# Fugue in Four Voices



## MJTTOMB

In D minor. Enjoy!

Fugue in Four Voices. Pretty heavily inspired by Bach's chromatic fantasy and fugue. I'd rather not post the sheets to this one, as I plan to use it for College Applications next year. I'd love to hear what you think!


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## hlolli

very good. I've also been trying to write fugues. Starting with deux as bass voice makes fugue writing a bit easier, but starting in sopran is a barrier I need to break. Also doing a stretto with voice enterance is something I haven't figured out yet.


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## Rasa

How about sheets in locked pdf with your name on it?


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## Boccherini

I don't really have the right tools to estimate Fugues perfectly, but I must admit, it _is_ reminding me the Fugue from Bach's Chromatic Fantasia and Fugue in D minor BWV 903 which I really liked.
Do you have a version on Fortepiano?


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## MJTTOMB

Thanks for the feedback thus far, attached a score. I'd love to hear a more in-depth analysis. There are some discrepancies between the score and the recording, particularly at the end, due to some minor changes I made in the proofreading process.


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## Rasa

Quick viewing. sometimes you still approach an octave in parallel movement with one of the voices jumping. It's not a grave error, but some composers would avoid it. like measure 55


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## MJTTOMB

Rasa said:


> Quick viewing. sometimes you still approach an octave in parallel movement with one of the voices jumping. It's not a grave error, but some composers would avoid it. like measure 55


Yeah, I'm looking over it too, noticing the same thing. Fortunately I recently got hold of a copy of Sibelius, and that checks for parallel 5s / 8ves, so you won't have to.

I never did learn species counterpoint, so as far as the really specific rules of fugue-writing go, I'm not very well versed. I'm learning how to avoid parallel 8ves (5ths have never really been an issue), but i still do have some tendencies.

On a macroscopic level, do you think it's consistent with characteristics of the style?

Also, a recording of the version portrayed in the sheet music.

__
https://soundcloud.com/mjttomb%2Ffugue-no-2-in-d-minor

Actually a rendering, obviously not really a recording.


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## Rasa

MJTTOMB said:


> Yeah, I'm looking over it too, noticing the same thing. Fortunately I recently got hold of a copy of Sibelius, and that checks for parallel 5s / 8ves, so you won't have to.


No.... That's just wrong on so many levels. The first being that Sibelius doesn't see certain 5ths and 8taves, and that it also sees where there aren't any, or special case where they are allowed.



MJTTOMB said:


> I never did learn species counterpoint,


But fugue IS contrapuncutual writing...


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## MJTTOMB

Rasa said:


> No.... That's just wrong on so many levels. The first being that Sibelius doesn't see certain 5ths and 8taves, and that it also sees where there aren't any, or special case where they are allowed.


I'm well aware of that, but it certainly makes the process easier, as it does weed out many.



> But fugue IS contrapuncutual writing...


I'm also aware of that. And I have a limited knowledge of how Bach counterpoint sounds, as I listen to his fugues regularly and play them on occasion as reading exercises. I'm only 17, and as of yet I haven't had a chance to study composition on a higher level. Most of what I know is what I've picked up on my own over the past few years by reading books and practicing theory through writing. I know how to analyze fugues, I've studied the form in school relatively extensively. I just never learned the specific rules, because I've never been taught the specific rules.


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## Rasa

Read Gradus ad parnassum, by Fux. This is the base theory book on contrapunctual writing. (and also famous for dealing with species counterpoint)


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## hlolli

You have some parallels,
In bar 15 there are parallel 9ths
In bar 16 a 7th is resolved by step upwards.
Parallel 7th in bar 17 and parallel 8th
Parallel 5ths in bar 18
4th in bass resolved up (can sometimes be ok, especially if there's a seveth chord)
7th resolved up in bar 20
Parallel 8th in bar 21 between tenor and alto voice
Parallel 5th in bar 22 twice
Parallel 5th in bar 23

Well I stop here, hope this helps anything.


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## MJTTOMB

hlolli said:


> You have some parallels,
> In bar 15 there are parallel 9ths
> In bar 16 a 7th is resolved by step upwards.
> Parallel 7th in bar 17 and parallel 8th
> Parallel 5ths in bar 18
> 4th in bass resolved up (can sometimes be ok, especially if there's a seveth chord)
> 7th resolved up in bar 20
> Parallel 8th in bar 21 between tenor and alto voice
> Parallel 5th in bar 22 twice
> Parallel 5th in bar 23
> 
> Well I stop here, hope this helps anything.


That's immensely helpful. Working on fixing them. Though I don't see parallel 5's in 18. C/G# - B/F is an augmented 5th to a diminished 5th, but not technically a parallel, I don't think. I understood p5's to be movement between perfect intervals.

Again in measure 22, the movement is from a D/A - E/Bb, thus perfect to diminished.

And in measure 23, B/F - C#/G, both are diminished intervals.

Regardless, I'm now reading gradus ad parnassum, and I'm making necessary changes. Thank you both so much for the help!


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## hlolli

You know that in strict counterpoint diminished 5th should be prepared and resolved. I don't think Bach would have done this, only maybe in really fast motion with strong harmonic progression. But if you can find example of this you can prove me wrong.

But fixing some of this errors can change the fugue subject sometimes, so this can be really frustrating, for me too. I have the tendency to give up.


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## MJTTOMB

Yes, I think it would perhaps be better to leave this one as is and instead keep writing more fugues. I really enjoy it when I can actually manage to get a workable subject. It seems like with each subsequent try I'm getting more aware of the rules, and with gradus ad parnassum as a reference, that should certainly help as well.


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## Rasa

Look, as long as you don't know species counterpoint well, I don't see the point of writing fugues. That's like writing sonata form without knowing modulation.

It's nice that you have an interest in the subject, but knowing the basics will save you a lot of time; for example in not having to correct basic contrapunctual errors in your subject and having to change the whole thing.


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## MJTTOMB

Rasa said:


> Look, as long as you don't know species counterpoint well, I don't see the point of writing fugues. That's like writing sonata form without knowing modulation.
> 
> It's nice that you have an interest in the subject, but knowing the basics will save you a lot of time; for example in not having to correct basic contrapunctual errors in your subject and having to change the whole thing.


You make a fair enough point. I don't particularly like the way you phrased it, but regardless I've take to heart what you've said.


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## nefigah

MJTTOMB said:


> You make a fair enough point. I don't particularly like the way you phrased it, but regardless I've take to heart what you've said.


There, there. Publicly posting your work will always be some-percentage painful, some-percentage rewarding. Rasa is very knowledgeable, and you are lucky to get advice from him(/her?), even if it comes with the tact of a World of Warcraft player


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## Rasa

nefigah said:


> even if it comes with the tact of a *World of Warcraft* player


I take offence!

http://www.amazon.com/Counterpoint-Walter-Piston/dp/0393097285

This is a very good book (in English). It doesn't deal with Fugue writing per se, but about all the different techniques of counterpoint.

If you know french, I can recommend André Gedalges traité


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## MJTTOMB

The only french I know is the french present in expression marks of Debussy pieces, unfortunately, but I'll certainly look into the english text. I'm starting to become unhappy with Gradus ad Parnassum. I wouldn't mind if it were just theory, but the way it's written as a dialogue between a naive student and a conceited master of the art makes it somewhat difficult to read.

Also, I was considering scrapping this fugue as a fugue, but taking the passage beginning at measure 47 and using it as the basis for a Prelude of sorts. Good idea? Bad idea?


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