Fugue in G major

Unfortunately, the beginning of the school year has slowed down my composing and thus I haven't been able to finish any of the previous counterpoints I already had and those I started afterwards, until today.

I likely began writing this fugue (in case it is) a week ago or so, and I put a lot of effort in avoiding forbidden parallels, although there are perhaps one or two of those and some instances of voice-crossing I was unable to solve. I had previously started another fugue in F (also in major mode), so this is my second one of that kind.

I'm not intending to sound pedantic by saying this but... the subject sounds like something Bach could have come up with. I do not prouder! I'm just afraid that perhaps I unconsciously took parts from other Bach's subjects, because it reminds me a lot of his keyboard counterpoints in major mode, and despite some search I couldn't find anything strikingly similar but I still think I'm missing something.

Anyway, here it is. It isn't as long as the one in F minor, but I hope you all enjoy it.

Edited December 4, 20196 yr by Nloki

I'm not at a computer so I can't look at this in depth, but in the first few measures you have a few instances of direct octaves, and since you're still in two voices they do matter. M. 9 has parallel 8's as well. Consecutive open intervals is also considered bad in two voices so watch out for those too.

My main disagreement regarding it being a Bach-like subject is the leap in beat four. It happens on a weird place, not to mention the fact that you never harmonize the seventh leap with an applied dominant which is a very Bach thing to do since vi to ii is a little strange on its own.