Fugue of a Déjà Vu | Original Composition in B♭-Minor
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- Опубликовано: 15 окт 2024
- Noteworthy features of this fugue:
→ the subject is composed in a way that the answer can remain in the homekey throughout, so that there is no modulation in the exposition
→ at 1:02, there are some inverted subject entries in stretto, eventually mixing with a normal subject entry and culminating in three subject entries each starting only one quarter note after the other
Score: musescore.com/...
PDF: drive.google.c...
Have a nice day! :o)
This was quite a nice, charming fugue with a subject that was able to be molded to your rhythms very, very well. I could totally see this being an interlude/sinfonia in an early suite. Well done :)
Thank you so much! ^^
The orchestration of the tempo is excellent!
Thank you! ^^
awsome! you got a new subscriber
Thank you so much! :o)
Nice and simple, this could be a good piece for beginner/intermediate learners to play.
Thank you! (:
very simple and very fun
Thank you! ^^
Wish i were as talented as you, fugue-wise
a catchy theme, and a lively rhythm! Well done!
Thanks a lot! (=
Wow! I LIKE this! You've done a nice job of developing that rhythmic motive all the way through. And I like how you snuck in that subject inversion at the end. Neat work! (
I'm gonna go listen to some of your other stuff.)
Thanks a lot, I really appreciate it! ^^
Nice to meet you, Averyn.
Hi, nice to meet you too! (=
Ok, you got another subscriber. 🙂
Thank you, I appreciate it! ^^
Hello I have been watching your vídeos for some weeks now, and I'm amazed at your conpositions. Is there no way I can convince you to teach how to write a fugue from your point of view? In musical school, in analysis, we did learn sonata form, inventions and eventually one fugue, but it was too brief
@@ladywilhelminabass Thank you so much for your words! (=
I’m actually working on a tutorial series where I describe my fugue writing process and provide advice. But I don’t plan to explain the counterpoint rules as there is already enough material on that on the internet (and I’m not sure if I would be able to explain them well enough lol). I want to focus on things that are less commonly talked about: tricks I learned along the way, from direct experience.
Is there anything that you would like me to include in this tutorial series? (:
If you want to familiarise yourself with counterpoint, I can recommend this free online textbook: viva.pressbooks.pub/openmusictheory/
Vau! Haluan kuulla sen! Hieno koostumus!!! Hienoa, tilaan sinut :D
Kiitoksia oikein paljon! :o)
sorry if I allow myself to make this observation, but since I studied composition in Florence in Italy I can say that as a counterpoint this fugue is almost perfect but there are two very strange things: the countersubject of the response must be transported identical to the tonic when the tonic takes over third voice and from a rhythmic point of view you cannot use the same model for more than four bars as a fugue rule, then everyone can do it as they want but theoretically the rhythm cannot be percussive but dynamic
Thank you for your comment! (:
I’m sorry, I don’t understand your first point. This fugue does not have a countersubject, every entry of the subject or the answer is accompanied by free counterpoint. Could you elaborate on that? (:
As for the rhythmic aspect: I have never heard of such a rule. Of course, this fugue is rhythmically not particularly varied, but I think I have often seen a rhythmic motif being repeated over more than four bars, even in Bach, especially in sequences in episodes (as is the case in this fugue). Can you point me to a source of this claim? I possess some standard treatises on counterpoint.
@@averynhiell I am only reporting the academic notions of the 4-voice fugue. there is a manual by Adler that talks about the escape of the Baroque era. obviously then over the centuries the rules have changed but the countersubject in a fugue is a constitutive element of the structure of the exposure
@@E.Vecvec It is true that most fugues have a countersubject, but it is not a requirement. Off the top of my head, I can name you three fugues by Bach without a stable countersubject: Contrapunctus I and IX as well as BWV 881.
nice
Thanks! ^^
Nai❤
btw mistä olet kotoisin? Olen kotoisin Filippiineiltä. Nyt olen Suomessa. Minä olen Theos Emmanuel.
Olen kotoisin Saksasta. (:
I feel like I've heard this before...
@@Sherlock_Violin xD
...바흐 칠줄알면 피아노 다 칠줄아는거다..
죄송하지만 저는 한국어를 할 줄 모릅니다. 무슨 말씀인지 이해가 안 됩니다. (:
It has no fuga form.
Which aspects exactly deviate from the fuga form, in your opinion? (:
Fugues in piano sound weird
You mean, “piano” as in the dynamic or as in the instrument? Either way, I don’t really see your point.
@@averynhiell piano forte. Yes, the instrument