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Thank you very much for your response. I was very pleased to see that you like the piece.

Thank you Markus, i will try. I started with the main fugue subject. Early on i decieded to use one or more countersubjets to go along with the main theme. I will give a short analysis of the developement. Main subject: Bar 3 in the tenor voice has the exposition of what is to be one of the reoccuring countersubjects. I will call it main countersubject 1. Much of the developement of the is focused on the developement this countersubject. In bar 4 the tenor voce will go into the second main countersubject. The last of the four voices is free counterpoint. bar 1 - 23 is basicly a large exposition with the main theme and main countersubject 1 and countersubject 2 in different voices and toanlity (tonic or dominant). From bar 23 - 26 the main countersubject 1 is been developed. The voices will now have a exposition with this version of main countersubject 1 Bar 26 - 38 enters the first episode with figures from main countersubject 1 old version. The episode goes to different keys but ends in b flat major. Bar 38 - 44, short exposition of the main subject with new verision of countersubject 1 and countersubject 2. bar 44 - 50 Modulates back to g minor with an episodic sequence that ends in c minor Bar 50 - enters a new developement of countersubject 1 together with main countersubject 2 and the main subject in the key of c minor. There is an exposition of the final version of the main countersubject 1 from bar 50 - 56 Bar 56 is the entry of the second main subect. This subect is a developement of the final version of countersubject 1. In bar 60 enters the second main subject reoccuring countersubject. second main subject and 2nd main subjects countersubject 1 will enter togehter from here on out. Bar 55 -73 is the exposition of the second main fugue theme. Bar 73 the main subject, 2nd main subject and 2nd main subjects countersubject has exposition together in the key of c minor. This is the tematical developement and how the fugue is structured.

Regardless of the type of music you did, which is always a choice.... What does quasi-atonal means? Does it mean it is tonal, in the end? It sounds chromatic but with a tonal center in C (B#). In this environment, writing the simplest notes is better, avoiding double sharps and B#, etc.... If there is no hierarchy, you don't need them. The music itself is effective, in a sort of counterpoint.

Hello everyone! I just finished a canon at the octave for three voices which I composed for practicing counterpoint. I did it for practicing three part counterpoint without having to spend to much time thinking about the melodic contourn for each voice. As an exercise it was really interesting and fun to compose. I composed it without instruments in mind, I just chose the brass trio because it sounded the most beautiful to my ears. Therefore, I am not sure whether some things might be unplayable (specially the highest notes from the trumpet). The canon is strict for the whole piece except for the B-C-D-E ascendent scale going to the EM chord chord (V of ii) in bars 11, 15 and 19, which goes through the natural, harmonic and melodic minor versions. Besides that, the only moment in which the canon is broken is on the last measure. Composition-wise, I felt really restricted because of the canon rules so I am really interested about the different techniques that could be used for adding interest to such strict pieces. Also, the strict canon made everything harder so probably there are many parallel octaves and fifths I did not see :S. Any comment or suggestion is welcome. Thank you for listening!

Prof. oboist here - the only thing that sticks out to me is the tremolo - I'm guessing you're wanting a flutter tongue here? Not all oboists can do that and it's not necessarily something that's regularly taught, even in extended techniques. I would say offer an option for a timbre trill for a similar effect, in case the oboist can't flutter tongue. There's a great book for contemporary oboe techniques by Libby Van Cleve, called "Oboe Unbound: Contemporary Techniques," if that's your kind of thing. Hope this helps!