Fugax Contrapunctus Posted February 16, 2020 Share Posted February 16, 2020 (edited) Well, not much to say this time. I've been seeking for parallels for over, like, 3 hours (well I don't really know how actually long) since I finished it until now, but there might well be too many my sight may hat übersehen (I'm not German but anyway, sometimes other languages are better at conveying quite specific meanings in instances like this one :D). So, without further ado, here it goes. Hope you enjoy it! Edited March 31, 2020 by Nloki MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu Fugue in G-sharp minor #4 > next PDF Fugue in G-sharp minor #4 1 Quote Link to comment Share on other sites More sharing options...
Monarcheon Posted February 16, 2020 Share Posted February 16, 2020 Your problem is with particular passing tones at a lower metrical level. Like in m. 6, where there's parallel G# -> B and the passing A# doesn't count towards mitigating it. Be wary also that a diminished to perfect fifth going upwards is generally considered incorrect (unlike P to diminished going down), like in m. 5. 1 Quote Link to comment Share on other sites More sharing options...
i(don't)suckatcomposing Posted March 22, 2020 Share Posted March 22, 2020 I think the end would be better if there was a stronger V-i feel(or V7-I). Other than that I can't really give you an analysis of the counterpoint, I'm no master. 1 Quote Link to comment Share on other sites More sharing options...
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