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Found 24 results

  1. I spent most sunday working on it and I think it to be decent enough for me to post it. Anyway, hope you enjoy it, here it is:
  2. This is the first time that I improvised a fugue subject and multiple countersubjects and didn't immediately come across contrapuntal errors with my Check Harmony Rules plugin in Musescore. I haven't bothered to look more in depth though(like every note kind of depth). So there might be some errors that I missed. I want to resolve these before I move further with the fugue. As you can probably tell by the PDF file, I wrote this fugue exposition with the text of a Requiem in mind, specifically, the Introit, which is the first section of a Requiem mass. Augmented intervals, those most likely have to do with the leading tone combined with the minor key and thus, shouldn't be bothered with, right, so as to not stray away from the key too fast? Or are they unacceptable, even in minor keys? Here is the fugue exposition in image form, so as to highlight the Subject and 3 countersubjects: There, that is the fugue exposition. I figured that this Requiem fugue would be one of the best fugues for which the subject appearance order would be BTAS, or in other words ascending, to represent the ascent to heaven(I'm personally not religious, but I know some things about religion). Did I obey the counterpoint rules and write a good fugue exposition with 3 countersubjects? Or are there some errors that I missed? I mainly focused on not having parallel and direct octaves, fifths, and fourths, and not having too many parallel thirds or sixths, so I might have missed errors of unresolved dissonances and weak suspensions that did not get picked up on a first pass.
  3. There is my 3-part fugue in G major. What do you think? EDIT: I finally composed a short prelude
  4. I Like composing music for fun, but I am trying to learn how to compose Fugues like J.S. Bach. I have tried composing a few and I've been trying to learn how to have independent voices. I still need to perfect counterpoint and harmony and there may be too many consecutive fifths and octaves. Does anyone know how I can improve my fugue composing skills so this can actually be called a fugue? Ed's_Prelde_and_Fugue_in_A_major.pdf The audio for this score can be found here. https://musescore.com/user/10553021/scores/4692441
  5. I think this is a (proper) Fugue, but I would like confirmation, etc, fugue2?.mid
  6. My first proper attempt at writing something baroquey. I was wondering, what's the best way to describe this piece, academically speaking. Fughetta, Fugue, Double Fugue, Counter fugue?
  7. I've always wanted to try writing a piece for organ. Though he didn't write much for organ, I am a big fan of Mozart's organ music and in particular his Fantasy in F minor which inspired this work in terms of structure and the fugal subject which is similar, though otherwise I treated the sections very differently. It is generally organized as a chaconne-like theme and variations in pairs separated by two extended sections (a fugato and a more lyrical section). I had posted an unfinished version of this in the incomplete section and I greatly appreciated the feedback. I also plan to transcribe a version for string orchestra.
  8. I was wondering about how to start writing a fugue? I understand they are hard to play, so is there a good process? I mean like composing in front of a piano kind of way. Help appreciated!
  9. This is a three voice fugue written for harpsichord. Let me know any thoughts you have about it. Thanks!
  10. There's not much to say about this piece, it is a three-part fugue with modest pretensions in that sweetest of keys, D minor. Like my canons the primary material is derived from encoded names in mod-7 form with free accidentals.
  11. I was going to copyright this piece but I don't really know if it's good enough to do that quite yet. I was looking for feedback on it so I can change it before it gets properly cemented the way it is. Specifically, the basic low strings part and the countersubject I wasn't sure how well they were implemented. Thanks a lot and enjoy!
  12. Hi! I researched fugues recently and decided to try my hand at creating one. I did also use a ground bass, introduced in the first four measures. Feedback about the development section would be helpful, as well as any mistakes I made in the subject section. Thanks! https://drive.google.com/open?id=0Bw9QZZ62AveGRFZ0U1J4QVZITDA
  13. Prelúdio e Fuga (SAT).mp3 This is a Prelude and Fugue for recorder trio (soprano, alto and tenor). I composed it for a trio (which was a quartet, but one person gave up) I would take part in, but then the whole group "ceased to exist" without a single rehearsal with everybody (= 3 people). The Prelude and Fugue continues to existe, but now without a concrete destiny. Hope you enjoy^^ OBS: I changed the VST to flutes because Garritan's recorder sound is a scream of pain from hell. OBS2: I didn't put dynamics, articulations or anything else because I'm lazy.
  14. Here is a short, one-minute exercise I wrote to prepare for the upcoming fugue competition. In general, I tried to keep it simple, sticking to the basics of the form (exposition, a couple of episodes, a short coda). As for counterpoint, it's really not my strong suit, so I tried to incorporate as much contrary motion as possible, especially between the cello and the upper instruments. I also tried to keep to the idea of dissonance on strong beats and consonance on weak beats as much as possible. I've never written a fugue before, and I'm sure there's plenty I did wrong, so any pointers or corrections would be very welcome!
  15. So, I'm reposting old stuff because they're somehow gone. This is one of them. Enjoy^^
  16. This is an edit I did to a piece I wrote for school. I wanted something a little more professional sounding and not so humorous. I added a prelude to the fugue to give it some length and more opportunity to show my writing. I plan to use this as part of my portfolio for college, so any suggestions are welcome. Doesn't have to be about the piece, could be about what else to include in the portfolio. Sheet music is also available to see any engraving issues. There's probably a lot.
  17. First and foremost; I do not know anything about string playing. As a result of such inadequacy, there are maybe some double stops (don't think triple stops) that are a bit hard to play. I've had a friend look at it, and I've had the string teacher at my school look at it. My friend the string teacher is convinced that it is almost definitively a college piece. I just wanted to write a fugue. P.s. The ending might be a little. inappropriate. it was meant to be funny but now that i look at it after the fact, I think I might implore a different last few bars.
  18. I'd ike to share this little fugue in 5 voices. FUGA 5.mp3 FUGA 5.pdf
  19. My fugues. Youtube chanell - https://www.youtube.com/channel/UCq67eZ59XLApUiUS1mKwBhA I'm waiting for your opinion.
  20. This is my first attempt at writing a fugue. The subject itself in C klezmer, but the general tonality is geared more towards a typical C minor. I admit that I didn't try very hard to follow the traditional rules of fugue writing, but the next time I write one I think I will be much more strict with myself. I have attempted to use techniques like inversion, augmentation, and stretto, although I am not sure that I have implemented them correctly. The most baroque thing about this fugue is probably the Picardy third at the end, which I just included because I think it's a cute little baroque cliche. Enjoy.
  21. As I am new to this forum I guess I should introduce myself: I am a Norwegian hobby musician and have played classical piano for about 25 years. I play synthesizer in a band and I now and then write some music. Last year I challenged myself to write one song/melody every day. I have very little education in music theory, but I have a fairly good ear. Recently I found a new challenge: I want to write a fugue. I have read up on writing fugues (especially the Crash Course from this forum), and after some trial and error I have finished the exposition. The subject is the opening from a well known Norwegian lullaby. I am sure there are many counterpoint and style errors, so I would really like some feedback. I've read everywhere that after the first answer one should modulate back to the tonic, but I feel that it worked going directly back with only one eighth note in Bb. I also added an extra measure before the last answer as it gave a nice finish to the melody in the soprano. So there it is, please let me know what you think. So_ro_lille_mann.pdf So_ro_lille_mann.xml
  22. I have read the works of Fux and Rameau, I am interested in writing music in the style of the baroque and the classical. Before I practice their teachings I have some questions: Apparently Bach, Mozart, Beethoven and Brahms ALL studied along the lines of Fux, and disagreed with much of Rameau's teachings. Again, considering that I am ONLY interested in writing music in the style of the baroque and the classical, should I abandon Rameau and stick only to Fux? I asked this question a month ago, but did not give as much information. Thanks.
  23. Fugue-nerds, What I propose is akin to a show-me-yours show-you-mine game wherein one person writes a fugue exposition, is critiqued by the other who then retaliates with their own exposition. This can go back and forth forever or just until we get bored. I'm not looking to get into an intellectual arm-wrestling match. I just enjoy the puzzley element of fugue writing and like to learn. Any takers?
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