My First Fugue

I'm back after around two years. Been composing, but just inactive over here. About two weeks ago, my friend challenged me to write a piece on a theme of 1434 (letters in I lost the game). So... well, I tried. The counterpoint sure isn't good, but hope for some good feedback.

Fugue but You Lost.pdf

On 8/27/2026 at 5:46 PM, latebeethoven_addict said:

I'm back after around two years. Been composing, but just inactive over here. About two weeks ago, my friend challenged me to write a piece on a theme of 1434 (letters in I lost the game). So... well, I tried. The counterpoint sure isn't good, but hope for some good feedback.

Hello @latebeethoven_addict !

This fugue has a nice idea. The theme is very good.

Analysis!!!

Title+Bars 1-15

So, firstly, the title is just 'Fugue but you lost'. Where is the composer name? Also, I recommend (personal preference) saying something like Fugue on the theme of 'Insert something'. Writing 'Fugue but You Lost' kind of makes it seem unprofessional.

I like how you wrote Allegro (♩= 120). It gives an approximation of practice tempo (♩= 96) if this were to be performed. You never know.

The beginning phrase (Eb Ab G Ab) makes it feel like Ab major a bit. I like how it is disguised. The whole opening phrase (bars 1-4) is is completely playable and musically intresting. Good job.

Trouble starts at Bar 5, where you expect the performer to be Rachmaninov. Or Liszt. Or an alien. one of these three. Please do keep in mind that normal humans cannot reach such like the compound minor 6th in the first beat of the 6th bar. If instead you meant to split up in the two hands, however, then please delete or hide the rests.

Do mind the parallel movements in the section.

In Bar 11, a third voice is introduced effectively. We have heard the theme in two voices before. but now, it is also in the third. I would like point that the rests on Bar 11 Beat 2 feel completely unnecessary, and should just be a minim. (starting on the first beat).

Bar 16, we have this nice ending to the ascension of a single hand. I do not believe that a rest is important here, as the notation should best kept simple and human-legible.

By Bar 20, we already have semiquavers. Nice use of rhythm to add texture, although I don't really like Bar 23, with all of those staccato notes in the bass, although I love how you reused the main theme in the bassline of Bar 24.

(Only doing this amount so far. Still in work.)