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Hallo @Fermata! Your asking about the issue of „monotony“ in your fugue. Sometimes it is not an issue with the composition itself, but rather a question of the interpretation or recording. Since you are using four string instruments „played“ by your notation software, you „naturally“ encounter the problem that the entire piece sounds somewhat monotonous. Even real string instruments blend the sound very well, in my opinion, but are not as expressive for individual voices. I can imagine, when played on a piano, the impression would be totally different. As currently discussed in another thread @PeterthePapercomPoser suggested to improve the recording by “fine-tuning” the articulation, dynamics, and tempo for each individual hand or even voice. I also had a fugue which I considered to be „boring“ and I was nearly to get around and throw it away. But then I applied such tiny adjustments in the tempo, for example to make the first bar of the subject a little bit „swinging“, which dramatically changed the perception. Since I do so now with all of my piano works, I know that it is a lot of work to literally maintain two scores, one for the printout and one for the recording. But it's really worth the effort to achieve a sound that is much closer to a live performance. Concerning the composition „as is“, I think there are no issues. With a short overview on the score I see that you already applied the necessary counterpuntual techniques (such as tonal answer, a recurring countersubject, inversion, augmentation, stretto). As in 6/2 meter with mostly half and quarternotes (perhaps in an older, more Palestrinian style), it would be not appropriate to add passages (in episodes) or countersubjects with a faster rhythm. Perhaps one could introduce a kind of diminution which doesn’t increase the rhythmic pulse by doubling the speed but is merely a rhythmic variant of the original subject preserving the quarternotes as the fastest ones, finally resulting in a 1.5x diminution (such as in Bach’s D# minor fugue from the WTC1 BWV 853).

Very nice dreamy, yet mysterious and passionate prelude! I like the frequent changes of the time signature. While initially looking complicated, the rhythm of the piece has an intuitive pulse and a continuous flow. I noticed, that your score is without a key signature. But since you often change harmony from keys with sharps to keys with flats, this decision avoids that the score is cluttered with natural signs. And when listening and reading the score I like that the more serene passages correspond with the flats, while the more passionate passages feature more sharps! In some bars, I would like to see more octave brackets to make it easier to read when playing. Personally, I refuse to read more than three or four ledger lines. However, I agree, that too many octave brackets disrupt the visual impression of the runs in the score. I completely agree with @PeterthePapercomPoser's suggestions for improving the recording by “fine-tuning” the articulation, dynamics, and tempo for each individual hand or even voice. Since I do this with my piano works, I know that it is a lot of work to literally maintain two scores, one for the printout and one for the recording. But it's really worth the effort to achieve a sound that is much closer to a live performance. Thank you for sharing!

Here's an unlisted video of a track from another album I wrote themed around crime/spy thrillers that will be out later this year probably via my usual publisher, but after the gothic/dark neoclassical album I wrote for them. So I'm expecting it to be out around summer or fall. This in particular is the first electronic-driven tune I've composed in I don't know how long, since I had abandoned that genre since I wasn't really good at it (and didn't enjoy it as much as the orchestra anyway) and hate designing synth timbres, but writing this one I was kinda like See what you think. Side note: I expect most of my YouTube DAW videos going forward to be unlisted. YouTube has kind of become a joke since the AI slop takeover you just get buried in the algorithm; better use of time to just show these to film directors and such, which has been going much better anyway.