Fuga a tre voci in Do minore (C minor)

Here we go again... a little, little, work i've composed right now...

hoping someone would like to comment about or against my music (no one did in other threads... gosh...

audio and sheet music above...

Fuga in Do Min.MID

Finale 2005 - [Fuga in Do Min.pdf

I'm sorry, but this isn't a fugue. It's a canon. Your subject doesn't modulate appropriately. It starts in C minor and each voice entrance is in C minor. In addition, your third voice entry happens too quickly for the material... if there is modulation (real answer), then there is generally a coda. But even if you don't modulate, your entire subject should be played in the preceding voice.

Next, your counterpoint is ... ok. Measure 6, for example, you have two consecutive unresolved dissonances. On Beat 2, the top voice's harmony implies C minor while the bottom implies F minor, so there is an incorrect resolution. Beat 3, though, is fine, except for the fact that Beat 2 was also a dissonance. Your dissonances should have a textural purpose. Measure 8, 1st and 2nd beats you have parallel fifths. Measure 9 in your bass.. the movement is by augmented second which should be avoided unless the harmony itself is in augmented seconds. Measure 11, beats 3 and 4 you have parallel fifths from soprano to bass.

Continuing, measure 16 and 17 from soprano to bass is really not very good... the whole line is parallel octaves which is unacceptable and leaves a hole in the musical texture. Measure 20, beat 1 1/2, you have 4ths from bass to soprano that does not resolve properly

*side note* - all of your leading tones need to resolve to their respective tonics.. you cannot simply juxtapose leading tones of different keys with resolution. Measure 21 going to 22 again, you have an augmented second in the soprano, and that C# isn't prepared properly... it's a leading tone without a proper resolution. Measure 26 you have parallel dissonances on beats 2 and 3. Measure 30 - while in G minor, you have an Ab, implying a direct C minor modulation, but in the next bar you go back to G minor. Change that Ab to an A. Measure 35, beat 2, you have a dissonance from soprano to bass that isn't resolved. Measure 36 beat 2 and 4, you have parallel octaves between alto and bass.

Other than that, it's a good first attempt at a fugue. I liked your subject and in some places, the counterpoint sounded great.

Keep working! :)

that's just a little game i made... no intention to do a great think... i don't study fugue yet, i'm still at the Bach Chorals, by now... i'm doing a particular composing course focused on sperimentalism, not on this storical stuff...

this thing is just something to imitate years and years of bach playing, just making music with a bit of laugh...

music it's also a divertissement, right? not only a profession... and i have the luck to make me laugh with music by myself, composing these, like we say in italian, "bagatelle, scherzetti"...

but i really thank you for your precious comment, i will remember them when i will compose a real fugue...

this thing is just something to imitate years and years of bach playing, just making music with a bit of laugh...

music it's also a divertissement, right? not only a profession...

Yes, but it's important to call things what they really are. As usual, Maelstrom has been very helpful.

Go here...you might find it informative...others have:

Crash Course In Writing Fugues

Maelstrom is absolutely right (btw Maelstrom, top notch criticism there! I was extremely impressed!) I won't merely rehash what Maelstrom said but I will agree with Graham that discounting work by manipulating your intent doesn't make that work any better.