something like C in the bass and in upper part F, then E. In this case C-F is a fourth, and F is probably an appoggiatura, an accented passing tone or a suspension. The F is not a member of the C chord, and it resolves to the E.

A special case of the above is the cadential 64 chord. Here you might see G (the dominant in C major) with C and E above it. This tonic chord in second inversion then resolves to the dominant; the C descends to B and the E to D. In this case, the C and E can usually be considered as suspensions, passing tones, or appoggiaturas.

Also, when a bass melody arppeggiates through chord tones, it is not uncommon for it to move into 2nd inversion for a moment. The fourths thus created are usually acceptable in baroque and later styles.

Also, I've noticed in much fugal music, the fourth shows up (always briefly) in sections with only two voices, perhaps even when both parts are in 1:1 counterpoint (in the same rhythm). Here the fourth is usually a fast chord tone or a quick passing tone used to move on to a sixth or third.

So, in Bach's fugues, you will find fourths everywhere... I hope this helped; if you already knew all this then just ignore it .

Just to add, Bach in particular often shows disregard for this restriction on fourths in his keyboard music with a lot of counterpoint, thus providing more freedom for contrapuntal inventions (he also freely uses direct 5ths and octaves, even in 2 voices. He does, however, avoid parallelels).
You will see free use of chords with the 5th in the lowest voice and many of these times forming a 4th with the next voice above (ie the "root" of the chord in the second lowest voice).

PraeludiumUndFuge, I'm glad to hear more of your music. There aren't enough neobaroque composers around. I like the fugue, although I would have played it a bit faster. I liked the tonal colors in your sequences and also the strettos. The strettos were by far the most interesting parts; on the other hand, I thought the compound line melody you introduced around 1:19 didn't really fit in. But all of my issues with this fugue are with your motive choices, and thus are purely about my own tastes in music; I don't really disagree with them but I would have written them differently. I liked how the end began to build up with a re-exposition, but then it seemed like you ended it too soon... you need more buildup before the final cadence.

Don't worry though. I hope I don't sound too negative; it is an excellent fugue.

I'm beginning the b-minor subject; it has the exact sort of chromatic line I want in my music... And it is especially suited to inversion. I'm planning on making a really short fugue or perhaps a Froberger-style canzona or capriccio (though I'll call it ricercar, sounds more noble) in three rhythmic sections, the middle one in compound time, with maybe a toccata style ending. I'm trying to figure out a stylistic balance between tonality and ultrachromaticism, continuous rhythms (Bach) and more wild ones (Froberger), counterpoint and harmony, and above all a smooth melodic line that still remains creative (Buxtehude).

So far I'm into the first episode.

Well, I guess I thought this would be easier... but it is actually quite challenging.... this is my second rewrite and it is still unfinished.

Here I begin at the exposition, which states the subject four times, although I leave the counterpoint below three voices throughout (The lowest voice drops out at the second answer). My feeling is that the countersubject might be a bit strong, and the exposition a bit repetitive because there is no new material - the second countersubject is mostly filler.

Then the first episode lasts two measures and introduces a nice motive. I was planning a short fugue, so I kept the episodes small.

Then two statements of the theme in the dominant.

Following is a short episode that develops suspensions resolving with a double neighbor figure.

Then the subject twice in the relative major.

Then echurchill is lost.

I can't really decide how to finish, because I don't like how it has turned out so far. Me and my harpsichord teacher agree that it is too repetitive. Should I state the theme less? Should I repeat the double neighbor figure less? Should I make the episodes longer? If so, then how do fugues without episodes or very short ones work? And finally, if I make my episodes longer, how do I know that the theme will be highlighted rather than lost? I'm currently answering my own questions.

I was planning to make the final episode modulate back to b-minor and state the subject and its inversion a few times, ending with a nice cadence or half-cadence. Introducing a new idea during the recapitulation might sound dangerous, but I was planning on making this a multi-sectional canzona/capriccio. But now I'm so frustrated with this section that I probably won't add any others. Ultimately the problem is that I am unready for fugal writing.

I would greatly appreciate any advice or guidance.

Originally Posted by echurchill

I would greatly appreciate any advice or guidance.

Do you have a score you can show us? An MP3 is not good enough for me as I can't reconstruct the voices from there.

Sorry, I don't have a score at all... but I'm not too worried about any details of counterpoint as much as thematically what to do. Did you find it too repetitive? I could post a MIDI if that would help.

Originally Posted by echurchill

Sorry, I don't have a score at all... but I'm not too worried about any details of counterpoint as much as thematically what to do. Did you find it too repetitive? I could post a MIDI if that would help.

A fugue is first and foremost a writing exercice. Unless you show the score, I can't help you at all. Maybe others can. I can't easily reconstruct the score from a MIDI either.

May I ask why you don't have a score? How did you write your fugue then?

I understand, thats OK. Maybe I'll put all the notes into Lilypond or something later. I always write my music by hand and then input the music note by note into a MIDI program, so that I can control phrasing and articulation. I'll probably make a good score after I finish the entire fugue/ricercar.

Here is my A Minor Fugue. Hope you enjoy!

Originally Posted by chim07

Here is my A Minor Fugue. Hope you enjoy!

I'll look at the score in more detail later, but I have a first remark: you did not end the piece with a perfect authentic cadence. Is this a deliberate choice?