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There is my 3-part fugue in G major. What do you think? EDIT: I finally composed a short prelude

Here's a fugue by Two-Leaf Clover. I wrote the chaconne while my friend complimented it with a double fugue. It has a kind of Gothic vibe.

Subject: 2 Bars

I think this is a (proper) Fugue, but I would like confirmation, etc, fugue2?.mid

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?

Spaceship altinator and pre warm up with fumes jet Contact Lift Off and out of here With farewell music.mp3Spaceship altinator and pre warm up with fumes jet.mp3Spaceship altinator and pre warm up.mp3 Space ship Fugue. Spaceship altinator and pre warm up with fumes jet Contact.mp3 Contact. Spaceship altinator and pre warm up with fumes jet Contact Lift Off and out of here.mp3 Lift of and out of here. Easy Stretto. The Ship Returns.... Spaceship altinator and pre warm up with fumes jet Contact Lift Off and out of here With farewell music The Ship Returns.mp3 The piece becomes a canonic fugue. A surprise awaits at the end. Canonic Fugue in Bb.mp3 All Sounds Generated by Garritan and Audacity.

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.

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

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!

Here's a piece that I experimented with the Common Tone modulation. With the CT modulation I can constantly manipulate the key to create a bitonal sound.

This is a three voice fugue written for harpsichord. Let me know any thoughts you have about it. Thanks!

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.

This piece is for a high school choir. I've never done this before, but my theory is based on writing for chorale like block chord voicing. I could use some advice on this. Any suggestions are welcome. Source of the Lyrics: "Tutto in un punto" Italo Calvino

Here's a fugue that I really enjoyed composing. I had so much writing it, and I hope you enjoy listening to it. The fugue is more horizontal in construction that differs from my previous attempts that is a vertical approach. There is invertible counterpoint at the 10th in it as well. It's not glorious, but it is there. Ha!

Here is a Christmas Song I wrote for this year. I remember a time when I went to church with my grandmother. She said there would be Christmas music, but it was not what I expected. It was an organ playing something that wasn't pop music or mainstream Christmas music. It was an organ making these sweet sounds. Anyway, I take the memory to heart to create this piece. I call it "The Joy of Christmas." Kind of unoriginal, I know, but that's the only thing I could think of at the moment. Now, I did borrow some ideas that make Christmas music. Two being the b5 and the b9. Some say the D minor 7 b5 is what makes all of Christmas tunes, so I snuck some in. Other than that it's some Dominant sounding chords with a b5 added to it. I found that a Dominant chord can resolve to itself. For example, in the second measure, the Neopolitan Six Chord is sneaky in that it involves a lower neighbor tone, then the D is anticipation to the next chord. Even though it is a N6 chord, the overall effect is a Dominant 7 chord with a b5 and a b9. And by N6, it is the intended harmony even though the third is not mentioned underneath the Ab in any way. In measure 7 I had some fun with creating chromaticism by utilizing a lower neighbor tone before the dominant 7 takes place. In measure 8, I use a Augmented 6 chord as a pivot chord...sort of, I like it. In measure ten I had an opportunity to use a minor 7 chord with a b5, but I'm not sure why I didn't. It didn't sound right resolving to the next chord, so I decided to use it as a Common Chord modulation to get to F, then Bb, then Eb which is the bVI in the overall form in G major. In measure 11 I made a sneaky false entry. I would love to stump theory students with this in that they would probably call this the subject entry, and I wouldn't blame them. But all in all, I decided it's a false entry because the main entry comes in with the next two measures. Measure 14 begins the pedal allowing for some sweet dissonance. Especially in measure 16 where a b5 is used. All this is in Stretto..some layered some individual. Measure 18 is where the "Christmas Chord" happens on strong beat 3. Measure 19 is where all cogs are in motion: Slow (Augmentation), tempo, double time, and quadruple time. Hope you enjoy the listen and Happy Holidays! Cheers.

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!

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

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.

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!

Canonic Fugues are possible. Canonic Fugue in Bb.mp3 This piece developed as a fugue in Bb. Atmosphere was added then the fugue is introduced. All the atmosphere except for the noise added are triangle wavs of the fugue sped up 180x to form the wave. As the piece modulates a new fugue is introduced at the end. A very modern fugue as the atmosphere fades. All sounds created by Garritan, and Audacity.

So, I'm reposting old stuff because they're somehow gone. This is one of them. Enjoy^^

The Analysis is rough. The III could be interpreted as a III7 or V7/vi. The piece opens with a simple subject. The I6 chord is easy to accept in the ear, while still being interesting (the root is the last thing you hear in the statement of the chord). However, by measure 3 the listener is hit by something striking as a major III enters sounding out of key; this is where the idea of 'Flux' is, in my vision, appears. The Flux is attempting establish a new key, but doesn't. The key is almost established as it is a Common Tone modulation that doesn't resolve as it should. In common theory these could be chalked up to as just "irregular chord changes." My vision however is to, well, fluxuate. Since, the chords of fluxuating may be a rollercoaster to the listener, I kept everything else as academic as possible. This said, I'm basically sticking with using the chords I, IV, V, VI, I in overall form. This is basic fugue writing to give a sense of ground for the listener, and hopefully make the flux more effective in contrast. The first notable key change is the last chord on this page. It's a common chord modulation. A common chord in diminished has the potential to resolve 8 different ways. The first episode was based on no content of the subject: meaning there were no use of retrograde, or imitation that are used later in the fugue. Just an episode plucked out of thin air. Page 2 of the fugue had some interesting things happen in it. The first modulation of the piece is a bit bumpy as it resolves as a Major II to V43 pivot modulation, but it sounded good and that's all that matters. The second subject statement after the first episode is in C, which is the IV of G. Very academic and safe. No major modulations on this page; just a simple pivot modulation vi V I in E. In E we are at the VI of the overall form...again very academic. The episode on this page really turned out great. I finally figured out how to get stretto in and am very happy with that. The audience will just hear a bunch of voices (Bob Ross) playing happy little short motives of the original theme. Once you realize the devices, writing episodes become a breeze (easier than normal being humble in kind). On page 3 things became a little funky in my analysis and I found that my analysis didn't match up with the original subject. Basically, I had to restate the subject in a way that was good with voicing (the voices had to be in range of each other.) One thing that I am really proud of in this piece is how the fugue enters the minor section. Usually in Classical music, a piece enters the minor section through the minor vi. My piece tricks the listener into thinking that the minor section is like all other minor sections, but in my piece, the minor section is actually the minor ii (a minor as opposed to e minor). In measure 37 there is a pivot modulation VI V I in E and a ii V I pivot modulation in measure 41. The real magic happens on the final page. First of all, I put a #9 in measure 48. Honestly, it has a kpop sound, but it is also a gospel chord. Finally, to get back to the main subject in it's original key I ironically use the Common Tone modulation that the ear wants from the beginning of the piece. The effect is really smooth. I think it gives the impression if anything really happened at all. All sounds generated by Garritan.

Here's the fugue as a triangle wave. I'm building a spaceship with my fugues. This sound is the altinator. Spaceship engine.mp3

oh! Here's something I did with the fugue. I made a string track and added it as a pad to this funk. Funk with Strings.mp3 It works as the fugue is in Bb and the Funk pedals on C and F. Both are at the same tempo, and resolves great. In jazz the fugue fulfills the upper harmony, while the funk track keeps the pedal going. For the playlist: Fugue in Bb R1.mp3