Leaderboard

Very philanthropic. Seems to be even quicker than knocking paper up in Sibelius, and I particularly like the option to lighten the staves. It wouldn't cope with large ensemble layouts but to get notepaper is ideal.

Work with your sound off. You cannot guide yourself by what you hear in such programs, both Finale and Sibelius are unreal projections of what you're writing.

Disregarding all that was said, with the exception of what Justin said, a good fugue subject is one that -I believe- can be utilized in every timbre and register within the ensemble written for. For example, if your subject is idiomatic of one particular instrumental range or the instrument itself - then it will be difficult to have the subject be utilized in other instruments (violin to trumpet, as an example). Thus, what Justin said is a good litmus test. If your subject works in the soprano, alto, tenor, or bass then it should be sufficient. I use lots of fugalistic textures in my work - despite being a modern styled composer. What I tend to look for in subjects, outside of usage in other ranges and instruments, is the overall musical possibilities of the subject itself. Most of my subjects are comprised of two - four motivic units tied together into a periodic structure. This enables me to break apart the motives during the fugal episodes - and enables me to also develop the motivic units to some, limited degree. Other than that really, there is no real technique that can insure your subjects will be good or bad formula-wise. Bach's techniques are pretty good to study - hence why they are studied in Conservatory (rightly). I also recommend studying other composers from later periods as well: Beethoven and Mozart especially. It might also be good to look at Canonic writing as well - to give you an idea of basic subject composition. Hope this helps, I'm surprised to see that Justin knocked it into the ball park :D

If a fugue subject is a good bass line, it can be a good subject.

These are all likely to change from day to day but for today anyway: - symphonies Schnittke, Bruckner, Simpson, Beethoven, Lutoslawski, Knussen - operas I detest all opera that I've heard but I'll go with Wagner because of his influence on pretty much everyone. - piano pieces (solo) Beethoven, Debussy, Ligeti, Messiaen, Schnittke, Dallapiccola - piano pieces (concerto) Bartok, Lutoslawski, Mozart, Milhaud, Berkeley - violin pieces Lutoslawski, Bach, Berg, Ades - string quartets/quintets Beethoven, Bartok, Shostakovich, Carter, Simpson, Berg - chamber music Messiaen, Martinu, Brahms, Takemitsu - Vocal music Schubert, Barber, Berg, Schoenberg, Schnittke Overall: Beethoven. I know it's the cliched choice but I honestly could've written Beethoven under every heading (except vocal and opera) and it would have been completely justified. I don't think there has been or ever will be a better composer.