Writing Fugues.

Discussion in 'Music Theory, Lessons & Techniques' started by Cabinet, Apr 16, 2011.

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  1. Keytarist

    Keytarist SS.org Regular

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    I liked the exposition of your fugue. The subject is strong and easy to recognize. Would you like to explain what 'spacing' means in this case? Does it mean that some of the voices are too separated from each other (second to last bar, check 'C' and 'A')? As far as I know, the limit is an octave + Major third (between adjacent voices), but in some cases a wider interval is permited (in a climax passage, for example). Anyway, it sounds fine for me. :yesway:
    The only thing I noticed, is that you have 'pseudo' parallel octaves. Bar 4, check answer and countersubject. Also in the next bar, check countersubject (bass) and soprano. Maybe these are permitted because there is a third voice, that fills the gap? But that's all, I mean that it sounds good, and that is what matters the most. :)

    So some of your music education came from school and junior college? That's cool. Here, music education at school is very slow; for instance, they taught me the accidentals in the last year of school!!! But in some way, it was good...because I could sleep without missing anything. :lol: I hope that we will improve the music education someday, to reach a good level. We are last in this aspect.
     
    Last edited: Apr 24, 2011
  2. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    I was taught to avoid spacings wider than an octave in the soprano and alto voices, or alto and tenor. I find that it's a rule that you can break some times, and results in horrible music at other times. With the bass voice, you can get away with it a lot more. However, the last measure is pretty sad: the bass and tenor are really close together, and the alto and soprano are too wide apart.

    Bar 4: direct octave on the second beat, between the subject and countersubject. And bar 5 has parallel octaves. I have dishonored my family! :lol:

    Well... this is what music education was for me: grade school was pretty much nothing. I took a few ensembles and the teacher spent a few minutes to explain quarter notes, half notes, and whole notes to us. Notes, we learned, although I'm not sure we touched accidentals much. America hates music. Then, I went to junior college, took a bunch of theory classes, and kicked ass. After I transferred to university, I started refining a lot of the things I learned at my community college.
     
  3. Cabinet

    Cabinet :O

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    So I heard in that example you started off with the subject for the first measure, and then you copy it but a 5th above, right? And that's called the answer? When that's playing, what role to the quarter notes in the bass clef serve (If any)?
    Oh my what have I gotten myself into..
     
  4. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Fuck, I don't know. :lol:

    The answers, as I have it, is actually a fourth above. This isn't really strict fugal form; I just wrote a progression and kinda put a fugue to it. This is the progression: i|iv|i6/4|V|i V|V7/iv|iv|V7/Bb

    It doesn't have any of the traditional harmonic moves that you would see in a fugue. I just wrote this as such to demonstrate writing imitation based on simultaneous composition. Before I added the melody, each voice had one note per measure. One. I used the voice-leading as the basis of where my melodies would go.

    As for the quarter notes, it's a countersubject. One thing I'd like to point out with this: I'm making the countersubject sound different from the subject and answer so that we can hear it clearly when we have four voice polyphony. The subject is on the offbeat, and the countersubject is on the beat. Just a little polyphonic trick.
     
  5. toiletstand

    toiletstand /\'...'/\

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    very cool! i learned something new today.
     
  6. SirMyghin

    SirMyghin The Dirt Guy Contributor

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    Moment of truth, is this just a cover because you FUGUED up? :lol: ( damn, I kill myself sometimes).
     
  7. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Dude, you have no idea how many jokes were had about "inner voices" in my musicianship classes.
     
  8. ElRay

    ElRay Mostly Harmless

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    Folks have bugging me to give them my Robert Fuchs scores or my Johann Joseph Feux counterpoint and composition chapters, but I keep telling them I don't give two Feux and I definitely don't give any Fuchs because you can get them free at IMSPL.
     

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