# Modern Fugue



## Bored (Sep 6, 2012)

http://www.noteflight.com/scores/view/92f1aa4d2317ea81ee5828c498e96a6f1a20977d

Please tell me what you think. It's not finished yet but it's close to done. I could use the advice, thanks.


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## Kazaman (Apr 13, 2013)

I think the most pressing issue is your notation. Because there are only two voices this is not difficult to read (or sight-read), but it could definitely be much easier, and if you were to add more parts it would become way more difficult than it needs to be. The first issue is the use of accidentals. To my ear you are definitely in F minor, so I would recommend using the appropriate key signature. But in any case, there are two big problems to fix:

- Consistency of accidentals. As a rule of thumb you should notate the same pitches in the same way in (at least) a measure. You don't do this in, for example, measure 4 where you have both G-sharp and A-flat, and measure 10 where you have both D-flat and C-sharp. 
- Having intervals reflect melodic motion. In mm. 2, 6 and 15 you have an A-flat followed by an A-sharp, which is an altered unison. This is a bit confusing and would be clearer as a second (A-flat, B-flat) so that the performer can clearly see the direction of the melody. In measure 8 you do a similar thing with B-sharp and D-flat when C and D-flat would be much clearer (and evoke a particular natural way of phrasing it from a well trained performer). 

Another issue is your use of the fermata. If you have a fermata in one part (of a fugue, a symphony, a quartet, a solo work, anything), you have to have a fermata in the same place in all other parts. Otherwise the performers will be annoyed and either choose to ignore your fermata or add in the extra ones on their own. So in measure 6 for example, you need to have a fermata over the G (or even better, divide the quartet note into tied eighth notes and put the fermata over the second one, since you have some syncopation there). 

Other than that, I thought it sounded lively, if a bit raw in some places. You have a good sense of rhythm, I think. It would be interesting to see you study some counterpoint and then come back to this and edit it. Coming back to old exercises after improving technique is always enlightening.


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## zvioliny (Jul 3, 2014)

Very nice and interesting, but as said before the accidentals have to all be flats, and not sharps because it is in F minor which is a scale with flats. It would be even better to have the F minor key signature.


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## Vasks (Dec 9, 2013)

What? Yet another F minor piece without a key sig? 

On another note, it's not a fugue.


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## PetrB (Feb 28, 2012)

Yes, your notation of key signatures and accidentals is a veritable hot mess 

For your own sake of interest, and any future possibility of writing further and better, I urge more formal training in all those elements you need -- they will interest and benefit you as well.


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