Young Composers' Fugue Challenge

Further remarks: I've looked at the first entry, and I see some weird things there, harmonically speaking.

In bar 5, when the answer enters, you an an empty 5th (missing the 3rd). The same disposition re-occurs in bar 7 (A - E again). An empty 5th should be avoided, but can be tolerated if there is an immediate melodic move that brings in the 3rd before the next chord change. Something not happening.

Then at the next bar, there is a curious use of a 6:4 chord with the E in the bass (alto) and the arpegiated A-C at the soprano. This 6:4 is on the 4th degree (IV), so it would be acceptable if it were surrounded by I chords, which is not the case.

For the second entry, in bar 10, I don't understand the harmony you're trying to imply here. Since we have 3 sounds, it should be more explicit: you start the entry with what appears to be A-C-E, which is I, but the suspended C in the alto resolves to a B at a most unexpected place (C - A outlined by bass-soprano, so this is a I6 -- why adding a B there?), where it is completely dissonant.

I haven't looked further for now, I'm awaiting for your explanations on what you are trying to achieve at those particular spots.

this is my first shot a fugal writing, i've been doing alot of reading, and trying to actually put to use wat i've been reading. guess it's back to the drawing boards, sorry i don't have a teacher to tell me what's right and wrong.

Originally Posted by chim07

this is my first shot a fugal writing, i've been doing alot of reading, and trying to actually put to use wat i've been reading. guess it's back to the drawing boards, sorry i don't have a teacher to tell me what's right and wrong.

No problem, fugal writing is not easy and I understand perfectly your frustration.

May I recommend you start the fugue over by first trying to harmonize the subject "properly", and once you are done with harmonization, write the counterpoint to the answer so that it fits your harmonization?

Also, a fugue should end with a perfect authentic cadence. This means a V - I progression in fundamental position and with the tonic in the soprano on the final I chord. In your fugue, you've ended with V6 - I, which is NOT a cadence.

Regarding your ending, I thought it was a shame to have the C# appear so early. The D is the 7th of your V chord, and resolving it to C# to create a Picardy Third is a good idea, but don't do that before the final chord.

how do you go about hamonizing the subject properly?

You write down block chords, above or underneath it, that is you try to see how you would harmonize the subject when it is in the soprano, and which harmonies it can sustain when it is placed in the bass.

You must make sure that the harmonic progression is sound, like in any harmonization exercise. For examples, you can look at the lesson I'm taking with Majesty on the subject of fugal writing...

Look here: Lesson with Ram

THANK YOU SO MUCH! It's great seeing someone being taught, i think that's the hardest part. I've been analysing Bach Fugues in hopes of figuring it out, but it seems as to only make things worste because I realize I'm lost. I get the overall general idea, it's just the rules, and learning how to harmonize that frustrates me. Thank you though, i'm just eager to continue to see this subject worked out! =)

I decided to try my hand at one (I'll probably use it later for extra credit, too).
It's still not completely satisfying, especially the part where it goes to Eb major. I think going first to Cm would have been wiser. I'll fix it soon.

Anyway, here's my fugue in Bb Major.
http://www.youngcomposers.com/forum/...1&d=1185314410
http://www.youngcomposers.com/forum/...1&d=1185314410

Any suggestions?

(oh, yeah. it's a 4-voice "short fugue")

Ariel Hoffman

P.S. I don't like the ending. I can never seem to get those codas right. :|
revised - too many parallels, even for me!
http://www.youngcomposers.com/forum/...1&d=1185414649

Comment withdrawn.

(After hearing your rendition of the Cm subject)

wow! very impressive!

some of the rising modulations were a little harsh, but as one of my teachers wisely remarked - "who cares about minor details if the music is great?!"

I wish my finale could read it properly. any chance of a .mus ?

way to go, Brandon.

Originally Posted by Tom Lovering

I have a fugue based on no. 6 in E-Minor in progress, but could somebody just check I am doing the right sort of thing at the moment. I have never before written a fugue or had any real training on how a fugue is supposed to work, so I would appreciate some help.

Thanks

Also note that I know it is unplayable. I am not a pianist, and so I am doing this on Sibelius merely as an exercise with no intention of a performance.

My advice to you would be to listen to two Bach fugues before every time you write. They really help set the mood. Your writing sounds very fresh and madrigal-ish, but has very little fugue in it.
There are some rules you should follow, too, in how to write a reply. For instance, a good reply to E-C-B-F#-B-F#-G (the subject you used) might be B-E-D-C#-F#-C#-D. normally it's more about contour than the notes, and the first and fifth usually interchange.
I wrote a short example. Try to listen to how the voices enter, as this is usually the most "dramatic" part of a fugue.
http://www.youngcomposers.com/forum/...1&d=1185416212
http://www.youngcomposers.com/forum/...1&d=1185416212
Your gusto and rhythmic inventiveness are very much appreciated, though!
Ariel