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Yes I know it's difficult (I tried, haha). But at least is something different, "new". Writing counterpoint in, strictly, the way of Fux or Bach or whoever is very hard, particularly if you manage more than two voices. Perhaps is a good idea starting with two voices.

Writing true tonal counterpoint is arguably equal in difficulty to dissonant counterpoint, since they merit on reverse principles, with the exception of a larger focus on rhythm for the latter. Fugue form could be improved by way of increasing the length of episodes and delaying the countersubject, but yes, it was mostly the voice leading rules that were ineffective.

So there's a lot to unpack in yours. 1. Tons of melodic leaps to dissonances, and leaps away from dissonances. Both of these are disallowed. 2. The answer is neither real nor tonal, so it's not a true answer in the Baroque-sense. 3. This style of counterpoint does not use the English cadence. Measure 16 can't use the minor 9th. 4. Lots of parallels. 10 has octaves in the beginning, octaves between m. 22-23. Remember that the treatise only spells out forms of counterpoint. All the voice leading rules of the past still apply.

What rules are you trying to adhere to?

T H E E N D O F T H E W O R L D YC SUMMER COMPETITION: 2018 Welcome, everybody to the Young Composer Forum's Summer 2018 composition competition! Be it the apocalypse, the rapture, or nuclear annihilation, people throughout the years have always had concerns over the world ending in some way or another. It's exciting, and awesome, and terrifying, yet nobody knows exactly how it will come about. In particular, composers throughout the years have tried to emulate the afterlife, or this process of death (Tchaikovsky Symphony No. 6, and Holst's Ode to Death, etc.) and now I'm asking you to put the fate of the entire world into your hands: how's it all going to go down? GOAL: Write a piece of any instrumentation under the theme of "the end of the world". Note that this is not a piece just about death, however you may follow one person/group of people through their experience of a dying world. You may call upon any context, inspiration, or story to make this happen (i.e. anything from the rapture to alien invasion). ELIGIBILITY: *You must be a member of the Young Composers forum in order to enter. Membership is free and found in the top right corner of the page. Sign ups for the competition will be in the comments below. Simply note that you are interested in judging or participating. *There will again be no limits to instrumentation. Extra points will not be given for smaller or larger ensembles. *The minimum length for this competition is reduced to 3 minutes, but keep in mind you'll have a lot to write about. The maximum is also reduced to 20 minutes. *You must have some sort of audio rendition accompanying your work, otherwise your entry will be disqualified. *A score is required, but is not as heavy a focus as previous competitions. If you want to enter and are not proficient at engraving, message @Monarcheon. *If you volunteer to be a judge, you may not enter as a contest participant. *Entrants should have an intermediate understanding of engraving and orchestration. *Entrants may only submit one work. SCORING: 1. Submit a piece that properly depicts the end of the world in any context. This piece should progress like a story, of sorts, not just simply the event that causes the world to perish. The relation to the source material should be clear in your music in one way or another. Since it is difficult to convey things through sound, your job is simply to convince the judges that you've thought about how to make it work. (/40) 2. The more technically based compositional aspects are judged here. These aspects include score quality (/15), audio file quality (/15), and orchestration (/15) 3. Submit a writing component explaining the context in which the world is being destroyed and explaining how your instrumentation and compositional sections depict your writing. This should include what techniques you used to demonstrate certain aspects of each, keys, styles, or anything else you feel is prudent. (/15) TOTAL: /100 Mark your entry interest by: August 1st Pieces must be submitted by (in another topic that will be posted later, not this thread): August 7th Judges must be finished grading by: August 14th PRIZES: All entrants receive detailed feedback on their works. The winner’s piece will be placed in the YC Competition Hall of Fame. It is possible that winners receive a full year’s subscription compensation to Sibelius, but we are still working on that (THIS FINAL PRIZE IS NOT GUARANTEED). ENTRANTS: @bkho @Youngc @Gustav Johnson @Ken320 @edfgi234 @Hugget Zukker @Noah Brode

Are you planning on writing one? I'm currently writing a musical, which is kinda sorta not really the same. 😂 You're welcome to think of stage elements if you'd like, but know that most adaptions will disregard most of your initial ideas for later performances. Better say more with your music and words than scenery. Plot is first, then characters to fit that plots, then moments of higher intensity, then some people like writing lyrics before music, some people like music before lyrics, then final touches. I'm doing a combo of both for my musical. I love Porgy and Bess (Gershwin), but The Nose by Shostakovich is also fantastic.