Leaderboard

I'm in!

Lately, I've been trying to improve my knowledge (I don't know if my writing as well) about the Fugue. Apart from observing the intervals and parallels, which I need to be more aware of, I've been asking myself some questions that I think are important and I've been doing some research and thinking about it. In this thread I want to point out two things. As an example, I put the expositions of the fugue in Gm and the fugue in Cm, both by Bach. 1. Why do many fugues have an ACAPHALOUS beginning? That is, they start with some silence and the notes in weak part. 2. Why in the answer to the subject, which occurs a fifth above, is there a note that Bach transposes a fourth? In the first (fugue in Gm) the first note is a D, and it is raised a fourth (G), while the rest of the answer is raised a fifth. In the second (fugue in Cm), the fourth note, a G, of the subject, is raised to C = a fourth. The rest is raised a fifth. I have my theories and answers, but I would like more opinions.

A simple Chopin-esque waltz inspired by Chopin's Op.70 No.3 and Op.69 No.2.Lemme know what you think! Waltz_Simplex_in_C_minor.mid

.

I think this piece has many values. The melody is catchy and well designed, as well as the general formal structure and the tonal relationship (very classical) of the parts. Also the chromaticisms are perfectly placed. There are, however, some points I would like to comment on: 1. The trills on triplets in the second part, from measure 18 on, do not work very well. Especially from measure 28 onwards, where they are even more abundant. 2. Textural changes: for example from measure 22, where the first note in the left hand is a single note and it is the usual, but then there is a 3-note chord followed by another single note. I think this creates an imbalance. I would look for more stable patterns and maybe not so dense (no need for the three notes in the accompaniment chord), at least up to a certain climactic point. 3. The crossing of the voices seems unnecessary in measures 55, 62, etc. .... Apart from this and as a very subjective opinion, I don't like the exact repetitions in this style closer to romanticism than to classicism (where they are the norm). Although the virtual sound is pleasant, what this piece cries out for is the use of dynamics and rubato. As it is, and with those repetitions, it comes off as very flat, when it is not.

Lol don't be too hard on yourself. This piece is actually better than a lot of my work too in terms of "good melodic content". And I put a focus on melody in my piano writing. It's a hidden gem in the Bach world because its a part of a suite, and it doesn't start as the first work in the suite either. But it is a fantastic example of good melodic writing of a prolific composer from the 18th century! I don't know how he did it, but he did. Let's both learn from this work!

It is a delicate piece that makes good use of relatively simple resources. My only suggestion is the piano language, whose potential is very great.

Hey Aaron, I like your use of triplets here! -I think you can change the A minor cadence with a A major chord there, since it's more usual to have a half cadence for the close of 1st section for a short piece like this. The beginning of the 2nd section can also have A major to begin. -b.8 beware of the clef change in the LH. -b.14 the tritone F-B in RH, and then a G natural before a G# in the next bar seems strange to me. B.15 has two G#, and an augmented second with the F-G# in the LH with the previous F. Changing a E in the bassline of b.16 will help. -You can also add subdominant here, which is G minor. Thx for sharing! Henry

I enjoyed this as well. Given that this is your first attempt at minor, and that you finished this in a day, I won't be too hard on you. But here are some tips for the future: Try modulating to relative major. It's a great way for a beginner to experiment with some well tested key changing techniques. You can look at Wikipedia for the relative keys, but basically its the same key signature, the notes are just shifted differently. Try to come up with a simple melody for your next piece. This piece has a good rhythm and some may argue that you do have a melody. But I want to challenge you on this. Here's a simple short piece by Bach, but there's a clear melody/theme making it memorable. I don't have the secret formula to good melodic writing, but its something "you just know" when you hear it. But I do believe good melodic writing comes from true music appreciation and listening practice. Ahh, and I said I wouldn't be too hard on you. I will end on a positive note! Your structure is well done, and the fact that you composed this in a day means you can learn quickly with focused practice. Also, not all of Bach's music is as melodic as Badinerie, so perhaps I was being a little unfair.

I like the piece! I think it is structured really well and you make use of your motivic figured well! I also like the oe=verall harmonic planning as well! This could easily fit as a Minuet in a dance suite if you were to compose one!