My First Fugue

This is the first fugue i have ever written. I dont personally have the skills to play it, so im not even sure if it is playable.

It is very basic and by the numbers. It turned out better than i had expected, but not so good as i had hoped. Because i am a percussionist, and dont have much experience with chords, the progressions leave a little to be desired. Because it is still a work in progress (completed, but needing finishing touches), i would appreciate any input on playability and continuity.

I expect to change it. Though i dont know what the next step is. Of course, dynamics and other expression has not been added yet. If i do go through and change it, i will only then know where i want the emphasis on certain areas.

Please, be kind, but dont pull any punches.

As my first work of this kind. it is probably ridiculous to write a fugue without even being able to play a keyboard instrument properly. It has been a very fun and educational experience, and i am looking forward to learning more.

Thank You

-Frank

TAFUGUE.mid

could we have MIDI?

i do not have the means to post a midi now. however, i will be able to in a couple days.

ok post one when you can.

it should be up by sunday

thank you for your interest :)

looks good to me, like a real fugue. Interesting I played one that looked just like this one, a soprano introduction to the theme and the bass comes swooping in....

ok, ok. i got the midi on for my fugue. it should be up in my first post

Firstly this is certainly not playable on one piano, it's unwise to have anything larger than a 10th in one hand, and even then, there are pianists whose full hand span only makes a 9th. I would suggest that you get yourself a textbook on counterpoint. Your counterpoint here is quite poor, there are a few main issues that a proper study of counterpoint would iron out:

• Parallel octaves and/or fifths - these are considered errors in counterpoint, as they compromise the independence of the lines, and sound bare and crude, compared to 3rds and 6ths.
  
• Huge interval between soprano and alto - It is generally ok to have gaps of up to about 2 octaves between the bass and the other voices, but the higher voices (tenor/alto, and alto/soprano) should never have more than about a tenth between them, and even that's a bit big, try keeping them within an octave of one another.

Hope this is of some help, and again I strongly recommend if you want to write good fugues get yourself a good book on counterpoint. I've read several, and one that by far stands out as an excellent book is Harold Owen's Modal and Tonal Counterpoint - From Josquin to Stravinsky. It's not cheap, but it would be a very valuable investment.

Keep on writing! :)

Thank you. I didnt even think about hand span when i wrote it.

What is generally a good way to approach a 3rd or a sixth? Know any good books on just harmony?

I'm not entirely sure what you mean about approaching thirds and sixths, they are not dissonances, like 7ths, or tritones, and can be used any time.

As for a book on Harmony - I personally studied from Walter Piston's 'Harmony' which I think is a fantastic book - got loads of examples from the repertoire, and a lot of exercises ;)

Thank you for your time ^_^

i will take your advice to heart and hopefully, my next posted piece will show much improvement.

it was a good fugue, well done :)

This piece, whilst it appeared to at least follow the rules of a textbook fugue (and looked convincing when I squinted at the page) sounded wholly unlike a standard baroque fugue. I take it that this is what you wanted to write? If so, then the best way to begin writing coherent fugue is to listen to lots of Bach, play lots of Bach, write down what *you* consider to be the important details, and then start composing at the piano.

I suspect that investing in a book of counterpoint this early would be a waste of money. Although things like how to form suspensions and cadences correctly is quite a difficult skill to acquire through listening alone, you can find out how to do most of those things on the internet; books like 'The Craft of Tonal Counterpoint' are a waste of time unless you intend to write things without ever listening to them - the majority of their content becomes blindingly obvious if you carefully listen to and play a handful of baroque pieces.

If you are serious about writing in a baroque idiom, I suggest you also begin with something that will allow you to concentrate of forming pleasing melodies and harmony without having to worry about conforming to the second-strictest of all baroque procedures.

I hope this helps.

(P.S: I'm curious how "It turned out better than i had expected, but not so good as i had hoped". . . isn't this a contradiction? Do you like it or not? I certainly think it's a nice piece, even if it's not at all baroque)

I think it's a very nice fugue. Once the 3rd voice comes in, we'll get it done!

Very good a nice little fugue :thumbsup:. I dont think my hands can go further than an eleventh though, so i had difficulty trying to play it.

If you are serious about writing in a baroque idiom, I suggest you also begin with something that will allow you to concentrate of forming pleasing melodies and harmony without having to worry about conforming to the second-strictest of all baroque procedures.

I've only just 'gotten into' Baroque era music... would you mind telling me what the strictest is? (forgive my ignorance lol :()

In response to Zetetic, learning how to write styles from books is most advantageous for me, i have a terrible ear, unfortunately. As a lazy percussionist for 8 years (4 high school, 4 college), i am only just beginning to get serious about my music. I rather enjoy making music by numbers, since i can't quite wrap my brain around how to do it by ear. It is the form by numbers of a fugue that i find easier to understand than melody and harmony. As far as writing in a boroqe fashion, i would like to be able to eventually, but that isnt really my focus, it is simply stylistically enjoyable to me, plus i love the instrumentation from that era.

in response to ferret, im not sure what the strictest form is. i know fugue ranks up in the highest section, if not the highest. Ive also only just started studying boroque music. i love it, though, especially the choiral peices.

I appreciate all who have input for me and compliments :)

*fires a large chunk of gratitude to everyone*

I have only begun to learn mallet techinque, so my keyboard understanding should vastly improve by the end of the ear. and also (im hoping) my understanding of melody and harmony :)

thanks again!