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Intro and Fugue in D major for two violins.


Bradley Scarff
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Below is my first attempt at a fugue written for two violins. as such it isn't a conventional fugue as there is voice swapping across the board and does not necessarily follow the conventional harmonic series as I didn't pay too much attention and wrote this in a couple hours. 

Enjoy.

Edited by Bradley Scarff
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46 minutes ago, Bradley Scarff said:

Heya much appreciated could you direct me as to where? and how I could change it to make it playable? thanks.

 

Almost everything from m. 28 on (either impossible or too hard to be worth it). A lot of your first violin double stops will also be really sloppy. You have to take into account finger position on the string, separated by fifths. For example, a [C5, E5] dyad is perfectly fine because open E is available with C on the A string, but a [B4, D5] dyad is harder because they can't play two notes on one string, so they have to go higher on the next lowest string, in which case what comes after is important. 

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11 minutes ago, Monarcheon said:

Almost everything from m. 28 on (either impossible or too hard to be worth it). A lot of your first violin double stops will also be really sloppy. You can to take into account finger position on the string, separated by fifths. For example, a [C5, E5] dyad is perfectly fine because open E is available with C on the A string, but a [B4, D5] dyad is harder because they can't play to notes on one string, so they have to go higher on the next lowest string, in which case what comes after is important. 

 

Ok highly appreciated. the piece was primarily a rush job and my first attempt at writing for strings with complex double stopping. I may just re release the fugue as a keyboard piece after some improvements. any advice musically on the piece?

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Definitely looks like a piece for strings written with a keyboard mentality.  As others have stated, most of the double-stopping at measure 28 and after is either unplayable or exceedingly impractical.

As a rule, unless you are involving an open string, intervals panning beyond an octave is not possible and seconds are very awkward.  Perhaps instead of double stops, breaking them up  successive 16th notes would be a better option.

 

 

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44 minutes ago, bkho said:

Definitely looks like a piece for strings written with a keyboard mentality.  As others have stated, most of the double-stopping at measure 28 and after is either unplayable or exceedingly impractical.

As a rule, unless you are involving an open string, intervals panning beyond an octave is not possible and seconds are very awkward.  Perhaps instead of double stops, breaking them up  successive 16th notes would be a better option.

 

 

 

That was my mindset, ironically measure 28 and onwards was where I started to run out of ideas really and started throwing bits together. so next time I'll stick to keyboard. or string quartet. I am a keyboard player primarily but I also wanted to try and learn to write more for solo style violin and I was hoping this was a good place to start.

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19 hours ago, Bradley Scarff said:

Heya much appreciated could you direct me as to where? and how I could change it to make it playable? thanks.

 

Considering the transitions, most parts are near impossible. Considering it alone, most of the double notes can be played, but as the monarcheon says, you have to calculate the position transitions.
an example that cannot be played at all: you cannot play a3 and e5 at the same time, the violin cannot reached three string at the same time, chords are obtained with a fast resonance.You can add different melodies between chords, but this is very difficult, bach's chaconné is a good example.
The second parts of bach's violin sonatas are fuga, check them out. I also recommend that you study the entire partita and its sonata to understand the polyphony in the violin.   
Sorry for my bad english, I hope it helped.

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