I would very interested in a more extensive a kind of "paint by number" approach that provides a clear, reproducible pathway with practice points that can be assembled into a cohesive whole for improvisational use. Love your channel.
Thanks for the kind feedback, everyone! A quick addendum: I avoided using a certain harmonization of the F major subject just for variety, but in an instructional video I really shouldn't have since I avoided playing probably the most solid harmonization, namely this one: facebook.com/photo.php?fbid=801285143908474&set=p.801285143908474&type=3 So use that at first, while practicing in 4 voices! Not any of the harmonizations I used, which are all inferior due to either the presence of weaker chords like 643 or, more commonly, similar motion to the octave between the soprano and one of the inner parts. None of these are egregious, but the solution above is better and avoids all of those things.
Well, technically yes, but the D/F# coming so soon after the E doesn't really work in practice. The downbeat was clearly C major, and switching to Gmajor-world on a weak beat like that really creates an accent. I'm not sure what the name for this phenomenon is, but one could write a whole pamphlet about it. It's why, for example, composers will modify certain passing tones and neighbor-notes by an otherwise slightly counterintuitive accidental, if said note appears in other parts very shortly thereafter or just before.
What an amazingly helpful video. Thank you for posting! Though, I have a question: what are the ideal voice entries for a 5 voice fugue/ricercare? I'm asking more for a choral/stile Antico composition, and not so much for a keyboard.
Hi Henryk, glad you're enjoying the videos! There are even more options in 5 voices, of course. But the same principle applies: you don't generally want first entries in the middle of the texture, and to avoid this, one good way is to start in a middle voice and work outwards, ending up with the last entry in either the cantus or bass. The thing to watch out for as number of voices increase is of course the range and melodic content of your subject. You can make your life fairly miserable, especially if the fugue is for keyboard alone, if your subject has any exaggerated features.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
this channel's a goldmine
Hey, I really appreciate that, Steve. Glad you're getting something out of it.
I would very interested in a more extensive a kind of "paint by number" approach that provides a clear, reproducible pathway with practice points that can be assembled into a cohesive whole for improvisational use. Love your channel.
Perfect timing--I was just looking for such a video to share with a curious student!
which one was that?
haha, i was just about to send this to you
@@Zimzamzoom95 I did think of you, although another student had recently asked about it too!
Thanks for the kind feedback, everyone! A quick addendum: I avoided using a certain harmonization of the F major subject just for variety, but in an instructional video I really shouldn't have since I avoided playing probably the most solid harmonization, namely this one:
facebook.com/photo.php?fbid=801285143908474&set=p.801285143908474&type=3
So use that at first, while practicing in 4 voices! Not any of the harmonizations I used, which are all inferior due to either the presence of weaker chords like 643 or, more commonly, similar motion to the octave between the soprano and one of the inner parts. None of these are egregious, but the solution above is better and avoids all of those things.
Excelente conteúdo e abordagem! Obrigado! Abraços do Brasil!
Thanks, Augusto!
Amazing stuff!
Really happy you're finding it helpful! There are two more videos I have on this topic! And hopefully many more in the future...
I just realized that BWV 846 uses an ASTB vocal entry :0
question: at min 24:00 there is an f# in brackets. considering this is real, couldn't you do real answer without a tail?
Well, technically yes, but the D/F# coming so soon after the E doesn't really work in practice. The downbeat was clearly C major, and switching to Gmajor-world on a weak beat like that really creates an accent. I'm not sure what the name for this phenomenon is, but one could write a whole pamphlet about it. It's why, for example, composers will modify certain passing tones and neighbor-notes by an otherwise slightly counterintuitive accidental, if said note appears in other parts very shortly thereafter or just before.
What an amazingly helpful video. Thank you for posting! Though, I have a question: what are the ideal voice entries for a 5 voice fugue/ricercare? I'm asking more for a choral/stile Antico composition, and not so much for a keyboard.
Hi Henryk, glad you're enjoying the videos! There are even more options in 5 voices, of course. But the same principle applies: you don't generally want first entries in the middle of the texture, and to avoid this, one good way is to start in a middle voice and work outwards, ending up with the last entry in either the cantus or bass. The thing to watch out for as number of voices increase is of course the range and melodic content of your subject. You can make your life fairly miserable, especially if the fugue is for keyboard alone, if your subject has any exaggerated features.
@@parallelfifths2824 Thank you!!