Atonal Fugue - For Jawoodruff

A challenge from Jason to write an Atonal Fugue!

It was.....*GASP*....fun, to write.

Enjoy.

Atonal Fugue - For Jawoodruff

I like! Good work!

Nice, very energetic without being rhythmically too present.

I liked the ending.

Well, a review of this work for me. I like that you started this as a fugue. Some of your counterpoint is nice here - I can see about 3 - 5 ideas were used, very good for a fugue. My only comment is that you didn't continue the fugal structure after about measure 73ish - not that thats a biggie but this was to be a fugue! Other than that, good work.

Hey Tokke,

Haven't heard you write much of these kind peices. Very cool, I like the energy of the peice, you worked well with the rows. Once, again, very cool!

This was pretty cool - like mentioned above, a lot of energy and a great ending.

Do you plan on doing more atonal writing?

Great work.

What has music come too...........

I liked this very much. I have looked to analyse it a bit, I've seen inversions (cello ms 46), augmentations (cello ms 54). So it looks well crafted :) I heard morgi speaking of a row. I could not find a 12tone row, can you give a little analysis of your theme?

I've always trouble choosing the right enharmonic spelling of notes. So a few questions about that either. The initial subject spells a B#. I know that makes sense because of the previous and next C#, but I would have transposed the piece to prevent this; any thoughts?

Ms 13, 2nd violin is going in fourths. Why do you spell an B and not a Cb to make the fouth after the Gb even more clear?

Measure 72 for the first violin... are you serious? or is it a glissando?

I liked this very much. I have looked to analyse it a bit, I've seen inversions (cello ms 46), augmentations (cello ms 54). So it looks well crafted :) I heard morgi speaking of a row. I could not find a 12tone row, can you give a little analysis of your theme?

There are actually no rows at all, just motifs. There's really three motifs: 1) the main theme; 2) the dotted-8th, 16th, 8th figure; and 3) the dissonant quarter multiple stops.

I've always trouble choosing the right enharmonic spelling of notes. So a few questions about that either. The initial subject spells a B#. I know that makes sense because of the previous and next C#, but I would have transposed the piece to prevent this; any thoughts?

Ms 13, 2nd violin is going in fourths. Why do you spell an B and not a Cb to make the fouth after the Gb even more clear?

I didn't pay so much attention to getting eharmonics right. I was more concerned about it being easily readable. Indeed, there are probably places all over where I could fix that but I didn't bother for a piece that took so little time to write.

Measure 72 for the first violin... are you serious? or is it a glissando?

Quasi-gliss.

There are actually no rows at all, just motifs. There's really three motifs: 1) the main theme; 2) the dotted-8th, 16th, 8th figure; and 3) the dissonant quarter multiple stops.

Thank you, I thought so much :D

It was.....*GASP*....fun, to write.

Because god only knows how not fun it is to write atonal music. :D

Okay, and WHY don't you write like this more often? I really really really really like this piece. The harmonies are fantastic, everyone gets the melody, everything is perfect. Except for, well, the fugue thing but other than that, really great work.

The ending was wonderful! The crashing chords, and that last note really makes you chuckle. So perfect!

Great work! Keep it up!

Heklaphone

I had a nice review all typed out, but the computer didn't believe me when I told it I was logged in :(

Let me try again --

This is a nice piece, Tokke -- I like how disciplined your use of atonality is. It's not harmonically conservative, obviously, but I didn't get the feeling you just threw random notes on the screen and said "To heckfire with it." The rhythm of the piece was also important to this feeling of thought and actual effort put into the piece.

Also, I like the idea of you starting out with the fugue, rounds and all, but then moving on. Rounds are perfectly nice and all, but an entire piece based off them can get tiring after a while.

Mayhap you yourself don't like this piece, and wonder how anyone else could like it, (and there's nothing really wrong with that) but the point is that atonal music is truly fun to write, and can simply be an outlet for a composer willing to cut loose a little and just have fun with sounds

Thanks for sharing, Tokke =)