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Fuga for organ with a plan

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I wrote this for fun. Whenever I try to write fugues I don't have the patience to check all the intervals.
Also, in this case, the tonalities sometimes get a little fuzzy.
What I did was to start from a simple material
Subject I and its counter-subject I, written in invertible counterpoint.
Answer (subject II) and countersubject II, written in invertible counterpoint.
In this way, these parts can work the same up and down or the other way around. And with this, I followed the following scheme:


Edited by Luis Hernández
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Hi @Luis Hernández,

It's interesting that you're alternating the subjects, with the answer replaced by a new subject. The cudworth cadence is interesting as I'm having the Gjerdingen book in my hand!!


On 6/30/2023 at 3:40 AM, Luis Hernández said:

Whenever I try to write fugues I don't have the patience to check all the intervals.

I'm having my detective mode on and there's indeed parallels haha. B.12 there's a p5 between top and bottom voice (A-E to Bb-F). B. 20 there's a parallel octave C-D for the lower two voices. B.22 there's a hidden 5th for the top voice and bottom voice (C-G to F-C).B.29-30 there's a parallel octave (D-C) btw the top and bottom voice. B.31-32 there're parallel octaves btw the top and bottom voice (G-F-Eb). 

I feel like the voice leading of this one is more modern, especially with the escape tones, but ofc this is personal.

Thx for sharing!


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3 minutes ago, Luis Hernández said:

Do you think parallels are more important when they happen between the upper and the lower voice. I will go over that, thanks.

Yeah I think so since they are more prominent when the outer voices are involved in the parallels. But for a 3 voice fugue I will say it's the best to prevent all the parallels if it's composed in a strict style since even when the parallel involves the middle voice the sound as still be strong as there's only one other voice not involving the parallel to cover that. I will say when there's five voices the parallel rules can be less stringent with 3 voices covering the 2 voices involved in the parallel. Also for me parallel octave is less awkward than a parallel 5th, since the octave octave can be treated as doubling but a parallel 5th cannot.

However in this case it's hard to tell, since it's an organ work and one voice of an organ already involves parallel itself with its overtones, so maybe that's not even necessary to modify them for organ music. I've never tried one myself though.


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