Fugue in C minor

This is my first attempt at writing a fugue. The subject itself in C klezmer, but the general tonality is geared more towards a typical C minor.

I admit that I didn't try very hard to follow the traditional rules of fugue writing, but the next time I write one I think I will be much more strict with myself. I have attempted to use techniques like inversion, augmentation, and stretto, although I am not sure that I have implemented them correctly. The most baroque thing about this fugue is probably the Picardy third at the end, which I just included because I think it's a cute little baroque cliche. Enjoy.

Edited May 22, 20169 yr by fishyfry

I appreciate an alternative scale to major/minor. It really sounds different.

Instead of trying to follow strictly the rules of Baroque, I would do the "opposite": writing freely, because in Baroque nobody would write a fugue using this scale. I mean, the form of fugue can be used in any style, but I think it doesn't make sense to "insert" Baroque rules in other things.

Unless you want something like an hybrid-sound.

What you're saying makes sense. If I wanted to study baroque style fugal writing, I should really use a subject that fits that style. 

It is much easier to come up with something interesting when you're free to use more exotic scales. But I suppose making interesting material with a more limited palette is one of these challenges of these studies. 

From my point of view the thing is the opposity.

I think all these scales open an endless universe of possibilities. There are hundreds of scales (from unitonic to dodecaphonic, leaving mircotonalism apart). Each scales has as many modes (scales) as notes (grades) the original scales has.

What is not easy is to manage this systems. There is little information about it.

True. I suppose that whatever scale you are working with, whether it is a regular major key, or a church mode, or whole tones, or twelve-tones, or any of the other countless possibilities, each has its own challenges.

But I am very glad that I live in a time when the possibilities of scales that can be used is almost endless. It allows us to express ideas in our music that were not possible for a Baroque composer.