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About Fermata

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    a former musician with an MA degree
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  1. It's really nice and the part-writing is very good. There are some parallel 8ves in the trio (which are not very easy to notice, though), like m. 5 two B flats in basso & alto, or m. 7 Bb-Eb between the 2nd and 3rd beat of the basso & soprano etc.
  2. Fermata

    Fugal Puzzle

    Done. Sorry for not having seen it earlier; I haven't visited the site for ages.
  3. Here in (Central) Europe, most of these clefs are still taught during solfeggio lessons within the frames of secondary & higher music education (not mentioning the academic level). I vividly remember being tormented by tasks like sight-reading 2 or 3-part exercises with one voice sung and the remainder played on piano, each staff written in different clefs (excluding treble and bass). The French G- and the subbass clefs are the only ones that are apparently absent from our textbook materials - I've never seen them being used anywhere in school practice. Up to the early 90's, there even used to be a funny clef called 'do-clef', solely for didactic purpose, that looked like a withered C-clef which designated the place of the tonic degree of the major scale in concordance with the key signature, and which could be placed anywhere on a staff (~both on line and space). Back to the topic, often I cannot avoid reading the soprano, alto and tenor clefs due to the fact that a good many of the old music theory books (on counterpoint, for instance) use them.
  4. Hi. I've been messing around with this particular fugue theme (see attachment below) for a while; I have some troubles with constructing a canonic stretto between subject and answer (or vice versa). Since the theme itself was composed for examination purposes, it was allegedly designed to offer possibilities for close stretto, yet I haven't been able to find any solutions no matter how hard I try. Maybe some forum members who like contrapuntal problems could give some ideas for which I'd be grateful. subject.bmp
  5. Fermata

    Fugal Puzzle

    Two contrapuntal exercises (four-part fugues) - only the subjects, countersubjects and the basic elements of episodes are notated, everything else is missing. The task is to flesh them out with correct counterpoint. XML files https://app.box.com/s/9qymkuqz1ganjwitz9s1qijuotbi59xy https://app.box.com/s/95svcbkrsl48l8238qm93lr110pcr4o8
  6. It sounds rather hard without the humming. Can I participate with a textbook-fugue? for that's the only thing I might be able to cope with under the given conditions.
  7. Does the ban on singing include humming & whistling melodies?
  8. May I ask what exactly the teacher's objection was to the exposition of your fugue above?
  9. As this challenge is neither a contest nor a matter of life & death, I can postpone the deadline till Nov 3rd if it helps.
  10. The subject is in D major. The keys of b and f# were meant for the order of modulations; so for example after the first episode following the exposition the subject has to make an entry in b minor to which the tonal answer should respond (in f#).
  11. The subject I posted is viable and was actually used in a competition in 1888. Instead of devising a brand-new one I chose that old theme because I thought it was still ideal for challenging certain problem-solving abilities of the prospective participants (which, otherwise, would have involved finding correct tonal answer, indispensable codetta after every statement of the subject, alterations of the 'tail' in minor keys, finding all stretto possibilites). O.K. then, here's another, much easier and less 'awkward' theme. The regulations will remain the same. The first entry of the subject should be either in the alto or in the bass (transposed an octave lower in case of the latter); the choice is up to the participants.
  12. In exactly what regard do you think the subject is deficient? Then I may give another subject which perhaps will suit Your taste better (albeit the challenge factor would be somewhat reduced).... ~~~~ SATB was meant for the score that would be submitted (~four-part open, because it's easier to review compared to ones where all the parts are squeezed into two staves). Instrumentation (strings / keyboard / voices etc...) is up to the participants.
  13. ~ new fugue theme, see post #13 ~ I've just read the recent topic about introducing challenges and thought I would attempt to start one. The task is to write a four-part tonal fugue on a given subject in D (see attachment of post #13). Its aim is twofold: firstly, anyone who's keen on fugues and knows enough counterpoint can join and try for fun. Secondly, I think it would be interesting to observe in how many different ways a subject can be worked out despite given strict conditions (see below) and how certain problems emerging from the nature of the fugue theme can be solved. In order to balance the odds among participants and to make the compositions more easily 'comparable' with regard to technical issues, the following regulations are made: - one regular (~invertible) countersubject should be introduced - the order of modulations after the exposition should be the following: b min (subject) - f# min (answer) - G maj (s) - e min (a) - elaborate dominant pedal, followed by stretto + coda. The score should be open <SATB>. This is not a competition, however I can reward the creator(s) of the best fugue(s) this time with some scanned old fugue-related printed materials (not available online) as a small token of appreciation. Deadline : November 2nd
  14. If it leads to a musically more pleasant solution, you may alter the 'tail' (or 'body' or whatever it's called in English) of the subject. Modifications in the subject's 'head' are not really recommended - except, of course, for those ones that are necessary to make in order to obtain a tonal answer. If you find your fugue too short, make the episodes longer. Or. Rather than using sequences, try to introduce imitations based on fragments of the subject & countersubject & codetta etc. Introduce a dominant pedal point just before the stretti start, a tonic pedal point at the coda section ending the fugue. You might even want to add a counter-exposition, although it may render the fugue a little bit monotonous.
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