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I'd say it's probably more of a "consistently used device for purely historical reasons", certainly a small detail not worth glossing over. Overall I like the fugue, and as you said, it's indeed fun. I'm a big fan of how you chose to retain the original harmonisation through your countersubject(s). The piece just wouldn't be the same without it! The counterpoint and motivic development are both very good. What I find lacking is the choice to include the extraneous 9th bar in the subject. At the risk of the fugue becoming a bit foursquare, I find its inclusion to be a little inelegant. In addition, the appearance of a rising chromatic scale in the subject harmonisation is something which I feel like should be explored more: the harmony in the episodes is too tame in comparison.

I didn't say I'm never coming back to the forums or something (yet) but I'm not participating in this event anymore and I've now explained myself to a number of people who've quoted me.

@J. Lee Graham's submission to the event:

Hey Chris I know your agitation, because it seems to you that we are doing nothing on the AI issue on the forum. But the truth is, we as staff are taking a lot of time to discuss the whole issue and the settling down of it, at one point even very fiercely. (I'm sure you don't want to know how we argue) It's a really big issue so we need to be 100% clear on how we should handle it, since it could have affected the whole future of YC forum. It is because we as composers all know how precious it is for us to use our time to compose, so we need to handle it very carefully so no one's works would be depreciated on the forum, and the positive culture can be maintained. So, can you give us a bit more time Chris? Henry

This piece is just what I needed tonight, thank you

Oh damn! Looking at this again, in my haste I forgot the rule about tonal second voice entry under certain conditions. Oh well, maybe I'll fix it later. Mea culpa! Master Fux, take a ruler to my knuckles!

@Kvothe ha well you probably could do a thesis on Romeo and Juliet.

I have finally finished! https://www.youngcomposers.com/t48750/2025-christmas-event-submission-march-of-the-gingerbread/#comment-1186762789

This is my piece for the Christmas Music Event (+ my first time writing anything marching band-esque). There are some changes in the sheet music since Noteflight doesn't have celestas and I didn't really know what to do for the drum notes but aside from that, everything is as it should be. Have fun listening!

No problem. I felt like read so much that I could do thesis on sonata form. LOL. I wanted to thesis on Romeo-Juliet overture.

Okay then, thank you!

No .. there are no rules! You can submit as many pieces as you want. @J. Lee Graham - yes, please submit a link to your piece in this thread. Thanks for your participation!

Try to write a piece of music, with a maximum of 2 notes playing at the same time. I have done this before. My fourth Sonata, C Dur Sonata is written this way. Try arpeggios, fast notes, anything works. No other rules. Have fun!

Just literally...

I've only recently started this, but I would love to hear suggetions 😄 nutcracker inspired.pdf nutcracker inspired.mp3

Hi @PeterthePapercomPoser I have made it viewable for anyone!

Ooh, I just dropped a short Christmas-y piece in with Piano/Keyboard works. I'll mark it as my submission if that's okay, or do I need to post it here?

Here's a little Christmas card for y'all I found from a few years ago. It's probably not the best fugue ever written, not by a long shot, but it's fun. Composed: December 22 - 24, 2017 at Austin Scoring: Keyboard solo Style: Baroque Duration: 2:09

And also a last movement Finale with an Introduction de Capo.

https://musescore.com/user/96214813/scores/30134846. This is a five movement piece of music, consisting of 880 bars and 20 minutes of purre, Eb Major, Piano Music. It has an Introduction, A Concerto for Solo Piano (Some parts inspired by Prokofiev (Cadenza), Hummel (Last movement Coda Structure and stuff in the Coda), Beethoven (Some themes and grandness/mightiness/sensationalness), and Mozart (Some parts of the slow movement in the Concerto)), The Concerto ends in a plagal cadence, because the people once thought that the chord progression I-V-IV-I is holy, like the sky, because of the Jump between that compared to an authentic cadence. Enjoy, please, I beg you, and don't kill me for writing minor keyed parts.

@Kvothe Thanks very much for listening, and your analysis! I'm glad you liked how things progressed. And thanks for your compliments on the development. I always sweat blood on developments, they never come to me easily.

Nice piece! Some nice use of a 'rare' dissonance. It is definitely inspiring, your effort, that you took to make a 'beethoven symphony 9' sized orchestral work. Choir, Orchestra...

I am done with my music! https://musescore.com/user/96214813/scores/30134846

I think that the person behind the AI should receive a conduct. This. Anyways, here is my music. It is not quite done yet. I am going back to China, so I can't do it, because my laptop is also getting repaired. Refer to my status update.

This piece is really a masterpiece in my opinion, which achieves both structural rigor and sensuous timbral imagination. It's a marvelous creation of the late, mature Boulez, an antidote to those who view him as an avatar of avant-garde academicism (sorry for the alliteration, I couldn't help it). This is the Boulez who was formed by the thinking of Mallarme and Paul Klee: a real theorist of musical color, whose best music effortlessly fluctuates between delicate restraint and violent explosion. Sur Incises also has a kind of intimacy and sensitivity to resonance: his chosen instrumentation functions as a "deconstruction" of the piano timbre, not in order to invalidate it, but in order to more fully reveal what lies beneath its surface. So there's almost a connection to spectralism. Any other Pierre Boulez fans out there?