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After more than a year of inactivity in this forum, I've decided to return and paulatinely post my compositions from this period. Starting with my latest fugue, which as shown on the score PDF file was composed just two days ago and has undergone a key set of minor details being changed since I published it on my YT channel. Enjoy! Fugue in C minor #5.pdf

Hi All, Been a while... I thought I could use peoples expertise on here for some guidance. I am revising a work of mine that I am entering into a competition and I have not been happy with this passage. I take issue with the A in the flute part. I applied a II7 chord here, although I don't think it works with the suspended E in the oboe part. Has anyone got suggestions on how to best harmonize principally the bassoon and oboe parts? First of all, Passage.mp3

It's tuned to A4=432 Hz. So, not really a far cry from Baroque standards like 415 Hz or 465 Hz but still fairly close to 440 Hz, though nowhere nearly as irritating to the ear methinks.

is this tuned to the pitch standard that they would have used in the baroque era? if so nice touch

This sounds really nice. I might suggest an edit to the meter. In some bars, your 6/4 clearly splits in to two big beats of 3 quarter notes, like in measure 3: "winter afternoons." But in other places, it just as clearly splits into 3 big beats of 2 quarter notes each, like in measure 38: "like the Distance." 6/4 is usually considered a meter that divides in half into two 3-beat subdivisions, (like measure 3). It can encompass the other pattern as well, but when it does, you want to make that clear with the way you notate your rhythms. Don't do a tie across the middle of the measure in those spots where when you speak the rhythm, you clearly feel three 1/2 note stresses in a row. Write them as three 1/2 notes to signal to the musicians that the rhythm here is contrary to the typical 6/4 meter. Notating them more specifically helps people make sense of the score correctly on the first sight read and helps the conductor make the choice to conduct two small three patterns or a big three pattern at a glance, so they can be most helpful to anyone with a head out of the score. Save the tie across the center of the bar for places where the rhythm is more complex and people are furiously counting away. The other option is instead of putting it all in 6/4 as you have done, you can use a mix of 3/4 and 3/2 to help both the conductor and the choir organize their stresses better on the first read-through of the piece. Try to speak or sing through each line while conducting and see where you fumble. Those are the spots that probably need an edit to the way you notated them. If you like learning about this sort of detailed score-craft, I really recommend Elaine Gould's book "Behind Bars." She was an editor for years at one of the big music publishing companies, and a few years ago she turned all her little post-it-notes and binders full of instructions for the baby editors on the staff into a fantastically helpful book about best practices in notation. This sounds great and deserves a score that helps musicians give it a great performance. 🙂

Hello! Very nice fugue! I really like the subject, you write very well in the baroque style. I think there is a problem with the harmonic rythem in this piece. The subject is offbeat. I made you a little example. SimenN YC Fugax.pdf