# Fugue in E Mol



## JamieHoldham (May 13, 2016)

I made this fugue first of all with the purpose of giving the individual voices there own "voice" per se and wanted to make it feel more like a fugue than my others, all though I sort of forgot about it near the end and it almost turned into a sort of free form toccata 

Enjoy anyway if anyone actually likes my music.

.wav: https://drive.google.com/open?id=0BxxOhd_SjRuUSDZKNXVHTnl6X28
PDF: https://drive.google.com/open?id=0BxxOhd_SjRuUNzlhb25Hb1dQWkk

By the way this is probally the last time for quite awhile I will upload these pieces unless anyone really wants to hear them, although I feel I am improving I am not sure I should flood the forum with these posts too often.


----------



## Torkelburger (Jan 14, 2014)

Jamie, do you know what the term, "parallel octaves" means? Like if someone said to you that there is the recurring error of "parallel octaves"* in the piece, would you understand what they meant?

*and fifths


----------



## JamieHoldham (May 13, 2016)

Torkelburger said:


> Jamie, do you know what the term, "parallel octaves" means? Like if someone said to you that there is the recurring error of "parallel octaves"* in the piece, would you understand what they meant?
> 
> *and fifths


I do, but I think they can sound good if used right and I dont agree that they shouldnt be used at all, although I will say for a fugue I should tone it down a bit more next time.


----------



## Xenakiboy (May 8, 2016)

I really like this, it's a really mood evoking Fugue. It could do with one or two accidentals and be a few minutes longer. You definitely have the natural raw talent as a composer! :tiphat:


----------



## JamieHoldham (May 13, 2016)

Xenakiboy said:


> I really like this, it's a really mood evoking Fugue. It could do with one or two accidentals and be a few minutes longer. You definitely have the natural raw talent as a composer! :tiphat:


Thank you, just a few rough edges with voice leading and general development but I will get better in time I would hope


----------



## Torkelburger (Jan 14, 2014)

JamieHoldham said:


> I do, but I think they can sound good if used right and I dont agree that they shouldnt be used at all, although I will say for a fugue I should tone it down a bit more next time.


Then how would you re-write, say, bar 3 to fix the parallel octaves that appears there? I would bet anything that the proper technique would sound better than what you have. I disagree they can sound good if used right. If that were the case, then we'd see it in Bach, Handel, etc. We don't. I would also bet that parallel fifths sound like parallel fifths no matter what the context and stick out like grating rock power chords to me especially in this style no matter what. You are right to want to tone down the parallel octaves in fugues, one main reason for the rule is that it destroys line independence which is the goal of counterpoint. So if you allow something that destroys the goal of independence, why write a fugue to begin with?

Please let me know how you would write bar 3 correctly.


----------



## Pugg (Aug 8, 2014)

> By the way this is probably the last time for quite awhile I will upload these pieces unless anyone really wants to hear them, although I feel I am improving I am not sure I should flood the forum with these posts too often.


If we do so we say so, please post the music I like to hear it.


----------

