Little fugue on a theme by Bellini

Hi I took a phrase from one of Bellini's first operas Adelson and Salvini, and wrote this. 

When making counterpoint or fugues I don't care anything but how it sounds for me. Including the weird modulation.

Edited September 19, 20223 yr by Luis Hernández

That's a beautiful short piano piece! The modulation is not weird at all! I find it really magical to modulate from f minor to its hexatonic pole of A major. I remember Chopin used the same kind of the modulation in his Mazurka Op. 68 no.4, also in f minor, and often modulates to A major and gets back to f minor.

I notice that in Bar 20 between soprano and tenor, and in bar 25 between soprano and bass there are parallel octaves. I remember when I am composing fugues, especially that five part fugue in my quintet, I use so many time to proofread the score to find out the parallel octaves and fifths. But I also know that parallel motions is somewhat OK if that sound in parallel motion is intended. The rules of prohibiting parallel octaves and fifths need to be reviewed in every singular situation using them.

Edited September 20, 20223 yr by Henry Ng

Thanks for listening.

I think that parallels fifths and octaves should be avoided if you intent to write in a specific style. As it its not my case, I don't watch over them, unless the sound is bad (to may ears). Anyways, I'll take a look at those bars.

As Mozart was saying to Salieri, “I never knew that music like that was possible”